IntroductionWelcome| 00:04 | Hi! I am Robbie Carman, and welcome to
Migrating form Final Cut Pro to Adobe Premiere
| | 00:09 | Pro. In this course we'll cover the
basics of starting a new Premiere Pro project
| | 00:13 | and moving an existing Final
Cut Pro project to Premiere.
| | 00:16 | We'll discuss how to import and
organize your media in Premiere Pro, as well as
| | 00:20 | a full discussion of editing and trimming
in Premiere Pro as compared to Final Cut Pro.
| | 00:24 | We'll also explore adding affects
your clips and working with audio,
| | 00:28 | including features like submixes
that are only available in Premiere Pro.
| | 00:31 | We'll also take a look at how to finish
your project with titling and outputting
| | 00:35 | from Premiere Pro, all with a
perspective of an experienced editor who is
| | 00:40 | comfortable working with Final Cut Pro.
| | 00:42 | These are exciting times for editorial
platforms, with lots of choices, and in my
| | 00:47 | opinion, Premiere should be at the top
of your list as a viable alternative to
| | 00:50 | Final Cut Pro 7 as Apple
transitions to Final Cut Pro 10.
| | 00:53 | You're an experienced editor, so this
title is not really about the aesthetic or
| | 00:58 | motivation of editing.
| | 00:59 | What I'll do is show you the
mechanics of a new program that I think that
| | 01:03 | you're going to love.
| | 01:05 | So without further ado, let's jump
into Migrating from Final Cut Pro to
| | 01:08 | Adobe Premiere Pro.
| | 01:09 | I am Robbie Carman, and thanks for joining me.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library, or if you're
| | 00:04 | watching this tutorial on DVD ROM, you
have access to the exercise files used
| | 00:09 | throughout this title.
| | 00:10 | When you download the exercise file zip,
the first thing that you need to do is
| | 00:14 | unzip it by double-clicking on it.
| | 00:15 | Now, I've actually already gone ahead and that.
| | 00:18 | When you unzip the file you'll been
presented with this file right here, called
| | 00:22 | Exercise_Files.dmg. This is a disk image file.
| | 00:26 | To mount the disk image,
simply double-click on it.
| | 00:29 | This disk image contains all the
project files and media used in this course.
| | 00:34 | Now you might be wondering,
why am I using the disk image?
| | 00:37 | The reason I'm using a disk image
is because of the way that Premiere Pro
| | 00:40 | makes links to media in the project.
| | 00:42 | By using a disk image, all the projects
for this title correctly link to the
| | 00:46 | media used in them and if you work
off to disk image, you shouldn't have to
| | 00:50 | re-link any media files.
| | 00:52 | Throughout this title, I'll be working
with project files and media directly
| | 00:55 | from this disk image.
| | 00:57 | Inside of this disk image, you'll see
folders for each chapter in this title, as
| | 01:01 | well as a folder right here called Shared Media.
| | 01:04 | The Shared Media folder contains media
reference by multiple projects for each chapter.
| | 01:10 | Inside of the Chapter folders, you'll
see Premiere Pro Project files, and you'll
| | 01:13 | also see a directory
called Chapter Specific Media.
| | 01:17 | The Chapter Specific Media folder
contains media and other files specifically
| | 01:21 | used for that chapter.
| | 01:23 | I'll mention throughout this title when
we need to grab some files out of this
| | 01:26 | Chapter Specific Media folders,
but just note, not all chapters have media or
| | 01:30 | other files inside of this folder.
| | 01:33 | The other thing about the media used
throughout this title is that almost all of
| | 01:36 | that is encoded as H.264720P30.
| | 01:40 | While 720P30 is a little odd, it does
save space in the disk image, and it makes
| | 01:46 | your download faster.
| | 01:47 | The content in this is course is varied
and comes from a few different projects,
| | 01:51 | and is not meant to be totally
cohesive from a story point of view.
| | 01:55 | The project files in each chapter
folder correspond to each movie in the title,
| | 01:59 | and as you're following along with
each movie, you can open its corresponding
| | 02:03 | Premiere Pro project.
| | 02:04 | Now the one thing I should mention
is that throughout this title we will
| | 02:07 | often compare features in Final Cut Pro to
Premiere Pro by jumping into Final Cut Pro.
| | 02:12 | Since you already probably know Final
Cut Pro pretty well, I haven't included
| | 02:15 | any project files for Final Cut Pro.
| | 02:17 | When watching movies that contain
portions that use Final Cut Pro, you'll need
| | 02:21 | to just watch and follow along,
and then when we jump into Premiere, you can
| | 02:25 | access project files here from the disk image.
| | 02:28 | As I said, if you work from the disk
image, everything should already be linked
| | 02:31 | and ready for you to work on.
| | 02:33 | If, however, you would like to
copy the contents of the disk image to
| | 02:36 | another location on your machine, you'll
need to re-link media when opening up a project.
| | 02:41 | Let me show you how this works.
| | 02:42 | I am simply going to create a new
folder here on my desktop. I'll call it
| | 02:47 | Exercise Files. Then I'm going to
select all the content out of the Exercise
| | 02:54 | Files disk image and copy
it to this new location.
| | 03:01 | Okay, the files have finished copying.
| | 03:04 | Now, the next thing you need to do
is just make sure that you eject the
| | 03:06 | Exercise Files disk image.
| | 03:08 | You want to do this so project files
don't link to media on the disk image.
| | 03:14 | Next, let me open up a file from this
new location by double-clicking on it.
| | 03:21 | When you do that, you'll be greeted with
this dialog in Premiere Pro asking you
| | 03:25 | where certain files are located.
| | 03:27 | To re-link a file, all you need to do
is navigate back to the location that you
| | 03:30 | copied the files to and then go
into the Shared Media folder.
| | 03:36 | It also helps to have this option
right here checked, for Display Only
| | 03:39 | Exact Name Matches.
| | 03:41 | When you check that, you can scroll
down and select only the file that's
| | 03:46 | highlighted. You should only have to
select the first file for any project.
| | 03:51 | All the other files will
automatically be re-linked.
| | 03:53 | After you select the file, simply click Open.
| | 03:58 | After doing that, the project will
open up, and all files are linked.
| | 04:02 | If for some reason you clicked Cancel in
the previous dialog, you can always force
| | 04:06 | Premiere Pro to re-link to the files,
and the way that you do this is by simply
| | 04:10 | selecting the files that you want to
re-link and right-clicking and then
| | 04:13 | choosing this option right here to link media.
| | 04:16 | This option is grayed out for me right
now because all of media is online for
| | 04:20 | this project, because I
reconnected it in the previous step.
| | 04:24 | Just keep in mind if you do move the
content of the disk image to another
| | 04:27 | location, you'll have to repeat this
process for each project file that we used
| | 04:32 | throughout this course.
| | 04:33 | Finally, a couple of last notes. I've
left about 600 megabytes of free space on
| | 04:37 | the disk image, as all the projects are
set up to render and create cache files
| | 04:42 | to the same location as the
project, which is on the disk image.
| | 04:46 | The image is read and write, so you
shouldn't have any problems adding files to
| | 04:50 | it. Just keep in mind you do have a
relatively small amount of space to use.
| | 04:54 | If you need more room for any given
project, you can change the location of these
| | 04:58 | files. The way you do that is by
coming up the Project menu, down the Project
| | 05:02 | Settings, and choosing Scratch Disks.
| | 05:05 | Note that each project defaults to
Same as Project for all this options.
| | 05:08 | By clicking Browse, you can
choose another location.
| | 05:14 | Finally, if you're using Premiere
Pro on a Windows machine, you can also
| | 05:17 | download this file right here,
called Exercise_Files_WIN.zip.
| | 05:22 | If you unzip this file, you'll have all
the exercise files, but because the files
| | 05:27 | are contained on the disk image, you'll
have to follow the linking procedure we
| | 05:31 | talked about earlier.
| | 05:32 | If you're a Monthly subscriber or Annual
subscriber to lynda.com, you don't have
| | 05:36 | access to the exercise files,
| | 05:38 | but you can follow along from
scratch with your own assets.
| | 05:42 | Okay, so that's a little
bit about the exercise files.
| | 05:44 | Let's go ahead and get started.
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| Understanding technical specs, equipment, and the Mercury Playback Engine| 00:00 | As you'd expect with any modern
editorial tool, there are some minimum
| | 00:03 | system requirements.
| | 00:04 | In this movie, we'll talk about those,
but I also want to talk about something
| | 00:07 | Adobe calls the Mercury Playback Engine.
| | 00:10 | If you just starting to configure a
machine for work with Premiere Pro CS5.5,
| | 00:14 | then I definitely suggest you check out this page,
| | 00:16 | adobe.com/products/premiere/tech-specs.html.
| | 00:21 | This page less minimum specs for
things such as RAM, CPU speed, and so on.
| | 00:26 | In my experience Premiere Pro will
work okay on just about any modern machine
| | 00:30 | with enough RAM, supported OS,
and graphics card, but as you can guess, more RAM
| | 00:34 | faster CPUs, and a beefier
graphics cards will never hurt you.
| | 00:38 | However, if you're building a machine
from the ground up, please be sure to check
| | 00:41 | out this page to make sure that
your system meets the required specs.
| | 00:45 | Since the launch of Premiere Pro CS5 a
little while back, there has been much
| | 00:49 | talk about something called
the Mercury Playback Engine.
| | 00:52 | The Mercury Playback Engine has become
a little bit of an enigma because it
| | 00:55 | actually combines a few different technologies.
| | 00:58 | The first thing that goes into the
Mercury Playback Engine is that Premiere Pro
| | 01:02 | is a 64-bit application.
| | 01:05 | Next, it's a multi-threaded application.
That means it's able to take advantage of
| | 01:09 | multiple cores on a processor,
dramatically speeding things up.
| | 01:13 | The third thing is the ability of
Premiere Pro to take advantage of Nvidia, the
| | 01:17 | graphics card
manufacturer, technology called CUDA.
| | 01:19 | CUDA-enable graphics cards are like
little super-computers all unto themselves.
| | 01:25 | Many people have said that the Mercury
Playback Engine is just CUDA acceleration,
| | 01:29 | and that is just not true.
| | 01:30 | CUDA-enabled cards are just
one third of the equation.
| | 01:35 | If you own CS5 or CS5.5 and don't
have an Nvidia CUDA-supported card, you
| | 01:40 | still have the Mercury Playback
Engine, but inside of Premiere Pro it's
| | 01:44 | labeled as Mercury Playback Engine
software-only, since you're not using a
| | 01:48 | CUDA-enabled graphics card.
| | 01:50 | If you do have a supported graphics
card--and I'll tell you which ones are
| | 01:53 | supported in a second--
| | 01:54 | inside of Premiere Pro you would
actually see an option for the Mercury Playback
| | 01:57 | Engine GPU acceleration.
| | 02:00 | In a later movie about project
setup, I'll show you where that option is.
| | 02:03 | To learn more about the Mercury
Playback Engine and its details, I urge you to
| | 02:07 | check out this great blog post by Adobe
Premiere Pro guru Todd Kopriva, who was
| | 02:11 | actually nice enough to tech-edit my
most recent book on Premiere Pro.
| | 02:14 | He really knows the stuff.
| | 02:16 | So if you're wondering, is it worth
having a CUDA-supported graphics card?
| | 02:19 | Absolutely! Because a lot of
processing is being tossed to the graphics card
| | 02:24 | instead of the CPU, this can speed
things up for mathematically intensive tasks,
| | 02:29 | such as scaling and colorspace
inversions, and the result is going to actually
| | 02:33 | better than with software alone.
| | 02:36 | Now, to the supported graphics
cards with CUDA acceleration.
| | 02:39 | To see this supported cards, just visit
this page on the Adobe web site, which
| | 02:42 | is actually the same page I was
showing you for minimum tech specs. But down
| | 02:46 | towards the bottom of the page
is an actual list of the cards.
| | 02:49 | As Adobe tests more cards, I'm sure
this list will grow. Just note that some of
| | 02:54 | these cards are Windows-only.
| | 02:56 | On my Mac I've been using a Quadro 4000,
and it really does make the system fly.
| | 03:02 | Now, what about other equipment?
| | 03:03 | As a Final Cut Pro editor making a
move to Premiere Pro, you may have come
| | 03:07 | dependent on using a video I/O card or
device, such as those made by AJA and Blackmagic.
| | 03:12 | Well, you're in luck. Both AJA and
Blackmagic design support Premiere Pro with their KONA
| | 03:17 | and DeckLink kinds of cards.
| | 03:19 | Other I/O devices from these
companies should also work.
| | 03:22 | It's outside the scope of this title to
show you setting up one of these devices,
| | 03:25 | so be sure to check out the
documentation provided by the device manufacturer.
| | 03:30 | Having either an I/O card or
device will allow you to interface with
| | 03:33 | professional broadcast
monitors and videotape decks.
| | 03:36 | In my opinion, they are a central piece of
kit when building up from your Pro suite.
| | 03:41 | Finally, just a couple notes on storage.
First, high-speed, high-capacity, and
| | 03:46 | hopefully redundant
storage is a must, in my opinion.
| | 03:50 | When you're looking at redundant
storage options, hardware RAID 5 or RAID 6 are
| | 03:54 | great choices, as you can use the drive,
or in the case of RAID 6 two drives, and
| | 03:59 | still not lose your data.
| | 04:01 | eSata, SAS, the new Thunderbolt standard,
USB 3, and Fiber Channel connectivity
| | 04:06 | are common in professional-level drive arrays.
| | 04:10 | So that's a little bit more on tech
specs and equipment from Premiere Pro, as
| | 04:13 | well as hopefully a clear explanation
of what the Mercury Playback Engine is.
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|
|
1. Getting Up and Running in Premiere ProWhy make the move to Premiere Pro?| 00:00 | So if you are watching this title,
you are no doubt thinking about making a
| | 00:03 | move to Adobe Premiere Pro, or perhaps you've
already made the move from Final Cut Pro 7.
| | 00:07 | I'm also willing to bet that you've
probably evaluated Final Cut Pro X and
| | 00:11 | didn't think it would work for you.
| | 00:13 | Regardless of the reason
that you're watching this title,
| | 00:15 | I want to spend a few moments
discussing the reasons that I've made the switch,
| | 00:18 | so that if you're still on the fence
about why to make the move to Premiere Pro
| | 00:21 | from Final Cut Pro 7, you can make a
better choice. For me, making the move to
| | 00:26 | Premiere Pro came down to five reasons.
| | 00:28 | I've been with Final Cut Pro since it's
initial release and still feel that it's
| | 00:31 | an incredible editorial tool; however,
with the introduction of Final Cut Pro X,
| | 00:36 | Apple has publicly said that no further
updates will be happening to Final Cut
| | 00:40 | Pro 7. And in fact many of the other
Final Cut Studio applications, like Color,
| | 00:45 | Soundtrack Pro, Cinema Tools,
and DVD Studio Pro are no longer.
| | 00:49 | While Final Cut Pro X one day might be
an amazing tool, for my company and our
| | 00:53 | workflows it currently doesn't fit
the bill, especially when some of the
| | 00:57 | dedicated applications that
supported Final Cut Pro in the past are gone.
| | 01:02 | So this is actually my first reason
I am making the move to Premiere Pro.
| | 01:05 | Abode has publicly committed to a
development timeline with Premiere Pro and
| | 01:09 | not a totally new reinvention other
editorial tool, which as a small business
| | 01:14 | owner makes me feel more secure at
about an investment in the product.
| | 01:18 | Additionally, the fact that
Premiere Pro exists in ecosystem of other
| | 01:22 | creative apps for motion graphics,
visual effects, audio, and authoring makes
| | 01:26 | it very appealing to me.
| | 01:28 | My next reason for making the
move is a technological one.
| | 01:30 | From the first time I saw Premiere Pro
utilizing the Mercury Playback Engine and
| | 01:35 | being driven by NVIDIA CUDA-enabled
cards, I was floored. Add in the fact that
| | 01:40 | Adobe Premiere Pro CS5.5 is 64-bit and
can address huge amounts of memory--it's a
| | 01:45 | modern application that can really fly.
Of course, Final Cut Pro X is a 64-bit
| | 01:50 | application and does leverage some GPU
processing, but in my own experience
| | 01:55 | comparing Final Cut Pro X and
Premiere Pro, Premiere Pro wins.
| | 01:59 | Premiere Pro, being a multithreaded
application, can also take advantage of all of
| | 02:03 | the processing cores on modern CPUs.
| | 02:06 | My next reason for migrating from
Final Cut Pro 7 to Premiere Pro is native
| | 02:09 | workflows. From P2 and XDCAM to DSLR
and RED, Premiere Pro is built from the
| | 02:15 | ground up to be a native editorial tool.
| | 02:19 | When combined with the Mercury Playback
Engine and technologies like NVIDIA's CUDA,
| | 02:23 | almost every popular format can
work natively and in real time.
| | 02:27 | Compared to Final Cut Pro 7, this is a
gigantic deal, because in Final Cut Pro 7
| | 02:32 | many formats had to be transcoded to a
more edit-friendly codec that Final Cut
| | 02:37 | Pro 7 could deal with.
| | 02:38 | Final Cut Pro X sort of has this
capability, but it's still does a fair amount
| | 02:42 | transcoding, and for me, since I work on
a lot of project's shot on RED, Final Cut
| | 02:47 | Pro X was a nonstarter, since currently
Final Cut Pro X doesn't have RED support.
| | 02:53 | Up next is cross-platform capability.
| | 02:55 | Premiere Pro is available on the Mac
and on Windows. I think this is a pretty
| | 02:59 | big deal. While I love Apple machines,
not everyone or every facility is on them.
| | 03:05 | Premiere Pro is 99% identical between platforms.
| | 03:08 | So if you are, for example, a freelance
editor, you can learn the app once and
| | 03:12 | it doesn't matter if you're
on a Windows machine or a Mac--
| | 03:15 | you will still be able to add it.
| | 03:17 | My last big reasons to make the move
to Premiere Pro is that Adobe listens;
| | 03:20 | they really listen.
| | 03:22 | I've been frustrated for years asking for
things in Final Cut Pro to see nothing happen.
| | 03:27 | Recently, I was part of a training
class for the first group of Adobe-
| | 03:30 | certified master trainers for Premiere
Pro, and several of the engineer types
| | 03:34 | from Adobe were there.
| | 03:35 | They we're asking for feedback on the
application and what was needed to improve it.
| | 03:39 | The response from the engineers was,
"That's a great idea! We'll definitely try to
| | 03:43 | put that into the next update" or, "Yup
we've been hearing that one a lot, and it's
| | 03:47 | at the top of our list."
| | 03:49 | For me this is further evidence that
Adobe is committed to continually improving
| | 03:53 | the product for professional editors.
| | 03:55 | At the end of the day, the choice is
yours if you want to migrate to Premiere Pro
| | 03:59 | from Final Cut Pro 7, but throughout
this title, I hope to show you how easy
| | 04:04 | that migration can be, and show you
some cool things that Premiere Pro can do.
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| Setting up a new project in Premiere Pro| 00:00 | Okay, what do you say we just jump right in?
| | 00:02 | In this movie, we will take a look at
starting a new project in Premiere Pro, and
| | 00:05 | I will guide you through some important
choices you'll need to make when doing
| | 00:09 | so, and along the way compare
project setup to Final Cut Pro 7.
| | 00:13 | First things first.
| | 00:14 | Let me come down here to my Dock
and click on Premiere Pro CS5.5.
| | 00:17 | I am using the latest version of
Adobe Premiere Pro CS5.5 for the Mac.
| | 00:23 | If you're on Windows, 99% of the
things that you will learn in this title are
| | 00:27 | exactly the same on the
Windows version of the app,
| | 00:30 | and I will try to call out
PC shortcuts as they come up.
| | 00:33 | If you are on Premiere
Pro CS5, don't worry either.
| | 00:36 | While there has been some
improvements to the software, most of the core
| | 00:39 | functionality that we will
discuss is exactly the same.
| | 00:43 | Okay, so the first thing I am greeted
with here after opening up Premiere Pro is
| | 00:46 | this Welcome screen, which allows me to
choose from previously opened projects
| | 00:50 | here in the Recent Projects
list. I don't have any right now.
| | 00:53 | I can also create a New Project, open an
existing project not listed here in the
| | 00:58 | Recent Projects list, or I can get some help.
| | 01:00 | Unlike Final Cut Pro 7 where when you
open the app you are greeted with your
| | 01:05 | blank project or the last opened project
or projects--or if you are opening up
| | 01:09 | the app for the first time, some setup screens--
I do like this Welcome screen in Premiere Pro.
| | 01:15 | Okay, let's go ahead and
click to create a new project.
| | 01:18 | So here in the New Project dialog we
have some important choices to make.
| | 01:22 | First, here on the General tab, we can
choose how things are going to be rendered
| | 01:25 | with this option right here.
| | 01:27 | If you're on a supported system, you'll
be able to leverage the Mercury Playback
| | 01:30 | Engine with GPU acceleration.
| | 01:32 | For more info on what that is and
how it works, be sure to check out the
| | 01:36 | movie called "Tech specs, equipment, and the
Mercury Playback Engine," in the previous chapter.
| | 01:41 | On this system, I don't have the
supported hardware, so this option is grayed out.
| | 01:45 | That's okay; I'll still get very good performance though.
| | 01:48 | You can choose display formats for
both video and for audio here, and we
| | 01:52 | will leave those alone.
| | 01:53 | And then down here under Capture
Format, you can actually choose to
| | 01:56 | capture either DV or HDV.
| | 01:59 | Support for other formats is dependent
on hardware capture cards, for example,
| | 02:03 | if you installed an AJ or a
Blackmagic PCI Capture Card.
| | 02:07 | Down here in the Location menu,
this is actually an important choice.
| | 02:10 | This is where you will be
choosing to save the project.
| | 02:13 | Unlike Final Cut Pro 7 where you can
work in an unsaved project, Premiere Pro
| | 02:18 | forces you to choose the location of
that project right off the bat, and saves it
| | 02:22 | when the project is created.
| | 02:24 | So what I am going to do is come
over here and click the Browse button.
| | 02:27 | Let me navigate back to my Desktop,
and I am simply going to create a new folder
| | 02:31 | here, and we'll call this Premiere Pro
First Project, and I will click Create, and
| | 02:38 | then I will choose that.
| | 02:40 | Next, I need to actually name this project, so
let me go ahead and call it the same thing here.
| | 02:44 | We will call it Premiere Pro First Project.
| | 02:50 | Now, before I actually click the
OK button here, let's click over to
| | 02:53 | Scratch Disks right here.
| | 02:54 | By default, Premiere Pro has its
Scratch Disks for various items, like Captured
| | 02:59 | Video, Captured Audio, Previews--which
are just like render files--all set to be
| | 03:04 | at the same location as your project.
| | 03:07 | You can of course change this
location to one of your choosing.
| | 03:11 | How you assign Scratch Disks is all a
matter of preference, and it's very similar
| | 03:15 | to setting Scratch Disks in Final Cut Pro.
| | 03:17 | You might simply like to save all your
projects and other files to one master
| | 03:21 | location, or if you're like me, I
like to have individual project folders.
| | 03:25 | So having these options set to
Same as Project is actually okay.
| | 03:29 | Just keep in mind ideally you'd have
these locations--regardless of if you set them
| | 03:33 | to the project or another location--
saved to a high-speed and hopefully
| | 03:38 | redundant media drive.
| | 03:39 | For this title, all the
projects are set to write back to the
| | 03:43 | Exercise_Files disk image.
| | 03:45 | Now I have actually given you roughly
600 megabytes of extra space on that disk
| | 03:48 | image for these files that are created
when we do things like render previews.
| | 03:53 | Let's go ahead and click OK.
| | 03:56 | This is where it starts to get
confusing as a user switching from Final Cut
| | 04:00 | Pro 7 to Premiere Pro.
| | 04:02 | Here in the New Sequence dialog,
you can do one of two things.
| | 04:05 | First, you can simply come down here
and click Cancel and a new project is
| | 04:09 | created without a sequence.
| | 04:11 | In Chapter 2 in a movie called "Creating
a new sequence," I will show you how you
| | 04:14 | can easily create a new sequence based
on the properties of an asset just like
| | 04:18 | you can in Final Cut Pro 7 when dragging
a clip into a blank sequence and having
| | 04:22 | the settings of that
sequence adjust automatically.
| | 04:25 | The other choice that I have though,
is I can come over here and choose from
| | 04:28 | quite a few presets designed by Adobe.
| | 04:30 | For example, if I was working with, say,
RED files, I can come into the RED R3D
| | 04:35 | folder here and choose an
appropriate preset in one of these subfolders.
| | 04:40 | For now, let me go up to this category
right here called Digital SLR and into
| | 04:44 | 720p, and then I am going to select
this one right here called DSLR 720p60.
| | 04:50 | Over here on the right, I can see
technical settings about this preset,
| | 04:53 | including Frame size, Frame rate.
| | 04:56 | I can also see how this sequence is
set up, in terms of its track layout.
| | 05:00 | And we'll talk about track layout and how many
tacks we can add to a sequence in just a second.
| | 05:04 | The thing you don't see is
anything about a compression setting that
| | 05:08 | the sequence is using.
| | 05:10 | In Final Cut Pro 7, you need to assign,
besides all the basics like frame size, a
| | 05:14 | compression scheme to each sequence.
| | 05:17 | You might choose something like Apple
ProRes or Uncompressed or something else.
| | 05:21 | Here is what I want you to understand.
| | 05:23 | Sequences in Premiere Pro do not have a
codec assigned to them. That's right,
| | 05:28 | no codec assigned to them.
| | 05:30 | The beauty of the Premiere Pro
architecture is that you can simply toss any
| | 05:34 | format, frame size, et cetera,
on a sequence and it will play.
| | 05:38 | With that said, there is something
here that determines how a sequence plays
| | 05:41 | back and how it previews and what
codec those previews are generated in.
| | 05:45 | Remember, previews are like
render files in Final Cut Pro 7.
| | 05:48 | And what that option is is this
guy right here, Editing mode.
| | 05:51 | Put simply, Editing mode adjusts settings
to optimize playback for a specific format.
| | 05:57 | All right! Let's go ahead and click on this tab
right here called Settings at the top of
| | 06:01 | the New Sequence dialog.
| | 06:03 | The Settings tab is similar to the
General tab of the Sequence Settings
| | 06:06 | dialog in Final Cut Pro.
| | 06:08 | Here you can adjust things like Frame Size,
Pixel Aspect Ratio, Sample Rate, and so on.
| | 06:14 | Now all of these options were chosen
for me since I had actually selected a
| | 06:17 | preset from the Sequence Presets tab.
| | 06:20 | And notice up right here we have
Editing mode. And if I click on this, I can
| | 06:24 | actually choose from a variety of choices.
| | 06:27 | Since I had selected a DSLR preset, the
Editing mode is actually already set to
| | 06:32 | DSLR, which for our purposes
right now is exactly what I want.
| | 06:36 | In the next chapter, in a movie called
"Creating a new sequence," I will show you
| | 06:39 | how we can choose one of these options,
or even this custom option right here, to
| | 06:44 | set up a sequence and adjust how
preview files are created to better fit
| | 06:48 | specific applications.
| | 06:50 | For now though, the only thing I want
to do here is change the Frame Rate from
| | 06:54 | 59.94, the Timebase option right here, to 29.97.
| | 06:59 | Although 720, 29.97 is a little odd,
as I mentioned in the movie about the
| | 07:04 | exercise files, to save space, I
encoded the footage used in this title at
| | 07:09 | 1280x720 at 29.97, with some
clips being 23.976. All right!
| | 07:15 | Let's click over here to the Tracks tab.
| | 07:17 | On this tab I can configure how
many tracks a sequence will have.
| | 07:21 | It defaults to three video tracks,
and you can add more or less.
| | 07:25 | Down here in the Audio section, I can
choose how my Master channel is configured.
| | 07:30 | I can choose between Mono, Stereo, 5.1,
and this option right here called 16 Channel.
| | 07:37 | For most of you, the Stereo option is
probably just fine, but you can configure
| | 07:41 | other output or master types.
| | 07:43 | I actually do a lot of work going back
to broadcast tapes where I have to be
| | 07:46 | very specific about what channels in a
sequence go to what tracks on the tape,
| | 07:51 | so I often actually use the 16 Channel
option, but we will talk more about that
| | 07:55 | in the chapter on audio.
| | 07:56 | For now, let's just choose Stereo.
| | 07:58 | You can also choose what type and how
many of those types of tracks you want to
| | 08:02 | create on a sequence.
| | 08:03 | Notice that the default right
here is for three stereo tracks.
| | 08:07 | I don't know about you,
but that drives me crazy.
| | 08:09 | I mean, I like stereo tracks
but not only stereo tracks.
| | 08:13 | So let's click on this yellow text
here, and we will actually create four mono
| | 08:16 | tracks and four stereo tracks.
| | 08:19 | We don't actually need to create
any of these submix tracks here.
| | 08:22 | We will talk about submixes
later in the chapter about audio.
| | 08:26 | So we have changed this preset a bit,
and instead of having to keep coming in and
| | 08:29 | adjusting the tracks as we did, or
changing the Frame Rate, let's go ahead and
| | 08:33 | click this button right here, Save as Preset.
| | 08:36 | In the Save Settings dialog here,
let's call this DSLR 720p30 3 video stereo
| | 08:45 | master 4 mono 4 stereo.
| | 08:51 | You can tell I like to be descriptive.
| | 08:53 | So I will just copy that and paste that
into the Description as well, and then I
| | 08:57 | am going to go ahead and click OK. Okay.
| | 09:00 | And what happens is Premiere Pro
actually jumps us back into the
| | 09:04 | Sequence Presets tab here.
| | 09:05 | And what's happened is a folder right here was
created called Custom, and that's our preset.
| | 09:10 | If you are a freelance editor,
you might be used to creating easy setups in
| | 09:13 | Final Cut Pro and then taking them with you.
| | 09:16 | Well, you can do the same thing in Premiere Pro.
| | 09:18 | These settings are saved in your
user Documents folder, the Adobe folder,
| | 09:22 | Premiere Pro, 5.5, Settings, and then Custom.
| | 09:26 | Let me go ahead and show
you where that is real quick.
| | 09:29 | Again, so that's in my user
Documents folder, this guy right here.
| | 09:33 | And then I am going to go to Adobe/
Premiere Pro/5.5/Settings/Custom.
| | 09:42 | And there is our preset that we
created, and again here is that path:
| | 09:45 | your user folder/Documents/Adobe/
Premiere Pro/5.5/Settings/Custom.
| | 09:50 | And you can simply take that preset and
bring it with you anywhere that you go.
| | 09:55 | Okay, so the last thing that we need to
do here is make sure that this preset is
| | 09:58 | selected, and then let's actually
come down and name the sequence.
| | 10:01 | Let's just call it First
Project and then click OK.
| | 10:05 | Premiere Pro will open up,
and we're ready to start exploring the interface.
| | Collapse this transcript |
| Getting to know the Premiere Pro interface| 00:00 | Okay, so I've gone ahead and opened
up a project here in Premiere Pro.
| | 00:03 | And if you are an experienced Final Cut
Pro 7 editor, I'm willing to bet, when it
| | 00:07 | comes to the interface, you
probably feel pretty comfortable already;
| | 00:10 | after all, almost all of the
main interface elements from Final Cut
| | 00:14 | Pro 7 are present here in Premiere Pro.
| | 00:16 | But let's spend some time getting to
know the Premiere Pro interface a bit
| | 00:20 | better and comparing it to Final Cut Pro 7.
| | 00:23 | First, let's come up here to the Window
menu and then down to this option right
| | 00:26 | here called Workspace, and then to
this workspace right here called Editing.
| | 00:31 | This is the default layout of Premiere Pro.
| | 00:33 | And if you've previously opened up
Premiere Pro and have adjusted the interface,
| | 00:37 | you can choose this option right here
to reset the current workspace, so that
| | 00:41 | your workspace looks just like mine.
| | 00:43 | We'll talk more about adjusting
workspaces and saving custom ones in a later movie.
| | 00:48 | Okay, let's go ahead and start up
here in the upper left-hand corner of the
| | 00:51 | application with this
panel called the Project panel.
| | 00:54 | A panel is just Adobe's term for the
various tabs that you'll find in the application,
| | 00:59 | and this one is called the Project panel.
| | 01:00 | And you can activate the Project panel any
time by using the keyboard shortcut Shift+1.
| | 01:06 | The Project panel is very similar to
the Browser back here in Final Cut Pro,
| | 01:11 | meaning it's where you can store clips,
sequences, and organize these clips and
| | 01:15 | sequences into bins.
| | 01:17 | There are some things to be aware of, though.
| | 01:19 | Here in Final Cut Pro, in the Browser,
you can actually have multiple projects
| | 01:23 | open at the same time.
| | 01:24 | Here at the top of the Browser, you can
see that I have two different projects open.
| | 01:29 | Back in Premiere Pro, I can
actually only have one project open a time.
| | 01:33 | So if I go to File > New > New
Project, what's going to happen is that
| | 01:38 | the current project will actually
close, and I'll be presented with the New
| | 01:43 | Project dialog that we saw before.
| | 01:44 | Let's go ahead and click Cancel here,
| | 01:47 | and then in the Welcome to Adobe
Premiere Pro window, let's go ahead and choose
| | 01:51 | the project that we just had open.
| | 01:55 | Just keep in mind, though, that you can
import a Premiere Pro project into an
| | 01:59 | existing Premiere Pro
project just like any other file,
| | 02:02 | and the way that you do this is by
simply coming up to the File menu and then
| | 02:05 | down to Import and then choosing
an existing Premiere Pro project.
| | 02:09 | Let's go head and switch back to Final Cut Pro.
| | 02:11 | In Final Cut, you're probably
pretty used to going into the Browser and
| | 02:15 | double-clicking on a clip to
load it over here into viewer.
| | 02:18 | You might also simply take a
clip and drag it into the viewer.
| | 02:21 | And once you get a clip into the
viewer, you're probably pretty used to
| | 02:24 | navigating a clip by dragging this
little scrubber bar down here, or by using
| | 02:29 | any of the other navigation controls.
| | 02:31 | You're probably also used
to marking in and out points.
| | 02:35 | You might also be used to coming over
to the Audio tab here and refining those
| | 02:39 | in and out points based on the audio waveform.
| | 02:42 | And you probably also access the
Filters tab here and the Motion tab a lot.
| | 02:47 | Well, we can do all of these same
things back in Premiere Pro in a
| | 02:50 | slightly different way.
| | 02:51 | Let's switch back to Premiere.
| | 02:54 | Here in the Project panel, let's go into
the same bin called Clips, and I'll open
| | 02:57 | it up by clicking this
little triangle right here.
| | 03:00 | And to load a clip, I can
simply double-click on it.
| | 03:04 | Now the clip has been loaded over here
into what's called the Source Monitor,
| | 03:07 | which has the keyboard shortcut of Shift+2,
| | 03:10 | and you can see the clip just
like you do in Final Cut Pro.
| | 03:13 | Below the clip you have a little mini
scrubber bar, just like you do in Final Cut
| | 03:17 | Pro, and I can click and
drag and navigate this clip.
| | 03:22 | I can also of course mark in and
outs by using I and O on the keyboard.
| | 03:28 | Of course, if you're more of a button-
type person, you can come down and use
| | 03:31 | these navigation and marking controls here
below the little scrubber bar, or mini-timeline.
| | 03:37 | Now, I know what you're probably
thinking: Where is my Audio tab?
| | 03:40 | Well, up here at the top of the Source
Monitor, you'll notice that I have this
| | 03:43 | thin little gray bar.
| | 03:45 | And this thin little gray bar is being
shown on my interface right now because
| | 03:48 | the interface is actually
being compacted a little bit.
| | 03:50 | When you're viewing the interface at
a lower screen resolution, not all of
| | 03:54 | the panels can be seen.
| | 03:56 | So I can use this little gray bar to
scroll over a little bit. But you know what?
| | 04:00 | I still don't see my audio tabs.
| | 04:03 | So to see your audio, what you need to
do is come down here to this button at
| | 04:07 | the bottom of the Source Monitor labeled Output.
| | 04:10 | And if you click in there, there
are quite a few options, like showing
| | 04:12 | various video scopes, but notice one of the
options right here is to show an audio waveform.
| | 04:17 | And when you select that option, the
video is replaced in the Source Monitor
| | 04:21 | with a waveform for the clip.
| | 04:23 | To switch back to the video, simply
click the Output button again and choose
| | 04:26 | this option right here for Composite Video.
| | 04:28 | Well, what about the filters and
motion effects tabs that we had back in the
| | 04:33 | Viewer in Final Cut Pro?
| | 04:34 | Well, all you need to do is simply click on
this panel right here, called Effect Controls.
| | 04:39 | Notice we don't actually
have any controls. What gives?
| | 04:43 | Well, you'll notice right here it says,
"no clip selected," but you're thinking, I
| | 04:46 | do have a clip selected; it's
loaded into the Source Monitor.
| | 04:49 | Well, unlike Final Cut Pro where you
can say Scale, Rotate, or even apply a
| | 04:53 | filter to a clip before editing it
into a sequence, Adobe Premiere Pro only
| | 04:57 | allows you to make those
adjustments after a clip is on the sequence.
| | 05:00 | So if I come down here to the Timeline
panel and click on a clip, say this one,
| | 05:05 | up here in the Effect Controls, you
can now see that I have some options.
| | 05:09 | Premiere Pro actually combines the Motion
tab and the Filters tab all into one place.
| | 05:14 | Listed here at the top are some
fixed, or intrinsic effects, like Motion,
| | 05:19 | Opacity, and Time Remapping.
| | 05:21 | And then down here I actually
have a filter, or effect, on this clip.
| | 05:25 | This particular effect that I have on this
clip is called the Three-Way Color Corrector.
| | 05:28 | You can open up different categories
of effects by simply clicking on these
| | 05:32 | little triangles right here.
| | 05:34 | So if I click on the Motion triangle,
I can see things like Scale, Rotation,
| | 05:37 | Anchor Point, and so on.
| | 05:39 | Let's switch back to Final Cut Pro.
| | 05:41 | The other window that you spend a lot of time
in is this one right here called the canvas.
| | 05:45 | The canvas, of course, allows you to
navigate the contents of your sequence.
| | 05:49 | I can simply just click and drag,
and you can see the playhead down here in the
| | 05:55 | timeline or in the sequence also updating.
| | 05:57 | Of course, in the sequence we can
navigate to a specific point in time.
| | 06:01 | We could also use these buttons right here
to make different types of edits when I
| | 06:04 | have a clip loaded into the viewer.
| | 06:06 | You're probably also used to having
a clip selected, like this, and then
| | 06:10 | switching into Wireframe mode here in
the canvas and positioning the clip, doing
| | 06:16 | things like scaling it and so on.
| | 06:20 | Let's go ahead and switch back to
Premiere Pro, and you can see that we can do
| | 06:23 | all these same things in this panel
right here called the Program Monitor, which
| | 06:27 | has the keyboard shortcut of Shift+4.
| | 06:29 | Now if you're thinking, "Hold on, why
not Shift+3?" That keyboard shortcut is for
| | 06:34 | the Timeline panel down here.
| | 06:36 | As in most cases, you actually go
from the Source Monitor to the timeline.
| | 06:41 | Well, we'll talk about the timeline next.
| | 06:42 | But just like the canvas in Final Cut Pro,
I can navigate a sequence by clicking
| | 06:46 | down here in the little
mini scrubber bar and dragging.
| | 06:50 | I can also use these buttons down
here to navigate the sequence, as well as
| | 06:55 | to mark the sequence.
| | 06:56 | And just like Final Cut Pro, most of
the controls here in the Program Monitor
| | 07:00 | have parity with the controls over
here in the Source Monitor, just like the
| | 07:05 | viewer and the canvas.
| | 07:07 | In this menu right here, I can adjust
the Zoom level of the clip inside of
| | 07:11 | the Program Monitor.
| | 07:12 | Let's make it something a
little smaller, like 25%.
| | 07:15 | And this is just like how you would
adjust the size of a clip in the canvas or
| | 07:18 | viewer in Final Cut Pro.
| | 07:20 | And note that this option is also
available over here in the Source Monitor.
| | 07:23 | So we have a clip here in the Program Monitor,
| | 07:25 | let me simply just click on it.
| | 07:27 | And from there, you'll notice that
this little wireframe is around the clip.
| | 07:31 | Unlike in Final Cut Pro where you have
to switch into a specific wireframe mode,
| | 07:35 | you can simply select the clip here in
the Program Monitor and then do things
| | 07:38 | like scale it, rotate it,
reposition it, and so on.
| | 07:42 | Now, just to point out one big
difference with the canvas in Final Cut Pro and
| | 07:46 | the Program Monitor here in Premiere Pro:
Back in Final Cut Pro as I mentioned
| | 07:51 | here, you have various buttons here at
the bottom of the canvas for different
| | 07:55 | types of edits that you can make with
a clip that is loaded into the viewer.
| | 07:58 | Back here in Premiere Pro, these
different edit buttons are actually located
| | 08:02 | over here in the Source Monitor.
| | 08:04 | Well, on the Program Monitor, these
buttons right here allow you to do different
| | 08:09 | types of edits on a sequence,
like a lift or an extract edit.
| | 08:12 | And if you think about it, this makes
a little bit more sense than the way
| | 08:15 | Final Cut Pro does it.
| | 08:17 | Okay, just a few more windows to go.
| | 08:18 | Down here we have the Timeline panel,
and the Timeline panel contains open
| | 08:22 | sequences in your project.
| | 08:24 | And just like in Final Cut Pro 7,
you can have multiple sequences within a
| | 08:28 | project open at the same time.
| | 08:30 | And each sequence is denoted by a
tab with a sequence name, right here.
| | 08:34 | The one major difference that you see
between Final Cut Pro and Premiere Pro is
| | 08:37 | how audio tracks are handled.
| | 08:39 | Let me go ahead and switch back
to Final Cut Pro for one second.
| | 08:42 | Here at the bottom of the sequence, you
can see that I have a stereo music track,
| | 08:45 | and I know that it's stereo because
of these two sets of triangles pointed
| | 08:49 | towards each other here on the
track, these guys right here.
| | 08:52 | Let's switch back to Premiere Pro.
| | 08:53 | I'm going to scroll down a
little bit in my timeline.
| | 08:58 | Let's scroll back to the beginning.
| | 08:59 | And here in Premiere Pro is the same
stereo track, but notice that it's only one
| | 09:06 | track on the sequence.
| | 09:08 | That's because Premiere Pro is a
bit more sophisticated in how it can
| | 09:11 | handle audio tracks.
| | 09:12 | And this track is a stereo track.
| | 09:14 | You can have mono, stereo,
and even 5.1 audio tracks.
| | 09:19 | Just keep in mind, when it comes to audio,
at any time, you can see your overall
| | 09:23 | levels over here with the audio meters.
| | 09:26 | You can also come up here to this
panel near the top of the interface called
| | 09:29 | Audio Mixer, and here you can control
individual tracks, as well as your master
| | 09:33 | levels here, with the Master channel.
| | 09:36 | Below the audio meters right here is
our toolbar with the various edit tools
| | 09:39 | that we'll use to trim and so on.
| | 09:42 | Over here on the left,
we have a few more panels.
| | 09:44 | The first one here is called the Media Browser.
| | 09:46 | As a Final Cut Pro editor, the Media
Browser is a new concept, which we'll
| | 09:50 | explore more in a later movie,
| | 09:52 | but put simply, it allows you to
navigate complex tapeless media structures,
| | 09:56 | access metadata within those structures,
and is another way to import regular
| | 10:01 | files like video and graphics.
| | 10:03 | Next, we have the Info panel.
| | 10:05 | With a clip selected, or a sequence selected,
you can see more information about the clip.
| | 10:09 | The Effects panel here is where you
access both audio and video effects, as
| | 10:13 | well as transitions.
| | 10:15 | And this is just like the Effects tab
attached to the browser in Final Cut Pro.
| | 10:19 | Lastly, if I scroll over here just
a touch, there's the History panel.
| | 10:23 | If you've used other apps in the
Creative Suite, like Photoshop, you've probably
| | 10:27 | come to like the History panel.
| | 10:29 | Here you can see all of your past
actions and by clicking on one of these
| | 10:32 | actions, you can step back in time. Okay.
| | 10:36 | So that's the basics of the
interface in Premiere Pro.
| | 10:38 | If that seemed like a lot to digest, don't worry.
| | 10:41 | We'll keep coming back to interface
elements and comparing them to Final Cut Pro
| | 10:45 | throughout this title.
| | Collapse this transcript |
| Mapping your keyboard and adjusting your workspaces| 00:00 | Let's face it: as a professional editor, speed
and interface ergonomics are the name of the game.
| | 00:04 | You don't want to have to waste time with
four mouse clicks or switch to different
| | 00:07 | panels or tabs when you could have
simply mapped your keyboard to allow you
| | 00:10 | to be the most efficient, and adjusted
your workspace to allow you to view the
| | 00:13 | things that you want to view,
| | 00:14 | and it's this customization that we
are going to talk about in this movie.
| | 00:17 | In Final Cut Pro, you've probably come up
to the Tools menu before and then down to
| | 00:20 | Keyboard Layout and choose Customize.
| | 00:23 | From here, you can customize keyboard shortcuts.
| | 00:26 | You've probably also come up to the Window
menu and then down to Arrange, and chosen
| | 00:30 | one of the pre-built window
layouts, or perhaps you have adjusted the
| | 00:33 | interface and then saved your
window layout. Well, guess what?
| | 00:37 | In Premiere Pro, we can do the exact same things.
| | 00:39 | So let's switch over to Premiere Pro.
| | 00:41 | Let's first start out by talking
about adjusting keyboard shortcuts.
| | 00:44 | To adjust keyboard shortcuts, all you
need to do is come up to the Premiere Pro
| | 00:47 | menu here and then down to Keyboard Shortcuts.
| | 00:50 | Just keep in mind, if you made the move to
Premiere Pro, but you are on Windows machine,
| | 00:53 | this option will be located under the Edit menu.
| | 00:56 | Also, if you are still on CS5, and not 5.5,
this option is also located under the Edit menu.
| | 01:02 | Let's go ahead and choose
Keyboard Shortcuts here.
| | 01:04 | In the Keyboard Shortcuts dialog, unlike
Final Cut Pro where you have a fancy keyboard graphic,
| | 01:08 | you don't have that here,
but the concept is the same.
| | 01:12 | Starting here at the top of the dialog,
we have this menu right here labeled
| | 01:15 | Keyboard Layout Preset.
| | 01:17 | And from here, we have a few different options.
| | 01:19 | We can of course use the default
keyboard shortcuts that ship with Adobe
| | 01:22 | Premiere Pro CS5.5, but check this out.
| | 01:25 | We can also choose from Final Cut Pro
7.0 keyboard shortcuts or Avid Media
| | 01:29 | Composer 5 keyboard shortcuts.
| | 01:32 | If you are like a lot of Final Cut Pro
editors, you probably continuously press
| | 01:35 | the A key to activate the Selection tool.
| | 01:37 | Well, guess what? In Premiere Pro,
that won't get you the Selection tool.
| | 01:40 | It will get you the Track Selection tool.
| | 01:42 | So you could choose the Final Cut Pro
7.0 Layout here and almost all of the
| | 01:46 | keyboard shortcuts that you are used to
in Final Cut Pro will work in Premiere Pro.
| | 01:50 | Notice that I said most;
not everything will work.
| | 01:53 | The other thing, in my opinion, is that
using this preset is sort of like a crutch
| | 01:56 | to learning the application.
| | 01:58 | While it might allow you to
initially work faster, since you are using
| | 02:01 | shortcuts you are familiar with,
| | 02:02 | none of the documentation will
use the Final Cut Pro shortcuts.
| | 02:06 | And when talking to other Premiere Pro
users, those shortcuts might not translate,
| | 02:10 | as they might use the default shortcuts.
| | 02:12 | What I would say is that if possible,
try to learn the new shortcuts of Premiere
| | 02:16 | Pro. But ultimately the choice is yours.
| | 02:19 | For this title, we are going
to use the default shortcuts.
| | 02:22 | From here, you can customize
your keyboard shortcuts easily.
| | 02:26 | You can choose, in this menu, shortcuts
that have to do with the application,
| | 02:29 | shortcuts that have to do with
panels, and then shortcuts that have to do
| | 02:33 | with the various tools.
| | 02:34 | Like here, in the search field, I
can search for a keyboard shortcut.
| | 02:38 | So let me go ahead and type in the word "set,"
| | 02:40 | and Premiere Pro filters the result
to only thing that have something to
| | 02:44 | do with the word set.
| | 02:45 | Let me scroll down here a little bit.
| | 02:47 | Ah, here is something I want to adjust,
| | 02:49 | this one over here,
Sequence Marker, and then Set.
| | 02:52 | To actually adjust the keyboard
shortcut, all you need to do is simply
| | 02:55 | double-click in the Shortcut field right here.
| | 02:57 | From here, you can type in
whatever keyboard shortcut that you want.
| | 03:01 | So for example, if I wanted the Set
functionality for Sequence Marker to be M,
| | 03:05 | I could type in the letter M. If a
keyword shortcut is already taken, you will
| | 03:08 | be warned with this message down here.
| | 03:11 | You can simply undo that. Double-click
again. Let's try Shift+M. So there you go.
| | 03:16 | I have remapped the Set command
for a Sequence Marker from nothing to
| | 03:19 | Shift+M. From here, you can simply
come up to the Save As button and save
| | 03:24 | your own keyboard layout.
| | 03:25 | After you have saved your keyboard
layout, it will appear here in the
| | 03:29 | Keyboard Layout Preset menu.
| | 03:30 | Let me click Cancel here.
| | 03:33 | Now there's one other little cool trick
that I want to show you as you migrate
| | 03:36 | from Premiere Pro to Final Cut Pro 7,
and that is, you might find it useful to
| | 03:39 | have a reference of all your keyboard shortcuts.
| | 03:42 | So what I am going to do is hold down
the Shift+Command keys and then come back
| | 03:46 | up here to the Premiere Pro menu and
once again choose Keyboard Shortcuts.
| | 03:50 | And you will notice down here we
have an option now for Clipboard.
| | 03:53 | By clicking on this option, you can copy
all of your keyboard shortcuts and then
| | 03:57 | paste them into, say, a Word document or
even a TextEdit document, print it out,
| | 04:02 | and have it as a reference.
| | 04:04 | Let's click Cancel here.
| | 04:06 | Okay, let's switch gears and talk a little bit
about customizing the layout of the interface.
| | 04:10 | The easiest way to do to that is just
like in Final Cut Pro, by coming up to the
| | 04:13 | Window menu and then choosing Workspace.
| | 04:16 | And you can choose from any number of
pre-built workspaces that ship with the program.
| | 04:20 | So, for example, if I choose Color
Correction, you will notice that the
| | 04:23 | interface switches around a little bit.
| | 04:25 | Let's come back up to the
Workspace and then choose Editing.
| | 04:28 | You can of course customize the
interface in any way that you see fit.
| | 04:32 | If you place your cursor between two
panels like this, you can click and drag to
| | 04:37 | adjust the spacing of those windows.
| | 04:39 | If you select the panel here, like this
Project panel, you can come up to this
| | 04:43 | menu right here called a panel menu.
| | 04:45 | And from here, you can
undock a particular panel
| | 04:48 | so that it has its own floating window.
| | 04:50 | From here, you can simply drag the
panel to any other part of the interface.
| | 04:54 | Now what's cool about Premiere Pro is
that you have a lot more choices compared
| | 04:58 | to Final Cut Pro about how you
want to dock a floating panel.
| | 05:02 | You can dock it on the top, the bottom,
left, or right, or if you choose the
| | 05:05 | center option, it will be
grouped with other panels.
| | 05:08 | Now, groupings of panels are called a frame.
| | 05:11 | And if I come down here to this panel menu,
for example, I can choose to undock a frame.
| | 05:16 | And when I undock a frame,
all the panels in that group are
| | 05:20 | undocked simultaneously.
| | 05:22 | So you can see that you can adjust the
interface in any way that you see fit.
| | 05:26 | Now, it is little bit beyond the scope
of this title to give you some suggested
| | 05:29 | layouts, but the one cool thing that
you can do is come up to the Window menu >
| | 05:32 | Workspace, and let's go
ahead and reset this workspace.
| | 05:35 | I'll click Yes here. And let's come
back up to Window > Workspace, and let's
| | 05:40 | create a new workspace.
| | 05:42 | Changes that you make on a workspace
are automatically saved to the workspace
| | 05:46 | that you're working on.
| | 05:47 | So, let's go ahead and click New
Workspace here and I will call this Robbie
| | 05:50 | Workspace and click OK.
| | 05:53 | And from here, I can start
customizing the interface a little bit.
| | 05:57 | I will just reposition these windows.
| | 05:58 | Maybe I will break off this panel
into its own floating window, like this.
| | 06:03 | All right, this is a little silly,
but the point is, if I switch to another
| | 06:06 | workspace, like the Editing Workspace,
and then I switch back to my own
| | 06:11 | workspace, just like in Final Cut Pro,
the window arrangement is remembered.
| | 06:15 | Okay, so there you go.
| | 06:17 | That's the basics on keyboard
shortcuts and interface customization.
| | 06:21 | There's a lot more to it, so on your
own, feel free to explore in more depth,
| | 06:24 | but I think that you will find that
Premiere Pro offers at least the same, if
| | 06:28 | not more, flexibility, especially
when it comes to interface customization.
| | Collapse this transcript |
| Exploring the essential preferences| 00:00 | Okay. I know what you're thinking:
A movie about preferences,
| | 00:03 | it's time to take a nap, right?
Well, don't do that.
| | 00:05 | I promise in this movie to give you
a high-level overview of important
| | 00:09 | preferences in Premiere Pro,
and throughout the rest of this title, we'll come
| | 00:12 | back to some of these Preferences as
they affect you for things like importing
| | 00:16 | audio, trimming, and so on.
| | 00:18 | Here in Premiere Pro I just have a
blank project open, since we are really just
| | 00:21 | exploring where Preferences
are and what they are called.
| | 00:24 | This movie is meant to be an
overview of some important preferences.
| | 00:27 | Throughout this title, we'll come back
to some of these preferences and edit
| | 00:30 | them, or I'll mention that
something can be changed in Preferences.
| | 00:34 | So how do you open Preferences? Easy.
| | 00:36 | Just come up here to the Premiere
Pro menu and then choose Preferences.
| | 00:40 | From here, you can choose any
category of Preferences you want.
| | 00:43 | Now if you happen to be on a Windows
machine or Premiere Pro CS5, just note that
| | 00:49 | your Preferences will actually
be located here in the Edit menu.
| | 00:53 | Let me come back to
Premiere Pro and then Preferences.
| | 00:56 | Let's start out here with
our General preferences.
| | 00:59 | Here on the General tab, let me
point out a few important things.
| | 01:02 | First is Preroll and Postroll.
| | 01:05 | If you're the type of editor who likes
to play around a current position to test
| | 01:08 | and edit, well, just like in FCP, these
Preferences adjust how far back and how
| | 01:13 | far forward the playhead
will go through an edit.
| | 01:16 | Down here below in these sections
right here, this is where you can adjust
| | 01:19 | the Default Video and Audio
Transition length, as well as adjust the Still
| | 01:24 | Image Default Duration,
| | 01:25 | that is, how long a still's going to
be when you import it into Premiere Pro.
| | 01:29 | Another essential preference is this guy
right here that allows you to play back
| | 01:33 | the work are after rendering previews.
| | 01:36 | We'll talk more about the work area
later, but if you notice playback starting
| | 01:39 | after rendering, this is why.
| | 01:41 | Me personally, I like to turn this off,
| | 01:44 | but again, it's a
preference, and it's your choice.
| | 01:47 | The next option for Default scale to frame
size is another important one to know where it is.
| | 01:52 | We'll discuss this in a later movie
when we import some footage, but basically
| | 01:56 | this Preference determines if
Premiere Pro will downsample a clip to fit a
| | 02:00 | given frame size of a sequence.
| | 02:02 | Next, down here, these three menus
control clicking on bins with or without
| | 02:07 | modifier keys, and you can
customize these to do different things.
| | 02:11 | They are extremely handy to help
you customize how bins are opened.
| | 02:16 | The next category over here is for Appearance.
| | 02:19 | Here in the Appearance category you
can actually adjust the intensity of the
| | 02:22 | interface, just like we did in
an earlier movie in this chapter.
| | 02:26 | You can make it darker,
or you can make it lighter.
| | 02:28 | I like sort of like a middle gray.
| | 02:32 | Clicking on the Audio category here,
there are few essential things here.
| | 02:37 | First is Play audio while scrubbing.
| | 02:39 | For some editors, this is a must;
| | 02:42 | other editors, they hate it. But this
setting controls audio scrubbing as you
| | 02:47 | the playhead through a clip.
| | 02:48 | In Final Cut Pro, you would find
this same option in the View menu.
| | 02:52 | The other thing I want to point out
here so you know where it is is this option
| | 02:56 | right here for Audio
Channels in Default Track Format.
| | 02:59 | We'll explore this option more in the
next chapter when we import some clips
| | 03:02 | with audio, but this Preference
determines how audio tracks of a clip are
| | 03:07 | configured when imported.
| | 03:09 | In Final Cut Pro, you are used
to having pairs of mono tracks.
| | 03:12 | So in Premiere Pro, to how to behave
like Final Cut Pro, you can set this to
| | 03:16 | Mono or just say Use File, but we'll get back
to these other options, as I said, a little later.
| | 03:22 | Let's skip over the Audio Hardware and
Audio Mapping categories, as these options
| | 03:26 | are largely going to be dependent
on your individual setup and workflow.
| | 03:29 | Let's go ahead and click
on the Auto Save category.
| | 03:32 | Here, just like in Final Cut Pro,
you can choose to have Premiere Pro
| | 03:35 | automatically save projects, and then
you can determine the interval and how many
| | 03:40 | versions of any given project it'll save it.
| | 03:42 | Now the thing is that actual auto-save
files will be saved in a folder called
| | 03:46 | Auto Save, in the same
location as your project file.
| | 03:50 | Unfortunately, there's no mechanism
here inside of Premiere Pro to change that
| | 03:55 | location to a different one.
| | 03:57 | Next is the Capture category.
| | 03:59 | Here you can adjust Capture
Preferences for the things like Aborting capture
| | 04:02 | on dropped frames, Reporting dropped frames,
Generating the batch of log file, and so on.
| | 04:08 | Related is the Device Control category,
and this will allow you to configure a
| | 04:12 | device for the Device Control.
| | 04:14 | Just keep in mind that by itself
Premiere Pro is only set up to capture
| | 04:17 | from DV or HDV devices.
| | 04:19 | You'll see no other options here.
| | 04:22 | However, if you install, say, an AJA or
Blackmagic card and the drivers for
| | 04:26 | Premiere Pro for those cards, you'll
be able to configure Device Control for
| | 04:30 | those cards right here.
| | 04:33 | I know this is going to sound silly,
but I use labels all the time to color code
| | 04:37 | sequences in clips, and it always drove
me a bit crazy that in Final Cut Pro 7,
| | 04:42 | you couldn't actually
change the colors of Labels.
| | 04:46 | Well, here in the Label Colors category, you can.
| | 04:48 | Let me click on one of these swatches
here, and I'll click on this guy right here,
| | 04:52 | and let's make it bright red.
| | 04:53 | There we go. And click OK.
| | 04:57 | Furthermore, you can actually change
the name of the color to be something a
| | 05:01 | little bit more descriptive.
| | 05:02 | So let's just call this
something like AWESOME RED.
| | 05:06 | Now changes that you make here
automatically make their way over to the next
| | 05:09 | category of Label Defaults.
| | 05:11 | So for example, if I click into the
Still menu right here, you can choose that
| | 05:16 | color that you created.
| | 05:17 | Think of Label Defaults as what
Premiere Pro elements like Bin, Sequences, and
| | 05:21 | so on are labeled with what color, and you
can set this up according to your Preferences.
| | 05:27 | Let's go ahead and jump
over to the Memory category.
| | 05:30 | This is a pretty important page.
| | 05:31 | Here you can see how much RAM
you have installed on your machine,
| | 05:35 | how much RAM is reserved for other
applications, and how much RAM is going to Premiere Pro.
| | 05:40 | But here's the thing.
| | 05:41 | This amount of RAM--it says 6 GB on my system--is
actually the amount of RAM that is being
| | 05:47 | shared with other Creative Suite apps, like
After Effects, Encore, and Adobe Media Encoder.
| | 05:52 | You can adjust how much RAM is
being used for other applications,
| | 05:55 | thus giving Premiere Pro a little bit
more RAM. But my suggestion? Just buy more RAM.
| | 06:01 | With Premiere and other apps being 64-bit,
there is no longer a 4-GB memory limitation.
| | 06:06 | And with memory prices becoming so cheap,
tossing in more RAM can really help your system.
| | 06:11 | Finally, the last essential
preference that I want to talk about is in this
| | 06:14 | category right here called Trim.
| | 06:17 | I'll mention this later when we start
trimming, but if you like to trim in
| | 06:19 | multi-frame increments on the timeline
or perhaps in the Trim Edit window, or
| | 06:23 | what Premiere Pro calls the Trim
Monitor, than this preference will for sure be
| | 06:27 | handy. And don't forget; at any time you
can come down here in the Preferences and
| | 06:32 | click Help to get more detailed
information on individual preferences.
| | Collapse this transcript |
| Exporting a Final Cut Pro 7 project to Premiere Pro| 00:00 | Okay. So we've gone through some of the basics
of getting up and running with Premiere
| | 00:03 | Pro, but this title is called
Migrating from Final Cut Pro 7.
| | 00:07 | So wouldn't it be cool if you could
actually get a project you started in Final
| | 00:10 | Cut Pro to Premiere Pro?
| | 00:12 | Well, you actually can, thanks to XML
and Adobe's willingness to be open with
| | 00:17 | different editing platforms.
| | 00:19 | Now before we begin, I do want to
stress that what we are about to do is best
| | 00:22 | done at the start of the project in
Final Cut Pro 7, when you have basic string-
| | 00:27 | outs like I have here,
and not very complicated sequences.
| | 00:31 | At that stage, you should have a near 100%
translation from Final Cut Pro to Premiere Pro.
| | 00:37 | After you start adding effects, both
built-in and third-party, you can probably
| | 00:40 | guess that there's not a
one-to-one translation between those items.
| | 00:44 | Additionally, things like layering
should generally work, even Composite or slash
| | 00:49 | Transfer modes. But if you're working
on a more advance sequence in Final Cut
| | 00:52 | Pro and want to get its Premiere Pro,
just be sure to test the results of that
| | 00:57 | translation thoroughly.
| | 00:59 | So here we are in Final Cut Pro,
and I have a simple sequence.
| | 01:02 | If you are following along with
exercise files, this is a Final Cut Pro project
| | 01:05 | file called over 01_06_Exporting
a Final Cut Pro 7 to Premiere Pro.
| | 01:10 | I want to get this sequence to
Premiere Pro where I can continue to edit.
| | 01:14 | So here's what we are going to do.
| | 01:15 | The first thing you need to keep
in mind is what you have selected.
| | 01:18 | If you come up to browser here, if you
wanted to say export just a sequence, you
| | 01:23 | could select that sequence.
| | 01:24 | If you wanted everything in a project
to be exported in the XML file, simply
| | 01:28 | don't select anything.
| | 01:30 | Since this is a simple project, I
am not going to select anything.
| | 01:34 | So that means that this sequence, this
bin, and all of the clips inside of that
| | 01:38 | bin are going to be
exported inside of the XML file.
| | 01:41 | With nothing selected, let's come up to the
File menu, down to Export, and choose XML.
| | 01:47 | In the dialog that opens up, you can
see that we are exporting one bin, eight clips,
| | 01:52 | and one sequence here.
| | 01:54 | Next, let's make sure that we are using
the latest and greatest version of XML;
| | 01:58 | that's version 5 for Final Cut Pro 7.
| | 02:01 | The option here is for Include Master
Clips Outside of Selection is grayed out,
| | 02:04 | so we don't need to worry about it,
and then the last option down here allows us
| | 02:08 | to essentially save the project on export,
| | 02:10 | so let's leave that checked.
| | 02:11 | Let's go ahead and click OK.
| | 02:13 | You can save this file to a location of
your choosing, but I am just going to go
| | 02:17 | ahead and save it to my Desktop.
| | 02:19 | I'll go ahead and leave the default
name here as is and then click Save.
| | 02:25 | Let's switch over to Premiere Pro.
| | 02:27 | Here I have a blank Premiere Pro
project, and you can also find this in the
| | 02:30 | exercise files--which is
actually an important note.
| | 02:33 | When you import in XML from Final Cut
Pro it's imported into the active project,
| | 02:39 | since, as we talked about earlier in
this chapter, Premiere Pro can only have one
| | 02:43 | project open at a time.
| | 02:45 | As I said, if you're following along, I
have already created this blank project,
| | 02:48 | and you can find it in the Chapter 1
exercise files folder, and it's called a
| | 02:51 | 01_06_Exporting a Final Cut
Pro 7 to Premiere Pro.prproj.
| | 02:56 | In Premiere Pro, let's go ahead and
double-click here in the gray area of the Project panel.
| | 03:01 | This is a quick way of invoking an
import, rather than having to, say, right-click
| | 03:05 | or go to the File menu to import the file.
| | 03:07 | Let me navigate out back to Desktop here,
and then let's go ahead and select this
| | 03:11 | XML file that we exported from Final Cut Pro.
| | 03:14 | Then I'll click Import.
| | 03:15 | It will take a second to import and
depending on how long that sequence is
| | 03:19 | and how many clips are contained on
the sequence for the project, this process
| | 03:23 | may take a few moments.
| | 03:25 | After importing, notice this warning
message about a translation report.
| | 03:29 | Basically, what this is telling me
is that there were potentially some
| | 03:31 | translation errors and to check the
XML import log added to the main bin.
| | 03:36 | Remember how I was telling you that
not everything comes through when going
| | 03:39 | from Final Cut Pro to Premiere Pro?
Well, this translation report will tell
| | 03:43 | us what went wrong.
| | 03:44 | We'll check that out in a second,
| | 03:45 | so for now let's just go ahead and click OK.
| | 03:50 | So notice over here in the Project
panel I now have a new bin that has the same
| | 03:54 | name as the XML file I
exported from Final Cut Pro.
| | 03:57 | If I go ahead and open up this bin, you
can see here's the bin of footage that I
| | 04:02 | had and here's the sequence.
| | 04:04 | Let's go ahead and double-click on the
actual sequence itself to open it up.
| | 04:08 | Then I am going to use the keyboard
shortcut, the backslash key, to fit this
| | 04:12 | sequence into the viewable area of some
of the timeline panel, just like that.
| | 04:16 | It's always a good idea, like I said
before, when you migrates a sequence from
| | 04:20 | Final Cut Pro to Premiere Pro to watch
it through, or at the very least scrub
| | 04:24 | through the sequence,
| | 04:25 | so let me go ahead and do that.
| | 04:31 | Everything looks pretty good,
but remember the warning message that we got?
| | 04:35 | Let's check out the Translation
Results file which we can find right here
| | 04:38 | inside of the main bin.
| | 04:39 | I am just going to go ahead
and double-click on this guy.
| | 04:43 | So what this is telling me is that
there was a problem with a transition that I
| | 04:48 | used down here towards the end of the sequence.
| | 04:51 | The fade-in and fade-out dissolve--that
was in Final Cut Pro--was translated to
| | 04:56 | a cross dissolve here in Premiere Pro.
| | 04:59 | Let's close this, and let's go
back and double-check the sequence.
| | 05:01 | I am fine with that. Everything looks
pretty good. But sometimes things like
| | 05:08 | motion effects or transitions are not
one-to-one and they'll get translated, but
| | 05:12 | this sequence looks pretty good.
| | 05:14 | So you can see that it's really
pretty darn easy to get a Final Cut Pro
| | 05:18 | project to Premiere Pro.
| | 05:19 | As I mentioned before, and I'll mention
again, this process is best done when a
| | 05:23 | Final Cut Pro project is in its initial stages.
| | 05:26 | In your own workflow, please be sure to
test this process thoroughly, especially
| | 05:32 | if your edit in Final Cut Pro is a
little more advanced and further along, with
| | 05:35 | things like effects, layers,
and complicated transitions.
| | Collapse this transcript |
|
|
2. Importing and Organizing MediaImporting with the Import command| 00:00 | So you have some files on disk--
| | 00:01 | movies, audio, graphics, and so on--and
you want to start using them in Premiere Pro.
| | 00:06 | Well, one option you have
is to use the Import command.
| | 00:08 | Just like in Final Cut Pro, you can
choose to import existing files on disk
| | 00:11 | easily by importing them.
| | 00:13 | That's exactly what we're going
to take a look at in this movie.
| | 00:15 | We're also going to talk further
about a couple preferences that impact
| | 00:18 | your imported files.
| | 00:19 | Like other movies in this title, let's
start out here in Final Cut Pro. And to
| | 00:22 | import files in Final Cut Pro,
you actually have a few options.
| | 00:25 | First, you can come up to the
Browser here and anywhere in the gray area,
| | 00:28 | right-click and choose Import.
| | 00:30 | And from here, you can choose to import
individual files, a folder of files, as well
| | 00:34 | as other file types, such as EDLs and XMLs.
| | 00:37 | If you're more of a menu-type person,
you can always come up to the File menu
| | 00:40 | here and then down to Import, and here
you can choose from the same options.
| | 00:45 | Notice, also next to files here, you
can also use the keyboard shortcut
| | 00:48 | Command+I to import files.
| | 00:50 | Lastly, I suppose you could always drag
in files from the Finder into the main
| | 00:54 | level of the Browser here,
or into a specific bin.
| | 00:57 | Let's switch over to Premiere Pro.
| | 00:59 | In Premiere Pro,
importing files gets even easier.
| | 01:02 | To import a file, simply double-click
anywhere here in the gray area of the Project panel.
| | 01:06 | And when you do that, you'll be
presented with the Import dialog.
| | 01:09 | For this movie, let's go ahead and
navigate back out to the Exercise_Files disk
| | 01:12 | image here and then into CH02,
and then into folder called Chapter Specific
| | 01:16 | Media, and then finally here, to importing.
| | 01:19 | From here, I can select an
individual file that I want to import.
| | 01:21 | If I hold down the Shift key, I can
also select multiple continuous files.
| | 01:26 | And if I hold down the Command key,
I can select discontinuous files.
| | 01:30 | Let's back out a little bit here and
select the Importing folder itself.
| | 01:33 | In Final Cut Pro, you're forced to use
a separate command to import a folder--
| | 01:38 | not in Premiere Pro.
| | 01:39 | You can simply select the folder, as
I've done here, and then choose Import.
| | 01:43 | In just a second, you'll
see the entire folder import.
| | 01:46 | The name of the folder on disk becomes
the name of the bin here in Premiere Pro,
| | 01:50 | and we'll talk more about
bins later in this chapter.
| | 01:52 | Of course, if you're more of a menu
person, you can always come up to the File
| | 01:56 | menu and then down to Import.
| | 01:58 | You can also choose to use the keyboard
shortcut Command+I. Pretty simple, right?
| | 02:02 | Well, it is, but I want to show you two
more things that impact how files are imported.
| | 02:07 | First, there is a preference called
Default scale to frame size, and this
| | 02:11 | preference can be found by coming up to
the Premiere Pro menu here and then down
| | 02:14 | to Preferences and then General.
| | 02:16 | Just keep in mind, if you happen to be
on a Windows machine, Preferences will be
| | 02:20 | located in the Edit menu.
| | 02:22 | Okay, let's go ahead and choose General here.
| | 02:24 | Notice on the General page right here I
have a preference called Default scale
| | 02:28 | to frame size, and right now this
preference is unselected or unchecked.
| | 02:32 | Depending on if this option is selected
or not selected, your imported footage
| | 02:36 | will operate in different ways.
| | 02:38 | For right now, let's leave this
unchecked and then click OK to exit Preferences.
| | 02:43 | If you're following along with the
exercise files when you opened up this
| | 02:45 | project, you probably notice that
there wasn't any media in the project.
| | 02:49 | But there was a sequence, this guy right here.
| | 02:51 | If I select that, up here in the Info area
you can see that the sequence is 1280 x 720.
| | 02:56 | If I come down and open up this bin by
clicking on this little triangle right
| | 03:01 | here and select one of these clips,
I can see that my media--all three of these
| | 03:05 | clips, actually--are 1920 x 1080.
| | 03:08 | So my sequence is up to
1280 x 720, and my media is 1920 x 1080.
| | 03:14 | Now, I know that we're jumping the gun
a little bit about getting things into a
| | 03:17 | sequence, but just follow
along with me for a second.
| | 03:19 | I'm going to go ahead and drag this
clip down here into the sequence itself.
| | 03:23 | Remember, our sequence was set up at
1280 x 720, and this clip is 1920 x 1080.
| | 03:28 | We'll let go here, and then I'm going
to position my playhead over this clip.
| | 03:32 | Now up here in the Program Monitor, you
can see the clip, and everything looks okay.
| | 03:36 | But actually I remember this clip being
quite a bit wider than what I'm seeing
| | 03:40 | here in the Program Monitor.
| | 03:41 | Now if you think about it for a
second, this actually makes sense.
| | 03:44 | If this clip is 1920 x 1080 and I
put it into a 1280 x 720 sequence, and
| | 03:50 | assuming that the clip was, say, at 100%
scale, I would get the result that I'm
| | 03:54 | seeing right here--the clip
looking like it's pushed in.
| | 03:57 | But let's go ahead and verify this.
| | 03:59 | What I'm going to do is select this
clip here in the sequence and then come up
| | 04:02 | to this panel right here called Effect Controls.
| | 04:04 | And we'll talk more about all the
parameters here on the Effect Controls panel
| | 04:07 | throughout this title,
| | 04:09 | but right now I want to come into
this category right here called Motion.
| | 04:12 | And to open up this category, I'm
going to click on this little triangle.
| | 04:15 | And you'll see that the Scale
of this clip is set to 100%.
| | 04:19 | Now because the clip was 1920 x 1080
and my sequence was set up to 1280 x 720,
| | 04:24 | I should be able to scale this clip down to
match the frame size of the sequence itself.
| | 04:30 | So let me try to do this.
| | 04:31 | I am going to simply click and
then drag the Scale parameter here.
| | 04:34 | And as I drag, you can
see the clip scaling down.
| | 04:37 | And let's scale down--oops! A little too far.
| | 04:39 | I don't want to see the edges of the
image itself, so I'm going to scale back up.
| | 04:42 | Something like that works.
| | 04:44 | Now the big thing I want you to keep
in mind is that the reason that this was
| | 04:47 | possible was because the preference
for Default scale to frame size was
| | 04:52 | unchecked, or unselected.
| | 04:54 | And when we imported this clip, I was
able to have access to all the original
| | 04:58 | image data, all 1920 x 1080 pixels.
| | 05:03 | Let's see what happens when we
turn this preference on. All right!
| | 05:07 | So what I'm going to do is come back
over here to my Project panel, and let's go
| | 05:10 | ahead and rename this bin.
| | 05:12 | And the way I'm going to do that is
simply click on the name of the bin itself.
| | 05:15 | And then let's type in "DSFS" and type
"OFF," so we don't get confused when we
| | 05:20 | import this footage again.
| | 05:22 | Now let's come up to the Premiere
Pro menu, down to Preferences, and
| | 05:26 | General once again.
| | 05:27 | This time for the Default scale to
frame size preference, let's go ahead and
| | 05:31 | check and make sure it's
enabled and then click OK.
| | 05:35 | Back out here on the Project panel, let
me close this bin, and then I'm going to
| | 05:38 | double-click once again here in the
dark-gray area to import that folder.
| | 05:42 | So I'll navigate back out to my
Exercise_Files disk image, CH02, and then
| | 05:46 | Chapter Specific Media, and then let's click
on this folder right here called Importing.
| | 05:52 | Okay, let's go ahead and
rename this bin DSFS_ON.
| | 05:59 | And once again, I'm going to take
this clip and drag it out to the
| | 06:02 | sequence itself, right here.
| | 06:03 | Having placed my playhead over
it, this time--hold on a second.
| | 06:07 | That doesn't make any sense.
| | 06:09 | Why does it look exactly like the first clip?
| | 06:11 | Remember, the first clip we
actually had to scale down.
| | 06:14 | Well, what actually really happened
here is because Default scale to frame size
| | 06:19 | was selected, or checked, in my
Preferences, when I imported this clip, Premiere
| | 06:24 | Pro automatically downsampled the
clip to match my sequence frame size.
| | 06:29 | If I select this clip and come back up
here to the Effects Controls and then
| | 06:33 | open the Motion category, you'll
notice that the Scale is still set to 100%.
| | 06:38 | Premiere Pro didn't scale the clip;
| | 06:40 | it just downsampled the image data.
| | 06:42 | So now if I try to scale this clip,
what you'll notice is that immediately as
| | 06:46 | you start scaling, you will be
able to see the edge of the frame.
| | 06:50 | This again is because Premiere
Pro downsampled this clip on import
| | 06:54 | because the preference for
Default scale frame size was turned on.
| | 06:59 | I think this preference is really
important to keep in mind, because as we've
| | 07:02 | seen, when you have it on when you
import footage, Premiere Pro will downsample
| | 07:06 | and match a clip to a sequence you
edit that clip into automatically.
| | 07:10 | With it off, you still have all the
original image data to work with, and not
| | 07:15 | a downsampled clip.
| | 07:17 | Again, this preference affects clips
at time of import, so you need to figure
| | 07:20 | out which way you like best for your workflow.
| | 07:23 | In my opinion--and maybe because I'm
a control freak--I prefer to have this
| | 07:26 | option turned off since it
gives me the most control.
| | 07:29 | This option of course works for things
like graphics, PSDs, TIFFs, and so on,
| | 07:34 | so I'll mention this
preference again later in the title.
| | 07:37 | One last preference thing I want to
point out that affects imported footage.
| | 07:40 | Let's go ahead and delete these two
bins here in the Project panel, and I'll get
| | 07:45 | this little warning message.
| | 07:46 | This is just telling that these
clips are currently in use on a sequence.
| | 07:49 | Do I want to continue?
| | 07:50 | I am going to go ahead
and choose Yes. All right!
| | 07:52 | Let's go up to Premiere Pro
and then down to Preferences,
| | 07:55 | and this time let's choose Audio.
| | 07:58 | Here on the middle of the Audio page
in then the Audio Channels, there's a
| | 08:01 | preference right here for Default track format.
| | 08:04 | Clicking in this menu gives me a
number of choices, including use the file,
| | 08:08 | Mono, Stereo, Mono as Stereo, and 5.1.
| | 08:12 | What this preference governs is how audio
channels are designated when importing files.
| | 08:16 | Let's go ahead and see the differences.
| | 08:18 | Let's first set this to, say, Stereo
and then click OK to close Preferences.
| | 08:22 | Back out here on the Project panel,
let's double-click once again to import that
| | 08:26 | same folder, Exercise_Files/CH02/
Chapter Specific Media/Importing.
| | 08:34 | In the sequence that I've already set
up, you'll notice that there's two Mono
| | 08:37 | tracks right here, as indicated
by these single speaker icons.
| | 08:41 | But if scroll down a little bit, you
will also see that there are two stereo
| | 08:44 | tracks, as indicated by
these double speaker icons.
| | 08:47 | So I have two mono tracks and two stereo tracks.
| | 08:50 | Let's go ahead and open up this bin, and let's
drag this first clip down onto the sequence.
| | 08:56 | And you'll notice what happened is that the
audio automatically went to the stereo track.
| | 09:02 | Now you might be thinking this has
something to do with source track indicators
| | 09:06 | or target tracks or
something like that; it doesn't.
| | 09:08 | It has everything to do with the fact
that the Default track format preference
| | 09:12 | was selected to Stereo.
| | 09:14 | Because it was set to Stereo, Premiere
Pro thinks that imported audio should be
| | 09:17 | stereo regardless if it was Stereo or not.
| | 09:21 | Let's go back over here to the Project panel,
and let's rename this bin Import as Stereo.
| | 09:28 | And then let's come back up to the
Premiere Pro menu, down to Preferences,
| | 09:31 | and Audio once again.
| | 09:32 | And here under Default track format, let's
change this from Stereo to Mono and click OK.
| | 09:37 | I'll close this bin.
| | 09:40 | Let's go ahead and navigate back out
to the Exercise_Files/CH02/Chapter
| | 09:44 | Specific Media, and we'll select
that same bin, as we have before.
| | 09:49 | And this will come in,
and let's rename this Import as Mono.
| | 09:53 | Let's open up that bin and drag
this clip down onto the sequence,
| | 10:00 | and this time you can see what
happened was the audio came in as two separate
| | 10:04 | mono channels, just like in Final Cut Pro.
| | 10:07 | In fact, I think if you're a Final
Cut Pro editor, this is the option you
| | 10:10 | should probably choose, as it will make you feel
most comfortable with how audio is configured.
| | 10:15 | The other options that we saw in the
preference, such as 5.1 and Mono as Stereo,
| | 10:19 | will work in a very similar fashion.
| | 10:22 | Now if you made a mistake, you don't
actually have to re-import the clips, as
| | 10:25 | I did in this movie.
| | 10:26 | What you can do is, with the clip selected--
so let's come over here to the Project
| | 10:29 | panel and select this clip--
| | 10:31 | I'll right-click here and then
choose Modify and then Audio Channels.
| | 10:35 | In this dialog, you can remap your
audio channels to Mono, Stereo, and so on.
| | 10:40 | And this dialog is very useful, as
you'll probably be able to want to modify
| | 10:44 | imported audio channels from time to time.
| | 10:46 | So for this clip, let me go ahead
and change this to Stereo and click OK.
| | 10:51 | And now if I drag this clip out to the
sequence, you'll notice if I scroll down
| | 10:55 | a little bit, the audio has been
brought to the sequence as a stereo track.
| | 10:59 | Okay, so that's the basics of importing.
| | 11:01 | While we only imported some video with
some audio attached to it, and the process
| | 11:04 | is exactly the same for importing
other file types, such as graphics.
| | 11:08 | Just keep in mind the two
preferences that we talked about--
| | 11:10 | Default scale to frame size and the one
for Default track format--as these are
| | 11:14 | important options to configure prior
to importing footage, as they govern how
| | 11:19 | imported clips will work.
| | 11:20 | And as you saw, each time that we
imported footage with different settings, the
| | 11:24 | exact same clips behave differently.
| | 11:27 | So for sure, put some thought into how
you'd like these preferences configured.
| | Collapse this transcript |
| Using the Media Browser| 00:00 | Earlier in this chapter, we used the Import
command to bring in footage into Premiere Pro,
| | 00:04 | and this worked great with the existing
files on disk, with a caveat being that we
| | 00:07 | had to keep in mind a couple of
preferences that govern file import.
| | 00:11 | In this movie, I want to
show you a better way to import.
| | 00:14 | The Import functionality has been
around forever in most edit applications.
| | 00:18 | However, tools like the Media
Browser in Premiere Pro are pretty new.
| | 00:21 | Unlike other movies in this title,
we really can't compare this feature to Final
| | 00:24 | Cut Pro, since there is nothing quite like it.
| | 00:27 | The closest thing, but even still
not the same, is how browsing media in
| | 00:30 | Apple Motion works. Let's get started.
| | 00:32 | First off, let's take a look at
how to even access the Media Browser.
| | 00:36 | If you are in the default editing
workspace, like I am, the Media Browser can be
| | 00:39 | found down here, in the lower
left-hand corner of the interface,
| | 00:42 | this panel right here labeled Media Browser.
| | 00:44 | With the Media Browser selected, let
me go ahead and use the grave or tilde
| | 00:47 | key on the keyboard,
| | 00:48 | and this will pop up the Media
Browser panel to a near-full-screen view.
| | 00:52 | Put simply, the Media Browser lets you
browse existing media on disk, or even
| | 00:56 | media on a tapeless media card.
| | 00:58 | The key word here is browser.
| | 01:00 | You are literally browsing media.
| | 01:02 | So, for example, if you were browsing
media on tapeless media card and you
| | 01:05 | brought that media into
Premiere Pro, guess what?
| | 01:08 | Premiere Pro thinks the
media exists on that card.
| | 01:11 | In other words, that's where it
establishes the link to form the representation
| | 01:15 | of the clip inside of Premiere Pro.
| | 01:17 | This is kind of like how many people
using Final Cut Pro early on tried to
| | 01:20 | import a clip directly off a music CD,
but when they ejected the CD, the clip
| | 01:24 | then became offline.
| | 01:26 | Therefore, although it's a little bit
beyond the scope of this title, it's
| | 01:29 | important to first copy media to a
local disk, or do something like create a
| | 01:33 | disk image of the camera memory card,
before trying to import something via the
| | 01:37 | Media Browser.
| | 01:38 | When you use the regular Import
command in Premiere, you are basically
| | 01:41 | committing to bringing that clip into Premiere.
| | 01:43 | With the Media Browser, you can literally
browse the clip prior to bringing it in.
| | 01:47 | Let me show you want I mean.
| | 01:49 | Here on the left-hand side of the
Media Browser, you can see any volumes that
| | 01:52 | you have attached to your system.
| | 01:53 | And if you are following along with
the exercise files and have mounted the
| | 01:56 | Exercise_Files disk image, you will
notice that one of these items right here is
| | 02:00 | the Exercise_Files disk image.
| | 02:01 | Let's go ahead and click on that.
| | 02:03 | Then let's go over here to the right and
navigate to the CH02 folder and click on that.
| | 02:08 | And finally, let's come down here to the
Chapter Specific Media folder, this guy right here.
| | 02:11 | Now when I open that up, you only
see one file, and it looks like this
| | 02:17 | little funny icon here.
| | 02:18 | This is actually the RED camera icon.
| | 02:20 | And the reason I'm only viewing one
file in this directory right now is because
| | 02:25 | of this menu right here, called View as.
| | 02:27 | And you'll notice right now it's set to RED.
| | 02:30 | This is because Premiere Pro
automatically detected that there was a RED
| | 02:34 | directory that came off a RED camera
inside of the Chapter Specific Media folder.
| | 02:40 | If I click into this View as menu and
change this to File Directory, you will
| | 02:44 | notice that there are actually quite a
few different folders and files here.
| | 02:48 | Now, as I said, Premiere Pro
automatically detected that there was a RED
| | 02:52 | camera directory here,
| | 02:53 | and that's this guy right
here A006- yada, yada, yada.
| | 02:57 | And if I click into that and I am
viewing as a File Directory, I can see all the
| | 03:02 | different files that make up that directory,
| | 03:04 | and these files right here are
actually camera proxies that the RED camera
| | 03:07 | generated when recording.
| | 03:09 | However, if I navigate back out to the
Chapter Specific Media folder and view
| | 03:13 | this directory now not as a File Directory,
but as a RED, you will only see one file.
| | 03:19 | And this is the .R3D file.
| | 03:21 | This is the raw video file
that came off of the RED camera.
| | 03:24 | Now the cool thing about this is that
you'll notice in the View as menu we
| | 03:28 | only have two choices: File Directory or RED.
| | 03:31 | And again, that's because Premiere Pro
automatically detected that there was a
| | 03:35 | RED directory in here.
| | 03:37 | If you had, say, a P2 or XDCAM
directory, or even if you had a directory
| | 03:41 | with XDCAM, P2, and RED, these other choices
up here in the View as menu would become available.
| | 03:47 | Now remember what I said that the Media
Browser is a browser; it allows you to browse a clip.
| | 03:53 | So first, I want to go ahead and
browse this clip right here called
| | 03:57 | Media Browser Clip,
| | 03:58 | but I can't actually see it when I select it.
| | 04:01 | Maybe that's because I have the interface
configured wrong or something like that.
| | 04:04 | Well, actually no.
| | 04:05 | If I go ahead and double-click on this
clip, it will actually open it up into
| | 04:10 | the Source Monitor right here.
| | 04:11 | But there is a view that I really like
that's found up here in the Window menu
| | 04:16 | and down to Workspace, this one
right here called Metalogging.
| | 04:19 | Let's go ahead and choose that.
| | 04:20 | When you choose Metalogging, the
interface changes around a little bit, and
| | 04:24 | the thing I like is that the Media Browser is
now located right next to the Source Monitor.
| | 04:29 | So if you double-click on a clip,
load it into the Source Monitor, you can
| | 04:32 | view it very easily.
| | 04:33 | Now, the thing I want to point out is
that simply by double-clicking on the clip,
| | 04:37 | I haven't actually loaded it into the project;
| | 04:39 | I am still just previewing it.
| | 04:42 | So over here in the Source Monitor, I
can drag through the clip, like this.
| | 04:47 | I can mark in and out points and so on, but I
actually have not brought it into the project.
| | 04:53 | To actually bring it into the project,
all I need to do is drag it from the
| | 04:57 | Media Browser up to my Project panel.
Here, so let's go ahead and do that.
| | 05:00 | I will drag this clip and
put it in this Footage bin.
| | 05:03 | And in just a second, you will see
the Import Files dialog flashed up for a
| | 05:06 | second, and now the actual clip
is here inside of my project.
| | 05:10 | Now please keep in mind that the rules
we talked about before for Default scale
| | 05:14 | to frame size and the preference for
audio channel configuration still apply
| | 05:17 | when using the Media Browser.
| | 05:19 | For more information on those settings, please
check out the previous movie in this chapter.
| | 05:23 | Okay, so obviously the Media Browser can
be used to bring in clips just like you
| | 05:27 | can with the Import command.
| | 05:28 | However, as we alluded to, the real
power of the Media Browser is how it can
| | 05:32 | work with tapeless footage, like
P2, XDCAM, RED, DSLR, and others.
| | 05:37 | So let's go back here to the Media
Browser, and once again we will make this full
| | 05:40 | screen by pressing the grave, or tilde, key.
| | 05:43 | And let's go back up to the View as
directory here and change this to view
| | 05:47 | this directory as RED.
| | 05:49 | Now again, this option RED is
available because Premiere Pro automatically
| | 05:53 | detected that there was a directory
that came off a RED camera contained within
| | 05:57 | this Chapter Specific Media folder.
| | 05:58 | So let me choose RED, and here I go.
| | 06:01 | I actually have my R3D file;
| | 06:03 | that's the RED raw video file.
| | 06:05 | And just like we did before, if I
double-click on this, I can actually preview
| | 06:09 | it here in my Source Monitor.
| | 06:11 | Now again, this will work with any
other type of tapeless media footage, as long
| | 06:15 | as it's in a directory.
| | 06:17 | Premiere Pro will automatically be
able to detect things like the Canon XF,
| | 06:21 | Panasonic P2, XDCAM, and so on.
| | 06:24 | Okay, and just like we did before,
let's go ahead and take this R3D file,
| | 06:28 | this RED raw file, and drag it right
up into the project, and I will dump it
| | 06:30 | here in the Footage bin.
| | 06:32 | In just a second, the file
will be imported into my project.
| | 06:36 | Now speaking of RED, I want to
mention one really cool thing.
| | 06:39 | The advantage of working with RED-native
footage is that it's raw video, and just
| | 06:44 | like, say, a raw still image, you
can process it in a similar way.
| | 06:48 | With Final Cut Pro, you could only do this
type of processing if you sent clips to Color.
| | 06:52 | But with Premiere Pro, you can do
this processing directly in the app.
| | 06:56 | So with this clip selected, what I am
going to do is right-click on it and then
| | 06:59 | come down to Source Settings.
| | 07:02 | In this dialog, we can perform raw
processing, things like adjusting color
| | 07:06 | temperature, tint,
saturation, exposure, and so on.
| | 07:09 | And this is really awesome, since we are not
adjusting baked-in pixel data, but raw metadata.
| | 07:15 | And this provides a huge level of
flexibility for color correction and
| | 07:19 | general image manipulation.
| | 07:21 | If you are following along with the
exercise files, feel free to play with the
| | 07:24 | Source Setting controls here on this
clip to tweak it and to create a cool look.
| | 07:28 | Now I think the ability of Premiere Pro
to work natively with RED R3D files and
| | 07:32 | having native support for that footage is huge.
| | 07:35 | In Premiere Pro, you can natively support 2,
3, 4, and even 5K footage from a RED Epic.
| | 07:41 | And this is huge because RED is the camera
for digital cinema production. All right!
| | 07:45 | Let me go ahead and close this.
| | 07:47 | Now obviously the Media
Browser is all about tapeless assets.
| | 07:52 | What about importing from tape?
| | 07:53 | Well, you can import footage from tape.
| | 07:56 | Premiere Pro works out of
the box with DV/HDV devices,
| | 08:00 | but other tape formats, you'll need a
supported capture card to enable that capture.
| | 08:04 | Since I am willing to bet a lot of you
are working only with tapeless sources
| | 08:07 | these days, we are going to skip over
ingesting footage from tape in this title.
| | 08:11 | But keep in mind that the user docs
have plenty of info on the subject.
| | 08:15 | So all in all, the Media Browser is a
different way to get clips into Premiere Pro.
| | 08:20 | Its real benefits are the ability to
first preview clips prior to bringing them
| | 08:24 | into Premiere Pro, as well as the
ability to parse tapeless media structures and
| | 08:28 | automatically detect tapeless media structures.
| | 08:31 | In your own work, I think you'll find
the Media Browser a really powerful and
| | 08:35 | super-useful tool when
bringing media into Premiere Pro.
| | Collapse this transcript |
| Creating and navigating bins| 00:00 | Probably nothing is more ubiquitous
in an editing application than a bin.
| | 00:03 | From the days a traditional film
editing to modern tools like Premiere and
| | 00:07 | Final Cut Pro, the bin is utilitarian, but it of
course serves a huge purpose--staying organized.
| | 00:12 | In this movie we'll talk about
creating and navigating bins in Premiere Pro.
| | 00:16 | Let's start out here in Final Cut Pro,
and of course there are many ways to create bins.
| | 00:20 | You can right-click here in the
browser area and choose New Bin,
| | 00:24 | and after creating the
bin, it's ready to be named.
| | 00:26 | Let's called this first one B-Roll.
| | 00:29 | I'll scroll up a little bit here,
and here is the bin that we just created.
| | 00:33 | You can also come up to the File
menu, down to New, and choose New bin.
| | 00:37 | Let's called this second bin Hill Top.
| | 00:39 | Of course, you can also use the
keyboard shortcut Command+B to create a bin.
| | 00:46 | So I'll press Command+B and a new bin is
created and ready to be named, and let's
| | 00:50 | called this third one Machines.
| | 00:54 | You can of course also create a bin
inside of another bin automatically when you
| | 00:57 | have a previously made bin selected.
| | 01:00 | So I am going to go ahead and select
this B-Roll bin and then right-click and
| | 01:03 | choose New Bin. And if I open up this
bin by clicking this little triangle, here
| | 01:08 | you can see the new bin
inside of the B-Roll bin.
| | 01:11 | Let's click on this bin and
then click again to rename it.
| | 01:14 | Let's call this one Olives and Orchard.
| | 01:19 | After you create bins, you can
easily place them into existing bins.
| | 01:22 | So I am going to take these two bins,
Hill Top and Machines, and drag them up and
| | 01:28 | put them inside of the B-Roll bin.
| | 01:29 | Of course, creating bins doesn't serve
you any purpose, unless you actually put
| | 01:34 | footage into those bins,
| | 01:36 | so let me spend a moment just to put these
b-roll shots into there appropriate bins.
| | 01:40 | So I'll put all the hill top
shots into the Hill Top bin,
| | 01:42 | I'll put all the Machine shots into
the Machines bin, and then I'll take the
| | 01:47 | take the Olives and Orchard shots here and
put those into the Olives and Orchard bin.
| | 01:52 | To reveal the contents of a bin, it's
easy; just click on the triangle and you
| | 01:55 | can see the contents inside of that bin.
| | 01:58 | If you want to open up a bin into a new
window, simply double-click on it, and it
| | 02:02 | becomes a floating window like this.
| | 02:04 | At any time, of course, you can dock a bin,
this floating window, to the main part
| | 02:09 | of the interface, simply click on the
tab and drag it over here to the browser
| | 02:13 | and you can see it's now a dock bin.
And I can switch back and forth between the
| | 02:17 | main level of my browser and the bin.
| | 02:19 | On the main level of the browser, you can see
that the bin is open by this open folder icon.
| | 02:24 | We can close the bin simply by
right-clicking on it and choosing Close Tab.
| | 02:28 | If you Option+Double-Click on a bin it
will open it up into a new window, but it
| | 02:32 | will automatically dock that
bin to the browser, just like this.
| | 02:36 | Let's close that again.
| | 02:38 | If you need to quickly navigate
bins, you can, with keyboard commands.
| | 02:41 | Here on this B-Roll bins, to step
inside, I can press the right arrow to
| | 02:45 | step inside of that bin.
| | 02:47 | Once inside, I can use the up and
down arrows to navigate between bins.
| | 02:51 | Again, I can use the right arrow to
open up one of these bins and the left
| | 02:55 | arrow to close the bin.
| | 02:56 | With this Hill Top bin selected, if I
wanted to go up one more level, I'll just
| | 02:59 | press the left arrow once again.
| | 03:01 | Just like a lot of other things
we'll talk about in this title, we can do
| | 03:04 | the same things in Premiere Pro.
| | 03:06 | So let's go ahead and switch
over to Premiere and take a look.
| | 03:09 | Here in Premiere I have the same
project that already has those b-roll shots in
| | 03:13 | them from different areas or
different parts of the story already in the
| | 03:16 | project, but I don't have any bins.
| | 03:19 | So just like Final Cut Pro,
there are few ways to create bins.
| | 03:22 | First, I can right-click here in
Project panel and choose New Bin. And just like
| | 03:28 | in Final Cut Pro, after I
create a bin, it's ready to be named.
| | 03:30 | So once again we'll just call this B-Roll.
| | 03:32 | What I am going to do is actually is make the
Project panel a little bigger so we can see it.
| | 03:38 | I am going to do that by using the grave
or tilde key on the keyboard to make it
| | 03:41 | go a near full-screen and
here you can see the B-Roll bin.
| | 03:45 | Of course, I can go up to the File
menu and choose New and then Bin.
| | 03:50 | Let's called this second bin Hill Top.
| | 03:54 | You can also use the
keyboard shortcut Command+Forward Slash.
| | 03:59 | Now the forward slash key is the
same key as the question mark key.
| | 04:02 | So I am going to press
Command+Forward Slash and a new bin is ready to go.
| | 04:07 | Let's called this one Machines.
| | 04:11 | Scroll down here, and you can
see that I've created three bins.
| | 04:14 | All right, let's create one more bin.
| | 04:15 | We can of course create a bin inside
of existing bins, just like in Final Cut
| | 04:19 | Pro, by selecting the bin, and then I am just
going to right-click on it and choose New Bin,
| | 04:24 | and automatically a new bin was
created inside of this B-Roll bin.
| | 04:28 | Let's call this Olives & Orchard, just like that.
| | 04:34 | Then once I've created these bins, I'm going to
go ahead and put these two bins inside
| | 04:38 | of the B-Roll bin, and just like we did
in Final Cut Pro, let me spend a second to
| | 04:42 | actually put the footage in the
appropriate bin. And I can tell which footage
| | 04:45 | goes where based on the name,
| | 04:47 | so for example, B-Roll,
Olives & Orchard, and so on.
| | 04:49 | So I am going to take this Olives &
Orchards shots and put them into, well, the
| | 04:53 | Olives & Orchard bin.
| | 04:55 | I'll take the Machine shots, and I'll
put those into the Machines bin, and then
| | 05:01 | finally, I'll take Hill Top shots
and put those into the Hill Top bin.
| | 05:06 | Just like in Final Cut Pro, I can of
course open up a bin by clicking on this
| | 05:09 | little triangle right
here to reveal its contents.
| | 05:13 | If I double-click on a bin, just like
Final Cut Pro, it will also become a
| | 05:17 | floating window. And just like Final
Cut Pro--you can sense a trend here, right?--if I
| | 05:22 | Option+Double-Click on a bin, I can
open it up into a new window but
| | 05:26 | automatically docked here
up next to the Project panel.
| | 05:30 | I can close a bin easily by simply
clicking this little X button to close it.
| | 05:34 | Now one thing about double-clicking
and Option+Double-Clicking and all that
| | 05:38 | kind of stuff on a bin:
| | 05:39 | this is actually controlled by
a preference in Premiere Pro.
| | 05:42 | If I come up to the Premiere Pro menu
and then choose Preferences and then
| | 05:45 | General--and just remember, if you're
on a Windows machine, Preferences will be
| | 05:48 | found under the Edit menu--
| | 05:50 | but if you choose General here, down
here at the bottom of the General page, I
| | 05:54 | can control the behavior of bins.
What happens when I double-click? Do I want to
| | 05:58 | open into a new window, open it in
place, open into a new tab, and so on.
| | 06:02 | And you can have different
modifier keys. What happens when you click
| | 06:05 | Command+Double-Click?
How about Option+Double-Click?
| | 06:08 | So you can customize the behavior of
clicking on bins to suit your preference.
| | 06:14 | Just like in Final Cut Pro, I can also
use the keyboard to quickly navigate bins.
| | 06:18 | With the bin selected here, I can
actually just go up and down to navigate
| | 06:22 | between bins. And I kind of actually
like this, because unlike Final Cut Pro
| | 06:25 | where you on a main-level bin like
this and you first have to press the right
| | 06:28 | arrow to step down one level, you
can just use the up and down arrows.
| | 06:32 | Once you are on a bin, you can use the
right arrow to open up a bin and the left
| | 06:36 | arrow to close that bin.
| | 06:38 | If you open up a bin into a new window,
let's say by double-clicking on here, you
| | 06:42 | can of course change how you're viewing
the bin, and this works just like Final
| | 06:45 | Cut Pro. But instead of having to
right-click like you do in Final Cut Pro to
| | 06:48 | choose between lists and icon view, you
can simply come down here to the bottom
| | 06:52 | of the bin and choose between list view,
which I am on right now, or icon view.
| | 06:57 | And we'll come back to icon view a little
later in this title when we talk about
| | 07:01 | automating items to a sequence.
| | 07:03 | So you can see, in almost every way,
working with bins in Premiere Pro is the
| | 07:07 | same as working with bins in Final Cut
Pro 7, which should make your migration
| | 07:11 | just that much easier.
| | Collapse this transcript |
| Customizing the Project panel and using metadata| 00:00 | Metadata, it makes the world go round.
| | 00:02 | Okay, maybe that's a slight exaggeration,
but to a certain degree it's true.
| | 00:06 | The guide on your cable box?
| | 00:07 | That's metadata. Info about an
album on iTunes? Also metadata.
| | 00:11 | Of course, editorial
applications also rely heavily on metadata.
| | 00:14 | Metadata, or data about data, is a key
part of the editorial process.
| | 00:18 | From being able to find clips based on keywords
to gathering technical information about footage,
| | 00:22 | it's all metadata.
| | 00:24 | And in this movie I want to show you
how we can add metadata and customize
| | 00:27 | columns in the Project panel in Premiere Pro,
| | 00:29 | and perhaps more importantly, add your
own custom metadata columns and fields to
| | 00:33 | better suit your workflow.
Let's start out here in Final Cut Pr.oAand you're
| | 00:36 | used to assigning metadata when you do
things like capture from tapeless video
| | 00:40 | here in the Log and Transfer window,
and then you can add that metadata down here
| | 00:43 | in the Logging section.
| | 00:44 | And if you're capturing footage from
tape-based media, you can do the same thing
| | 00:48 | in the Log and Capture window.
| | 00:49 | After you assign that metadata, you
can see it here in the various columns in
| | 00:54 | the browser in Final Cur Pro. And for
years, as Final Cut Pro editors, we thought
| | 00:58 | this was just great,
but guess what? It can get better.
| | 01:01 | Let's go ahead and switch over to Premiere Pro.
| | 01:03 | Most of the metadata work that you do in
Premiere Pro will happen in one of two places:
| | 01:07 | here in the Project panel and then also
want a panel called, well, the Metadata
| | 01:11 | panel, which I can find right here.
| | 01:13 | Now let me say one thing
that's kind of important.
| | 01:15 | In Final Cut Pro, with both tape-based
and tapeless-based footage, you're used to
| | 01:19 | assigning metadata prior to
ingesting and transferring footage.
| | 01:23 | In Premiere Pro the workflow is
slightly different, especially with tapeless
| | 01:26 | footage, and this is because of Premiere
Pro's support for native editing. You're
| | 01:30 | simply just transferring assets.
| | 01:32 | Inherent metadata is transferred,
but user metadata, for the most part, is
| | 01:36 | added after the fact.
| | 01:38 | Okay, let's go ahead and select the
Project panel here, and then I want to press
| | 01:41 | the grave or tilde key on the
keyboard to make this panel go full screen.
| | 01:44 | I've already populated this project
with some footage, so let's just go ahead
| | 01:47 | and open up one of these bins.
| | 01:48 | I'll open up this one.
| | 01:49 | And when I do, across the various columns here
in the Project panel, you can see some metadata.
| | 01:54 | Now, some of this metadata has come along
with a clip, things like this time code
| | 01:58 | information, but some of the
metadata we can actually edit ourselves.
| | 02:02 | Let me scroll across here and then come
to the Description column. And if I click
| | 02:06 | into one of the fields for the
Description column for one of these clips, I can
| | 02:10 | actually type a description.
So let's type great clip, make sure to use.
| | 02:17 | Okay, I didn't actually look at the
clip, but I think you get the idea. Just
| | 02:21 | like in Final Cut Pro, we can reposition
columns easily by clicking on them and
| | 02:25 | then dragging. You can also resize
columns by coming in between two columns and
| | 02:29 | dragging left and right.
| | 02:32 | Also by clicking on a column
header, you can change its sort order.
| | 02:36 | Okay, but here's where things get really cool.
| | 02:38 | Let's come up to this little icon
right up in here in the upper right-hand
| | 02:41 | corner. This is called a panel menu,
| | 02:42 | and every panel in Premiere Pro has one.
| | 02:45 | Let me click there, and then I am going
to come down to this option right here
| | 02:48 | labeled Metadata Display.
| | 02:51 | Here in this dialog I can see all the
available metadata fields that I have in
| | 02:55 | Premiere Pro, and there are
literally hundreds, if not thousands, of them.
| | 02:59 | Among the great things that Adobe does,
and I think one of the best things that
| | 03:02 | they do here in Premiere Pro,
is how they work with metadata.
| | 03:05 | Let see how this dialog works.
| | 03:07 | The first thing I can do is actually
search for a piece of metadata, so let
| | 03:11 | me go ahead and type in "file path" and right
here I can see the option that I was looking for.
| | 03:16 | Notice that check box right next to it?
| | 03:17 | I'm going to go ahead and check that,
and then over here I'm going to click OK.
| | 03:21 | If I scroll over here in the Project
panel, right here I can see a column
| | 03:26 | labeled Media File Path, and if I
expand it out a little bit, I can see a file
| | 03:30 | path for all my clips that I
have in this particular bin.
| | 03:33 | Let's come back up to the Project
panel and then choose Metadata Display.
| | 03:36 | Of course, we can add different pieces
of metadata very easily, and you can do
| | 03:41 | that by coming into any one of these
different metadata categories and then
| | 03:44 | opening one up. And here in the
category called Premiere Pro Project Metadata,
| | 03:48 | I'm going to come down and
turn on a couple of these.
| | 03:51 | I'll turn on Video Usage and Audio
Usage, and while not quite dupe detection,
| | 03:56 | these two columns will let me know if the
clip is used in a sequence in my project.
| | 04:00 | I also like to turn on this one labeled Comment.
| | 04:03 | Of course, if I were to click OK here,
these columns would show up in the Project
| | 04:07 | panel, but what I find really useful
is that you can save columns that you've
| | 04:10 | selected as a present.
| | 04:12 | To do that, I'm simply going to click
the Save Settings button right here, and
| | 04:15 | then I'm going to label the
setting Robbie Standard and click OK.
| | 04:21 | After I've created a few presets, I can
quickly switch between them by clicking
| | 04:25 | on the Preset menu right here.
| | 04:27 | Okay, are you ready for the really cool thing?
| | 04:29 | You can actually create your own custom
columns with whatever name you'd like.
| | 04:34 | Imagine the power of this.
Let's say in your facility you want to have some
| | 04:38 | fields that have to do with client or
project management, so let's go ahead and
| | 04:41 | actually create a couple like that.
| | 04:43 | If I scroll back up here, next to where
it says Premiere Pro Project Metadata,
| | 04:47 | you'll see this yellow text that says
Add Property, and I can actually add a
| | 04:51 | property inside of this metadata set,
what's known as a schema. But I don't
| | 04:55 | actually want to do that.
| | 04:56 | I like to keep different
metadata sets separate from each other.
| | 05:00 | So what I want to do is close this and
then come over and click on this button
| | 05:03 | right here labeled New Schema, and in
just a second, I can name the new schema.
| | 05:08 | Let's call this Two Trees_Project info.
Then I am going to go ahead and click OK.
| | 05:17 | And if I scroll down a little bit,
here I can see that new schema.
| | 05:21 | Also notice this yellow
text here to add a property.
| | 05:23 | I'm going to click that right now,
and then in the dialog for the Add
| | 05:27 | Property, let's call this
Two Trees_Client. And here in the Type menu, I have
| | 05:35 | four different choices.
| | 05:37 | First, I can choose Integer,
or I can assign a whole number.
| | 05:41 | Next, I can choose Real, where we can
add numbers with up to two decimal places.
| | 05:45 | If I choose Text, this is where I can
enter plain text. And then, lastly, I can
| | 05:50 | choose this option Boolean. This is
where you can essentially have a check
| | 05:54 | box for true or false. Let's go ahead
and make this one text and then click OK.
| | 05:58 | If I scroll down here a little bit and
open up the schema, you can see that that
| | 06:04 | particular column has been added.
| | 06:06 | Let's go ahead and add one more.
We'll call this one Two Trees_Job Number, and
| | 06:14 | for the Type, we'll make it Integer and click OK.
| | 06:17 | Now if you remember, earlier I created
a preset, but that was before I created
| | 06:22 | the schema in these two additional
columns. So I'm actually going to go ahead
| | 06:25 | and create a new preset by clicking Save
Settings again. Then we'll go ahead and
| | 06:29 | call this Robbie Standard with
Two Trees Info, and click OK.
| | 06:39 | Finally, I'm just going to click OK
here to close the Metadata Display.
| | 06:43 | Now if I scroll over here a little bit
in the Project panel, you can now see
| | 06:47 | those two columns that we added
and the fields for those columns.
| | 06:51 | One last small note.
| | 06:52 | If you make a mistake when you add a
data type for a particular property, as of
| | 06:56 | right now, you can't actually edit that property.
| | 06:59 | The only way to make the fix is the
first delete it and then add the property
| | 07:03 | again with the correct data type.
And finally, the other thing is, here in the
| | 07:07 | Project panel, the order and width of
columns don't have actually anything to do
| | 07:12 | with the preset that you create.
| | 07:14 | Those properties are saved as part
of your Premiere Pro preferences.
| | 07:17 | Let's minimize the Project panel for one second.
| | 07:20 | The last place that we have to work with
metadata in Premiere Pro is here on the
| | 07:23 | Metadata panel. And we are not actually
going to do anything right now on this
| | 07:26 | panel, but in a later movie, we'll come
back and work with some metadata on this
| | 07:30 | panel when we some speech analysis.
| | 07:32 | While metadata is not the most
attractive of features for any
| | 07:36 | editorial application,
| | 07:37 | it does make an app breathe. And I
think you can see that metadata in Premiere
| | 07:41 | Pro is pretty powerful, and the ability
to add custom metadata columns and fields
| | 07:45 | is just plain cool and offers a ton of
possibilities, compared to the metadata
| | 07:50 | options in Final Cut Pro.
| | Collapse this transcript |
| Searching for footage| 00:00 | One of the hardest things about
editing is finding the footage that you need
| | 00:03 | quickly and efficiently.
| | 00:04 | In Final Cut Pro you're probably used
to using Command+F, either in the browser
| | 00:08 | or in a sequence, to quickly find footage.
| | 00:10 | Well, in Premiere Pro, we can
essentially do the same thing to quickly access
| | 00:13 | footage that we need,
based on different criteria,
| | 00:16 | although we can only do it in the
Project panel. Let's go ahead and jump
| | 00:20 | directly into Premiere Pro and
take a look at how this works.
| | 00:22 | Here I have a project that I've already
populated with some footage stored in a
| | 00:25 | few different bins, these guys down here.
While I could probably find the clips
| | 00:29 | that I'm looking for by
simply opening one of these bins,
| | 00:32 | one of the easiest ways to find
footage that you're looking is by using the
| | 00:36 | search field here near the top of the
Project panel. And before we use this, what I
| | 00:40 | want to go ahead and do is select the
Project panel then press the grave, or tilde,
| | 00:43 | key on the keyboard.
| | 00:45 | And with the Project panel selected, it
will go to sort of more of a full-screen-
| | 00:49 | type view that will make it easier to look at.
| | 00:51 | Now I called this as search field,
but what's really happening when you use this
| | 00:55 | field is that you're filtering your
view of items that you see here on the main
| | 00:59 | level of the Project panel.
| | 01:01 | Now before we actually type in something here,
I want to show you two more quick things.
| | 01:05 | Over here I have a menu called I. If I
click here, I have a few different options.
| | 01:10 | With this menu, I can choose to filter
all asset metadata, only visible asset
| | 01:15 | metadata, or text or
speech transcription metadata.
| | 01:19 | We'll talk more about speech
transcription in a later chapter.
| | 01:22 | In most cases, leaving this set
to All is the appropriate choice.
| | 01:26 | Next, over here in the actual search
field, there is a little downward-facing
| | 01:30 | triangle, and if I click this, I can
see recent filters or recent searches that
| | 01:35 | I've used on the Project panel.
| | 01:37 | I can also choose to find faces.
| | 01:39 | We're not going to talk about faces
in this title, but it's a cool feature
| | 01:42 | that's worth exploring on your own as
you get up the speed with Premiere Pro.
| | 01:46 | All right, let's come in here
and type in the word "orchard."
| | 01:50 | Now after I type that word, what you'll
see down here in the Project panel is
| | 01:54 | that only the items that match what I
typed in up here are being shown, so all
| | 01:58 | these b-roll shots right here
that have the word orchard in then.
| | 02:02 | All right, let's go up and clear
this actual filter and clear this search by
| | 02:05 | clicking this X button right here.
| | 02:08 | Next, I want to go ahead and type in the
letters "Oli," and I as I do that, you'll
| | 02:13 | notice that Premiere Pro right here is
showing me what it thinks I might mean.
| | 02:18 | Do I mean Olive or do I mean Olive Oil?
| | 02:20 | Now Premiere Pro is a bit predictive
about what you're searching for and
| | 02:24 | suggests possible matches.
| | 02:26 | So if you don't know how to spell like
me, this can be a really, really good
| | 02:29 | thing, to help you to match
assets based on your criteria.
| | 02:32 | And you can see, as I said, that it's
showing me results for Olive or Olive Oil.
| | 02:36 | If I click on one of these,
I'm only going to get the items that have
| | 02:40 | something to do with Olive.
| | 02:41 | Now the big thing to be aware of is
that you didn't see the Project panel down
| | 02:44 | here change a whole lot, and that's
because some aspect of these clips, because
| | 02:49 | I have this In menu Set to All--and
what I mean by aspect is some metadata on
| | 02:54 | this clip has the word
Olive or Olive in it somewhere.
| | 02:59 | All right, now one of big things to be
aware of is that your Project panel will
| | 03:02 | be filtered until you click this little
X icon right here to clear the filtering
| | 03:07 | or clear the search.
| | 03:08 | I've talked to a lot of editors who
are new to Premiere, and they say things
| | 03:11 | like, "half my footage has
just disappeared in my project."
| | 03:14 | Well, nine times out of ten, it's just
that there were filtering the Project
| | 03:18 | panel, as we've just done, and didn't
reset it, so it appeared that they had
| | 03:22 | lost a lot of footage,
| | 03:23 | when in fact, they really had not. So let's
go ahead and click the X button to reset this.
| | 03:29 | Another way to find footage that
you need is by clicking on this little
| | 03:31 | magnifying glass down here at the
bottom of the Project panel. You could also
| | 03:35 | use the same keyboard shortcuts that
you're used to in Premiere Pro, Command+F.
| | 03:39 | So let's go ahead and use the keyboard
shortcut, Command+F, and in just a second,
| | 03:43 | the Find dialog will open up.
And this should seem very similar, because it's
| | 03:46 | pretty much just like the
Find dialog in Final Cut Pro.
| | 03:49 | Now the one big difference is that
unlike Final Cut Pro, you can keep adding
| | 03:53 | different rules; you're limited to two.
But if you're honest with yourself, do
| | 03:57 | you ever really use to say five, six, seven,
eight, nine, ten rules in Final Cut Pro? Probably not.
| | 04:03 | So while this is a
limitation, it's not a huge one.
| | 04:06 | Clicking here in the Column menu, you
can choose to search any of the columns
| | 04:09 | from the Project panel.
| | 04:11 | Clicking into the Operator menu here,
you can choose from Contains, Starts With,
| | 04:17 | Ends With, or Matches Exactly.
| | 04:18 | And then of course over here in the
Find What field, you can actually type in
| | 04:23 | what you want to find for a particular
column and how it matches up with the operator.
| | 04:27 | All right, let's go
ahead and do a simple search.
| | 04:30 | In the Column field for this first
rule, let's go ahead and choose to search
| | 04:33 | the Description column, and here in the
Operator menu, we'll choose Contains--that's
| | 04:38 | just fine. And then over here in the
Find What field, let's go ahead and type in
| | 04:42 | MS, MS for Medium Shot.
| | 04:45 | These other options
down here are fine as is.
| | 04:48 | Let's go ahead and click Find.
| | 04:49 | What will happen is that the first
clip that matches the criteria is selected
| | 04:54 | here in the Project panel. Click Find
again, and the next clip that matches the
| | 04:59 | criteria it's selected in the Project panel.
| | 05:01 | I would really like to have a self-
contained window that shows me all the search
| | 05:04 | results, just like Final Cut Pro has,
but I can only hope that's coming, or
| | 05:08 | something like it is coming, in a
future version of the application.
| | 05:12 | But I think you can see that it's a
quick way to find clips that you need.
| | 05:16 | Okay, so that's little bit more on
searching and finding clips. You can see that
| | 05:19 | it's pretty simple in Premiere Pro CS5.5.
| | Collapse this transcript |
| Creating a new sequence| 00:00 | Okay, so far in this chapter
we've ingested some footage.
| | 00:02 | We've organized it and
learned how to search for it.
| | 00:04 | Now it's time to start editing, right?
| | 00:06 | Well, to be able to edit, you'll need to
have a sequence to edit your footage into.
| | 00:10 | If you watched the movie about setting
up a new project in Premiere Pro back
| | 00:13 | in CH01, we actually created a new
sequence when we started Premiere, which is
| | 00:16 | totally fine to do. But in this movie,
I want to go into more detail about
| | 00:20 | creating a new sequence and show you some
other things about working with sequences.
| | 00:24 | First off, I am working with
this exercise file right here called
| | 00:26 | 02_06_Creating a New sequence.
| | 00:29 | This project has some footage that I've
already ingested and organized into bins
| | 00:32 | over here in the Project panel.
| | 00:34 | You'll notice that it
doesn't have any actual sequences.
| | 00:37 | In Final Cut Pro you're probably used
to, when you drag a new clip into a blank
| | 00:40 | sequence, that Final Cut Pro can
automatically change the sequence settings of
| | 00:44 | that sequence to best match
the clip that you're bringing in.
| | 00:47 | Well, Premiere Pro can
actually do the exact same thing.
| | 00:50 | Let's go down here into this bin right
here called Hilltop and open it up and
| | 00:53 | select this first clip called b-roll_Hilltop_02.
| | 00:56 | Down here at the bottom of the Project
panel, you'll notice that I have a number
| | 00:59 | of buttons, and one these buttons is
called the New Item button. And if I click
| | 01:03 | that, there are actually a number of
things that I can create from here, and one
| | 01:07 | of the things that I can
create is a new sequence.
| | 01:09 | Now, don't click this.
| | 01:10 | We'll create a new sequence manually in
just a moment. But for right now, what I
| | 01:13 | want you to remember is the New Item button.
| | 01:16 | So what I am going to have to do is
drag the clip that I have selected here
| | 01:19 | from this bin on to the New Item
button, and what's is going to happen is that
| | 01:23 | Premiere Pro will automatically create a new
sequence based on the settings of this clip.
| | 01:29 | Okay, so let me go ahead and do that.
I'll drag it onto New Item button and let
| | 01:31 | go and in just a second, a new
sequence was created. And what really happened
| | 01:36 | though was that the sequence settings
were adjusted for this sequence to match
| | 01:40 | the clip that we dragged onto the
New Item button, this clip right here.
| | 01:44 | But let me go ahead and prove it to you.
| | 01:45 | If I right-click on this clip and then
come down to Properties, I can see that
| | 01:49 | this clip is set up to 1280x720.
| | 01:51 | It has a frame rate of 29.97, and so on.
| | 01:54 | Let's go ahead and close this,
and select the sequence and come up to the
| | 01:58 | sequence menu and then
down to sequence Settings.
| | 02:01 | And although some of these options are
hard to read because they are grayed
| | 02:03 | out, the sequence has
been set up to match the clip.
| | 02:06 | The Frame Size is set up to 1280x720,
| | 02:09 | the Timebase is set up to 29.97,
and the other settings match the clip.
| | 02:14 | The other thing that happened was that
the Editing mode for this sequence was
| | 02:17 | automatically set up.
| | 02:19 | If you remember back from CH01, Editing
mode optimizes the sequence for playback.
| | 02:23 | We'll talk about editing modes in just
a moment, but the thing I want to point
| | 02:26 | out is that this process is very
similar to dragging a clip into a blank
| | 02:30 | sequence in Final Cut Pro and having the
sequence settings adjust automatically
| | 02:34 | based on the clip that you dragged in.
| | 02:35 | Let's click OK here.
| | 02:38 | Now one more thing. If I scroll down
here in the Project panel down to the
| | 02:41 | sequence that was created, you'll
notice that the name of the sequence is
| | 02:44 | actually the name of the clip that
I dragged onto the New Item button.
| | 02:48 | I don't know about you, but this kind
of drives me crazy, and it's not very
| | 02:51 | helpful on most projects.
So probably what you want to do is simply click
| | 02:54 | here on the name of the sequence and
rename this something more germane to
| | 02:58 | your particular project.
| | 02:59 | Just like in Final Cut Pro, sometimes
you want to have manual control over your
| | 03:03 | sequence settings. So what I am going
to do is come down here to the New Item
| | 03:07 | button, and this time I am actually
going to choose to create a new sequence.
| | 03:10 | And when I choose that option in just a
second, the new sequence dialog opens up.
| | 03:15 | Here on the Sequence Presets tab,
we can of course choose any number of
| | 03:19 | presets created by Adobe.
| | 03:20 | Well, we can also choose any
custom presents that we've created.
| | 03:24 | It just so happens that we created a
custom preset back in CH01, this one right
| | 03:28 | here called DSLR 720p30.
| | 03:30 | Let's go ahead and select that, and then
what I want to do is come over and click
| | 03:33 | on the Settings tab right here.
| | 03:35 | Now I don't want to adjust any of the
settings here, as they are fine for what I want to do.
| | 03:39 | But what I do want to discuss is
the Editing mode menu right here.
| | 03:42 | Now right now the Editing mode is set
to DSLR. This is because this preset that
| | 03:47 | we created was based on
a DSLR preset from Adobe.
| | 03:50 | And if I click into this menu, you can
actually see that I have a lot of choices,
| | 03:54 | things like HDV, P2, AVCHD. I'll just scroll
down here. I can also choose RED and so on.
| | 04:00 | Now the thing to understand about these
editing modes is that besides optimizing
| | 04:04 | playback, one of the things that they do
is control the format and resolution of
| | 04:09 | rendered previews, that is, render files.
| | 04:10 | Most of the editing modes will use in
I-frame Only MPEG Preview at a particular
| | 04:15 | frame size, and you can see this
information down here in the Video Preview
| | 04:19 | section. For this DSLR editing mode, you can
see that the preview file formats is set
| | 04:23 | up to I-Frame Only MPEG, and it
matches the sequence width and height.
| | 04:28 | Okay, so you're asking yourself,
should I change this, or what's the big deal
| | 04:31 | about changing this?
| | 04:32 | Well, let's just say that all of the
media you're working with this Apple ProRes,
| | 04:36 | recorded on the popular AJA key pro.
| | 04:38 | Why would you want to generate previews
that are not Apple ProRes? Or maybe
| | 04:42 | you've set a project from Final Cut Pro
and it's a ProRes project. So what you
| | 04:46 | can do is you can actually come up here
to the editing mode and change this from
| | 04:50 | one of the presets to Custom.
| | 04:52 | And when you do that, down here in the
Video Preview section, you can actually
| | 04:55 | change the Preview File Format. And you
can choose things like I-Frame Only or P2
| | 05:01 | settings, but the other option you have
right here is called QuickTime(Desktop).
| | 05:04 | When you choose this option, the Codec
menu then becomes available, and here you
| | 05:09 | can choose any codec that's available
on your system, including any flavor of
| | 05:14 | Apple ProRes. So if I choose a flavor
of ProRes here, anytime that we render or
| | 05:18 | generate previews our previews will
be generated as a flavor of ProRes.
| | 05:23 | Now I need to be clear that ProRes is
only an option here because I have Final Cut
| | 05:27 | Pro 7 installed on this system.
| | 05:29 | If you don't have Final Cut Pro 7
installed on the same system as Premiere Pro,
| | 05:32 | you won't have the option to
configure previews as ProRes.
| | 05:36 | Also, I am going to go ahead and choose
this option Apple ProRes 422 (proxy), as
| | 05:40 | I have some footage that we'll add to
the sequence in just a second that is
| | 05:43 | Apple ProRes Proxy.
| | 05:45 | Below the Video Preview section and
these menus right here, we have two options:
| | 05:49 | Maximum Bit Depth and Maximum Render Quality.
| | 05:52 | Maximum Bit Depth, this option right
here, allows you to, when you're working with
| | 05:55 | higher bit-depth material, like 10 bit
Apple ProRes HP, or similar, take advantage
| | 06:00 | of that higher bit depth.
| | 06:02 | Maximum Render Quality, this option
right here, will allow you, when doing things
| | 06:06 | like scaling, to achieve better-quality results.
| | 06:09 | Just note that selecting this option
often works best with high-performance
| | 06:12 | systems with a lot of RAM, but you will
get the best results with this option selected.
| | 06:17 | Or you can leave both of
these options unchecked right now.
| | 06:19 | Finally, if we come back up here and
click on this button right here called
| | 06:23 | Playback Settings, we are get a
new dialog called Playback Settings.
| | 06:27 | In this dialog, you can configure
external video, if you had a supported
| | 06:31 | IO device in monitor.
| | 06:32 | Since I'm not using any of these
devices for this title, you can just go ahead
| | 06:36 | and close this dialog.
| | 06:38 | Okay and finally, we can
click over to the Tracks button.
| | 06:40 | If we didn't watch the movie in Chapter 1,
here is where we can configure the number
| | 06:44 | of tracks and what type of tracks
that we have on a particular sequence.
| | 06:48 | The default is for free video tracks,
and you can adjust this up and down
| | 06:52 | based on your choosing.
| | 06:53 | For Audio, you can set up your Master Audio
track to be Stereo, Mono, 5.1, or 16 Channel.
| | 07:00 | We'll come back and talk about different
master types in a later chapter on audio.
| | 07:04 | Finally, you can configure the
number of Mono, Stereo, or 5.1 tracks that
| | 07:08 | you want to create.
| | 07:09 | You can also choose to create submixes,
but again, we'll come back later in the
| | 07:13 | chapter on audio and talk about submixes.
| | 07:16 | Okay, so now that we've configured the
sequence, we can of course just click Save
| | 07:19 | Preset button, as we did back in Chapter 1,
but I am just going to go ahead and call
| | 07:23 | this sequence ProRes 720p30 and then click OK.
| | 07:30 | Now that we've created the sequence,
let's go ahead and double-click here in the
| | 07:35 | gray area of the
Project panel to import a file.
| | 07:37 | What I am going to do is come back out
to the Exercise Files disk image here and
| | 07:41 | then into CH02 and then into Chapter
Specific Media, and here I have a file
| | 07:45 | called b-Roll_Olives_25_ProResProxy.mov.
| | 07:49 | Let me go ahead and import that, and then
let me drag this clip onto the sequence.
| | 07:54 | From here, if I were to add effects
of this clip and render, which we'll
| | 07:58 | discuss later, the renders, or previews,
will be created as Apple ProRes proxy
| | 08:02 | files, and that's because we set up
this sequence to render previews as Apple
| | 08:07 | ProRes 422 (Proxy) files.
| | 08:09 | So that's a little bit more about
creating a new sequence to start working.
| | 08:12 | In the next chapter, we'll
start exploring actual editing.
| | Collapse this transcript |
|
|
3. Editing in Premiere ProMarking and navigating clips| 00:00 | Where does editing start?
| | 00:01 | You can make the argument that it
starts when you ingest and organize footage
| | 00:05 | as we did in our last chapter, but in my
opinion, that's all stuff that supports editing.
| | 00:10 | Editing, in my mind, begins when you
start loading clips to preview them and then
| | 00:14 | marking the sections that you want to
use, and in this movie, we'll take a look
| | 00:18 | at that process in Premiere Pro.
| | 00:19 | But let's first start out here in
Final Cut Pro, and here in Final Cut Pro in my
| | 00:23 | browser, I have a bin labeled Footage.
Let me go ahead and open that up.
| | 00:26 | To be able to actually preview a clip,
you need to first load it over here into
| | 00:30 | the viewer, and to do that, you
have a few different choices.
| | 00:33 | First you can simply double-click on a
clip to load it over into the viewer;
| | 00:38 | you can select a clip and then drag it
over into the viewer, just like this;
| | 00:41 | and you can also select a clip and then
press the Return key to load it into the viewer.
| | 00:46 | If you want to quickly be able to switch
back to previously loaded clips, you can
| | 00:51 | come down to this menu right here and
choose previously loaded clips that you've
| | 00:55 | placed into the viewer.
| | 00:56 | Well, once you have a clip into the
viewer, you first probably want to navigate
| | 01:00 | it so you can preview it, and there
is a few different choices to do that.
| | 01:04 | Below the clip, there is a little mini-
timeline, or scrubber bar, right here. If I
| | 01:07 | click and drag, just like
that, I can navigate the clip.
| | 01:13 | I can also of course use keyboard shortcuts.
| | 01:15 | I can press the spacebar
to begin and stop playback.
| | 01:20 | I can use the J, K, and L on the
keyboard to go forwards, backwards, and to
| | 01:25 | pause, just like this.
I can go backwards as well.
| | 01:31 | If you're more of a button-type
person, of course you can use the transport
| | 01:34 | controls here in the middle of the
viewer, or you can use these controls right
| | 01:38 | here to jog and shuttle
to playhead in the viewer.
| | 01:41 | If you're more of a time-code person,
you can of course come up to this time-
| | 01:45 | code field right here and enter in
a specific source time-code value to
| | 01:49 | navigate to that point in time.
| | 01:51 | No matter which way that you like to
navigate, the next step is to simply
| | 01:54 | mark an in and an out point to
determine which portion on the clip that you
| | 01:58 | want to use. And you're probably used to using
the keyboard shortcut I to mark an in point--
| | 02:03 | there is my in point right there--and
then coming down to a little point in time
| | 02:07 | and marking out by clicking O on the keyboard.
| | 02:09 | Of course you can clear an in and out
point really easy by pressing Option+I and
| | 02:15 | Option+O. If you've already marked an
in and out point, just like this, you can
| | 02:20 | also press Option+X to clear both
the in and out points at the same time.
| | 02:25 | Of course you don't really need to do
that. After you mark an in and out point,
| | 02:29 | you can simply position your playhead
to a new point in time and then press I
| | 02:33 | or O to update that in or out point.
| | 02:36 | You can also drag an in and
out point to a new location.
| | 02:39 | Besides in and out points, of course you
can add markers. To do that, simply place
| | 02:43 | your playhead where you want to add a
marker and then press M on the keyboard.
| | 02:47 | And if you're the type of editor who
likes to use waveforms to mark a clip, you
| | 02:50 | can always switch over to your audio
tab, or tabs, depending on your channel
| | 02:53 | configuration, to view the audio waveforms.
| | 02:57 | Sometimes this allows you to be a
little bit more precise about marking clips.
| | 03:00 | Okay, let's go ahead and switch
over to Premiere Pro and see how this
| | 03:03 | process works there.
| | 03:04 | Here in Premiere Pro I have the exact
same clips, and before I actually load a
| | 03:09 | clip over here into this window called
the Source Monitor, I have a pretty cool
| | 03:12 | way that I can preview a clip.
| | 03:14 | All I need to do is select a clip and
then up here at the top of the Project
| | 03:18 | panel, I can see a thumbnail of the clip.
Using this little bar right here in
| | 03:22 | this little box, I can scrub
through the clip, just like this.
| | 03:28 | I can also press this play button here
to begin playback and stop playback, and
| | 03:34 | of course I can use the spacebar to
begin and stop that process as well.
| | 03:40 | Once you get to a frame that you'd
like, you can also use this little camera
| | 03:43 | icon to set a poster frame.
| | 03:45 | Of course this small, little thumbnail
here is not really good for critical
| | 03:49 | previewing, so of course you want to
load the clip over here into this window
| | 03:52 | called the Source Monitor--and
remember, the Source Monitor is just like the
| | 03:56 | viewer back in Final Cut Pro.
| | 03:57 | And to do this, you can simply go ahead
and double-click on a clip, just like this.
| | 04:03 | You can also take a clip and drag it
over into the Source Monitor, just like
| | 04:07 | this, but the one thing you can't do
like you can in Final Cut Pro is select a
| | 04:12 | clip and then press Return to load the clip.
| | 04:14 | When you press Return with the clip
selected. You'll go into this Text Edit mode
| | 04:18 | where you can rename the clip.
| | 04:21 | Once you load a clip into the Source
Monitor, navigating the clip is almost
| | 04:24 | exactly the same as in Final Cut Pro.
| | 04:27 | Below the clip you have this
little mini-scrubber, or timeline.
| | 04:30 | Now the one thing I do like about
this little mini-timeline, or scrubber bar,
| | 04:33 | is that you have time-code values
marked right here, and you can see these
| | 04:36 | guys right here, which makes identifying
the specific time-code point very, very easy.
| | 04:42 | Now one of the other things that's a
nice feature here in this Source Monitor in
| | 04:45 | Premiere Pro is this little gray bar
right here, and you can see that there is
| | 04:48 | handles on either end of it.
| | 04:50 | If I click on those handles and drag, I
can essentially zoom in and zoom out of
| | 04:55 | the clip on the little mini-timeline, or
scrubber bar. And if you have a really,
| | 04:59 | really long clip this functionality of
being able to zoom in and out makes it
| | 05:03 | pretty easy to be able to see
a specific portion of the clip.
| | 05:06 | Just like in Final Cut Pro, of course
I can click down here into the mini-
| | 05:09 | scrubber, or timeline area,
and drag to navigate the clip.
| | 05:15 | Of course I can use the same keyboard
shortcuts of spacebar to begin playback
| | 05:21 | and then stop playback. I can also use
J, K, and L, and I can use the left and
| | 05:29 | right arrow keys to go a
frame at a time, just like that.
| | 05:33 | Of course if you're more of a time-code
person. you can use this time-code field right here.
| | 05:38 | Now this is pretty cool. You don't
actually have to click and enter a value--of
| | 05:42 | course you can do that--but if you
simply place your cursor above this time-code
| | 05:46 | value, you can click and drag, just like that.
| | 05:51 | If you're more of a button person, of
course you can come down here and use the
| | 05:54 | transport controls, such as this Jog
and Shuttle control, as well as the play
| | 05:59 | button here, and these buttons
to go backwards and forwards.
| | 06:02 | Now after you've navigated a clip, you've
got to need to mark it and just like in
| | 06:06 | Final Cut Pro, you can go to a point and
time and use the I key on the keyboard
| | 06:10 | to mark an in point. Let me move my
playhead out of the way. And there you can
| | 06:13 | see the in point right there.
| | 06:14 | If I come down a little later in time,
I can mark an out point, just like that.
| | 06:18 | You can of course clear an in and out
point with a couple of keyboard shortcuts.
| | 06:21 | If you press D on the
keyboard, you can clear an in point.
| | 06:25 | If you press F on the
keyboard, you can clear an out point.
| | 06:29 | If you mark an in and out and you want
to clear both of them, simply press G on
| | 06:33 | the keyboard to clear the in and the
out simultaneously, just like that.
| | 06:38 | Just like in Final Cut Pro, you can
right-click on the mini-timeline or scrubber
| | 06:41 | bar here, and you can choose to mark a
split, where you can have video and audio
| | 06:45 | have different in and out points.
| | 06:48 | Also, just like in Final Cut
Pro, you can of course set markers.
| | 06:52 | So if I place my playhead, say, right here
and I want to add a marker, I can simply
| | 06:56 | click this button right here to add the
marker, and if I move the playhead out
| | 06:58 | of the way, you can see
the marker is right there.
| | 07:01 | Now if you like to use audio waveforms
to mark clips, you'll notice up here at
| | 07:06 | the top of the Source Monitor, even if
I scroll over here, I don't actually see
| | 07:10 | any tabs for audio waveforms.
| | 07:12 | Well, that's because audio waveforms
are a bit hidden inside of Premiere.
| | 07:16 | What I can do is click this Output
button right here and then come down and
| | 07:19 | choose show Audio Waveform, this option
right here, and the image is replaced in
| | 07:24 | the Source Monitor with my audio waveform.
| | 07:26 | So you can see, navigating and
marking clips in Premiere Pro is pretty
| | 07:31 | straightforward, and in almost all ways
operates just like Final Cut Pro 7.
| | 07:37 |
| | Collapse this transcript |
| Navigating the Timeline| 00:00 | As an editor, you probably realize that
you spend a lot, and I mean a LOT, of time
| | 00:03 | working in the timeline.
| | 00:04 | Now I say timeline because in Final
Cut Pro and in Premiere the timeline is
| | 00:08 | actually a container window--
| | 00:09 | or in Premiere's case, a container
panel--for different sequences that you'll
| | 00:12 | use to build your project.
| | 00:14 | In this movie, I want to talk about some
of the controls that you have available
| | 00:17 | in Premiere Pro in the
timeline or on a sequence.
| | 00:20 | Here in Final Cut Pro I have my
Timeline window, and the timeline can contain
| | 00:23 | open sequences. In this project, I
have two open sequences, as I can see
| | 00:27 | here, are these two tabs.
| | 00:28 | If I click on one tab, I can show that
sequence and if I click on the other, I
| | 00:32 | can see that sequence.
| | 00:33 | Now as an experienced Final Cut Pro
editor, I am willing to bet that you're
| | 00:36 | already pretty comfortable with the
various ways that we can navigate a sequence
| | 00:40 | on the Timeline window.
| | 00:41 | I am also willing to bet that you're
pretty comfortable with the various ways
| | 00:44 | that we can select and mark clips in a sequence.
| | 00:47 | Finally, I am pretty sure that you
already know about some of these controls
| | 00:51 | that we have here on the left-hand side
of the sequence, or the Timeline window,
| | 00:54 | and down here at the
bottom of the Timeline window.
| | 00:57 | So with that in mind, let's go ahead and
just switch over to Premiere Pro and jump
| | 01:01 | right in and take a look at the ways
that we can navigate and control things on
| | 01:05 | a sequence or in the
timeline over in Premiere Pro.
| | 01:09 | Here in Premiere Pro, just like in Final
Cut Pro, you can have multiple sequences
| | 01:13 | open at the same time, and I can see
those sequences by clicking between these
| | 01:18 | different panels right here
at the top of the timeline.
| | 01:21 | Just like in Final Cut Pro, there are
various ways to navigate a sequence.
| | 01:25 | First I can press the
spacebar to begin playback.
| | 01:27 | (clip playing)
| | 01:29 | Press it again, I can stop playback.
| | 01:31 | Of course I can also use J, K, and L.
| | 01:33 | (clip playing)
| | 01:35 | I can use the left and right arrows to
go frame by frame, and of course I can
| | 01:41 | always take the playhead and simply drag it.
| | 01:45 | Now one of the things I want to bring up
is no matter how you choose to navigate
| | 01:49 | a particular sequence,
| | 01:51 | what you can always do, if you don't
like hearing that audio as you navigate,
| | 01:54 | you can always come up to the Premiere
Pro menu, down to Preferences, and then
| | 01:58 | choose the Audio category.
| | 02:00 | Here on the Audio page there is a
Preference right here, Play audio while scrubbing.
| | 02:04 | With this option enabled as you, say,
drag your playhead around or press J, K,
| | 02:08 | and L, you'll hear audio;
| | 02:10 | if you turn this off, you won't.
And some editors love to hear audio while the
| | 02:14 | scrubbing; others don't.
| | 02:16 | So the preference is really yours.
| | 02:17 | I am going to keep it turned on.
| | 02:18 | Of course there is various ways that we
can zoom in and out of a sequence here
| | 02:24 | in Premiere Pro as well.
| | 02:25 | I can use the plus and minus keys to zoom
into my playhead position, just like that.
| | 02:31 | I can also use the Zoom tool, which I
can activate by just pressing Z on the
| | 02:35 | keyboard, and then zooming in;
| | 02:38 | and if I hold down the Option key, I can
zoom out just like I can in Final Cut Pro.
| | 02:43 | Now one of the things that drives you
crazy when you first make to switch over
| | 02:46 | to Premiere Pre from Final Cut Pro is
that you'll find yourself zoomed in,
| | 02:50 | really far, like this. And in Final Cut
Pro, you probably have used the keyboard
| | 02:55 | shortcut Shift+Z to snap the clips on the
timeline or the sequence back into the viewable area.
| | 03:01 | Well, in Premiere Pro, it's not Shift+Z; it's
actually the backslash key on the keyboard.
| | 03:06 | So if I press that, the clips on the
timeline snap back into the viewable area.
| | 03:10 | Let me go ahead and switch
back to my regular Selection tool.
| | 03:13 | Of course you can select a clip in
Premiere Pro by simply just clicking on it.
| | 03:17 | You can select a range of clips by
dragging a marquee around them. And if you
| | 03:21 | press A on the keyboard, you'll get
the Track Selection tool. And after you
| | 03:25 | select the Track Selection tool, you
can simply click on a clip and all the
| | 03:29 | other clips on that track from
that point forward will be selected.
| | 03:33 | Let me go back to my regular Selection
tool just by pressing V on the keyboard.
| | 03:36 | Once you select a clip, of course you
can move it around by just dragging it.
| | 03:40 | Now the default behavior in Premiere
Pro anytime that you move a clip around is
| | 03:44 | to perform an overwrite edit, and you
can see that by the little icon that looks
| | 03:48 | like two pillars with a downward-facing arrow.
| | 03:51 | So if I was to let go right here, I'd
be performing an overwrite edit. Let me
| | 03:55 | go ahead and undo that.
| | 03:56 | If you move a clip around and say
position it right here, but you hold down the
| | 04:00 | Command key, notice the icon changes
to that same two pillars, but now with a
| | 04:05 | right-facing arrow, and this will
allow you to do an insert edit.
| | 04:09 | Let's undo that again.
| | 04:10 | You can also take a clip and then drag
it and hold down the Option and Command
| | 04:15 | keys, and this time you'll notice
that you have those two pillars, but with
| | 04:18 | sort of a curved arrow.
| | 04:20 | This lets you perform a swap edit,
just like you can in Final Cut Pro.
| | 04:25 | You can of course mark a clip
easily here in Premiere Pro.
| | 04:28 | To do that, simply select the clip
itself and then press the forward slash
| | 04:32 | key. And you can see here that an in and an
out point has been placed around the clip.
| | 04:37 | Once you have an in and out placed
around on the clip, you can come up here to
| | 04:40 | the Program Monitor and use
this button to perform a lift edit.
| | 04:44 | Notice that you can also use the
semicolon key to perform a lift edit.
| | 04:47 | If I press Lift, the clip
is removed. Let's undo that.
| | 04:52 | You can also perform a ripple edit,
but it's just called something different.
| | 04:56 | In Premiere Pro by clicking this button,
you can perform an extract. You can also
| | 05:00 | use the apostrophe key on the keyboard.
| | 05:02 | When I press that, the clip is
removed, and the rest of the clips on the
| | 05:05 | sequence ripple back.
| | 05:07 | Let's go ahead and undo that.
| | 05:09 | Just like in Final Cut Pro, you can
change the height of a clip at anytime.
| | 05:13 | To do that, simply place your cursor
between two tracks or on top of the track,
| | 05:18 | in this case of Video track 1,
and then click and drag, and you can change the
| | 05:22 | vertical height of that track.
| | 05:25 | If your timeline is getting too busy and
there is just too much going on, you can
| | 05:29 | always click this button right
here to collapse or expand a track.
| | 05:34 | I find this particularly useful for
audio tracks, but I don't need to see all of
| | 05:38 | my audio tracks. I can just
collapse them just like that.
| | 05:41 | If you expand a track, there is quite
a few buttons for both audio and video
| | 05:45 | tracks that we should talk about real quick.
| | 05:47 | First, right here with this I icon, I can
toggle the track output. If I click that,
| | 05:52 | I can no longer see the
video for that particular track.
| | 05:55 | If I click the Speaker icon for an audio
track, I won't be able to hear that track.
| | 05:59 | Down below, these visibility icons, we
have this button right here to set the
| | 06:03 | display style for a particular track.
| | 06:05 | If I click on that I can choose to show
only the head and tail of the clip, head
| | 06:09 | only, frames, and name only;
| | 06:10 | and if I click on this button for an
audio track, I can choose to show the
| | 06:14 | waveform for that track or
the name only of that track.
| | 06:18 | Clicking on this button right next to
it is the Show Keyframes button, and here
| | 06:22 | you can choose for a video track to
show keyframes or show opacity handles.
| | 06:26 | And for an audio track you can choose to
show clip keyframes or clip volume or track
| | 06:30 | keyframes or track volume.
| | 06:33 | Related to resizing a track, you can
also change the proportion of audio and
| | 06:37 | video tracks to one another.
| | 06:39 | To do that, simply place your cursor
on this thick gray line between the
| | 06:42 | video and audio tracks and drag up and
down, and you can reposition audio and
| | 06:48 | video with one another.
| | 06:49 | And one of the things I love most here in
Premiere Pro is the ability to rename a track.
| | 06:54 | To do that, I can simple right-click on
a track itself, then choose Rename, and
| | 06:59 | from here, I can type in the
name of the track that I want.
| | 07:01 | So let's call this Main Story,
and the track has been renamed.
| | 07:07 | Of course I can do the exact
same thing for audio tracks as well.
| | 07:11 | Now throughout the rest of this title,
we'll come back to some specific items
| | 07:14 | here in a sequence, as they pertain to
what we're doing in a particular movie.
| | 07:18 | But that's the basics of navigating a
sequence or timeline here in Premiere
| | 07:22 | Pro, and I think that you can see that,
in many ways, it's very similar to Final
| | 07:27 | Cut Pro.
| | Collapse this transcript |
| Exploring the work area and rendering| 00:00 | Before we go any further and start
editing things onto a sequence, I want to
| | 00:03 | spend a few minutes in this movie
talking about a few things that are a little
| | 00:06 | confusing to Final Cut Pro
editors making the move to Premiere Pro.
| | 00:10 | The first thing is to talk about what
the work area is, and then the second and
| | 00:13 | perhaps more important thing is to
discuss about the different colored
| | 00:17 | lines above clips mean.
| | 00:19 | As a Final Cut Pro editor, you are
use to seeing different colored lines
| | 00:21 | above the clips, but in the Final
Cut Pro those lines indicate different
| | 00:25 | levels of need for rendering.
| | 00:27 | The lines in Premiere Pro
don't mean exactly the same thing.
| | 00:30 | Finally, I want to discuss how we can
improve playback smoothness by adjusting
| | 00:34 | playback resolution.
| | 00:35 | Let's go ahead and jump in.
| | 00:36 | Here in Premiere Cut Pro I have a
simple sequence with a few clips on it, and
| | 00:40 | the first thing I want to
discuss is the work area.
| | 00:42 | By default, as you edit clips into a
sequence the work area expands, and the
| | 00:46 | work area can be seen by this bar right here
with these little silver handles on either end.
| | 00:51 | This little silver guy right
here is a handle for the work area.
| | 00:55 | Put simply, the work area allows you to
set a range for things like rendering.
| | 00:59 | At anytime you can expand or contract
the work area by just dragging the handle
| | 01:04 | to the left or to the right.
| | 01:06 | You can do the same thing at the
front end of the sequence as well.
| | 01:10 | Now, I mentioned rendering, and perhaps no
part of making the move to Premiere Pro
| | 01:14 | is as confusing as the different
colored lines that you see above the clips.
| | 01:18 | Here you can see I have a yellow line;
| | 01:20 | down here you can see I have a red line.
| | 01:22 | In Final Cut Pro you are used to
seeing, say, a red bar above a clip, and you
| | 01:26 | know that without a doubt you won't be able
to play back that section without rendering.
| | 01:30 | In Premiere Pro this is
not necessarily the case.
| | 01:33 | There are four types of colors,
or render bars, you might see.
| | 01:36 | First, you might not see a render bar.
| | 01:39 | I don't have an example of that in the
sequence, but if you don't see a render
| | 01:42 | bar above a clip, it means that the
clip doesn't have a render file associated
| | 01:47 | with it. And because the codec that
the clip uses is simple enough, it can be
| | 01:51 | played back without having to
have an associated render file.
| | 01:54 | If you see a red bar above the clip,
like you do down here above this cross
| | 01:58 | dissolve at the end of the sequence,
this means that the clip doesn't have a
| | 02:01 | render, or as Adobe calls them, a
preview file, associated with it.
| | 02:05 | And when you try to play it back
each frame is rendered on the fly.
| | 02:09 | Because of this, you might get
stuttered playback, but the keyword is might.
| | 02:14 | Let me go down here to the end of the
sequence and play back this section right
| | 02:17 | here, this area right here with the cross
dissolve, that has a red bar over it.
| | 02:21 | (music playing)
| | 02:24 | Okay. Remember, I said "might?"
That seemed to play back just fine.
| | 02:28 | Depending on the speed of your system,
if you have a CUDA-enabled graphics card,
| | 02:32 | or if you're using the hardware
version of Mercury Playback Engine, you might
| | 02:35 | still get playback in real
time, or very close to it.
| | 02:38 | Now again, the key word here is "might."
If you have a very complicated series of
| | 02:42 | effects on a clip and you have that
red render bar above it, you might get
| | 02:46 | some stuttery playback.
| | 02:47 | If you see a yellow bar above the
clips, like you can see here on the main
| | 02:50 | portion of the sequence, just like the
red bar, this means that the clip doesn't
| | 02:54 | have a render or preview file
associated with it. But unlike a red bar, the
| | 02:59 | chances are pretty high that this
clip will play back in real time.
| | 03:03 | So let me back up here into the
main section and begin playback.
| | 03:05 | (music playing)
| | 03:11 | Okay. That seemed to play back just fine.
| | 03:14 | Finally, if you see a green bar over a
clip, it means that the clip has a preview,
| | 03:18 | or render file, associated with it,
and the clip will almost certainly play back in
| | 03:23 | real time--pretty much guaranteed.
And we'll see a green bar in just a second.
| | 03:27 | So, on this sequence I have a mixture
of yellow and red bars, and as we saw
| | 03:31 | when we played these things back,
everything seemed to play back just fine, with no
| | 03:35 | stuttering or anything like that.
| | 03:37 | Again, we saw even with the red bar,
above a clip with this cross dissolve right
| | 03:41 | here, it still seemed to play back
in real time without any problems.
| | 03:45 | Now just for fun, let's come over here
to the Effects panel, this guy right
| | 03:49 | here. And we'll talk more about the
Effects penal in the chapter on effects
| | 03:52 | later in this title,
| | 03:54 | but what I want to do right now is
come into the search bar here and let's
| | 03:57 | type in the word "blur."
| | 03:58 | When I type the word "blur," the Effects
panels filters show me only the effects
| | 04:03 | that have the word "blur" in them.
And let's go ahead and take this effect right
| | 04:06 | here called the Gaussian Blur
and let's drag it on to this clip.
| | 04:10 | When I did that you can see that
over the clip now there is a red bar.
| | 04:14 | Well, let's back the playhead up
and begin the playback of this clip.
| | 04:16 | (music playing)
| | 04:17 | It played back just fine, but you
know what? It didn't look very blurry.
| | 04:24 | So let me go ahead and select this clip
and then come up to the Effects Controls
| | 04:28 | panel here--and again, we'll talk more
about the Effect Controls panel later on in
| | 04:32 | this title--and you can see that the
Blurriness is actually set to 0. So, no blurriness.
| | 04:36 | Well, you'd expect it played back just fine.
| | 04:38 | So let's go ahead and jack the
Blurriness up here, but I am just going to place
| | 04:41 | my cursor over this yellow text here and
drag up. And let's make it really blurry,
| | 04:46 | something like 50 or 60.
| | 04:47 | I place by playhead over the clip. Yup!
| | 04:51 | It's really blurry.
| | 04:52 | Now let's go ahead and play this back.
| | 04:53 | It seemed to play back just fine.
| | 04:58 | (music playing)
| | 05:00 | Now, this is really crazy cool.
| | 05:02 | I know in Final Cut Pro you have
real-time effects, but in my experience
| | 05:05 | in Premiere Pro adding an effect to a clip,
most of the time you don't have to render things.
| | 05:10 | Now if you do add an effect to a clip,
or if you have a red line over the clip,
| | 05:15 | and you're noticing some jerky playback,
there is something that you can do.
| | 05:18 | If you come up to the program monitor
here and right-click over the image itself
| | 05:22 | here, in this menu you'll notice
down here we have two options for Paused
| | 05:26 | Resolution--this is the resolution of
the images that we see in the program
| | 05:29 | monitor when the clip is paused--
and we have Playback Resolution.
| | 05:33 | Right now, the Playback
Resolution is set to Full quality.
| | 05:37 | Now if I notice the playback was a
little herky-jerky, one of the things I can do
| | 05:41 | is lower the resolution of the
image in the program monitor.
| | 05:46 | If you've ever used, say, After Effects,
this is very similar to dropping the
| | 05:49 | resolution of a comp so you can get
better real-time performance, or close to
| | 05:54 | real-time performance.
| | 05:55 | So let me go ahead and drop this to, say,
quarter resolution and when I play this
| | 06:00 | back now--I'll just playback this
section right here--you'll notice that the
| | 06:02 | image quality degrades a little
bit here in the program monitor.
| | 06:05 | (music playing)
| | 06:10 | So it definitely degraded, but for
purposes of real-time playback and being able
| | 06:13 | to, I don't know, edit a complex large
sequence together, this is definitely an
| | 06:17 | option you should take a look at.
| | 06:18 | Let me come back up to the program
monitor, right-click, come down to Playback
| | 06:22 | Resolution, and change this to Full.
| | 06:24 | Of course, there are going to be times
when you'll need to render. Maybe this is
| | 06:28 | because you don't want to view footage
at a lower resolution, or you can't stand
| | 06:31 | a little stuttering in playback.
| | 06:33 | So what I am going to do
is adjust by work area here.
| | 06:36 | I am going to just drag this
little handle right here and drag back.
| | 06:39 | We don't need to render this entire sequence;
| | 06:41 | let's just render this first part.
| | 06:43 | Then what I am going to do is come up
to the Sequence menu here, and here I have
| | 06:47 | a quite a few options for how I want to render.
| | 06:50 | First, I can Render only
the effects in the work area.
| | 06:53 | I can render the entire work
area, or I can just render audio.
| | 06:57 | The option that I am going to
choose is render the entire work area.
| | 07:01 | Now when I do this you are going
to see a couple of things happen.
| | 07:04 | A Render dialog will pop up, showing me
the progress of that render. And after the
| | 07:09 | render is done, the sequence will
automatically begin playing back. And I'll show
| | 07:14 | you why that is in just a
second, after the render is complete,
| | 07:17 | but right now let's go ahead and
choose Render Entire Work Area.
| | 07:20 | (music playing)
| | 07:27 | Okay. So now on top of the clip, you can see
a green line. And remember, a green line
| | 07:31 | over these clips indicates that
these clips have a preview, or render file,
| | 07:36 | associated with them, and they will
pretty much guarantee playback in real time.
| | 07:40 | Now the thing you saw after I
rendered that part of the sequence was that
| | 07:44 | playback began automatically,
and this is actually a preference.
| | 07:48 | I can come up to the Premiere Pro menu,
down to Preferences, and then to General.
| | 07:53 | And right here in the middle of the
General page you can see that Play work area
| | 07:56 | after rendering previews is selected.
| | 07:59 | I don't know about you, but this drives
me a little crazy that playback begins
| | 08:03 | automatically after rendering a section.
| | 08:05 | So I am going to go ahead and turn it
off, but in your own Preferences you can
| | 08:08 | make the choice whether you
want to have it on or off.
| | 08:10 | Now lastly, I think there are
two important things to remember.
| | 08:15 | Back in the previous chapter when
we're setting up a sequence, for most of the
| | 08:18 | sequence presets in Premiere Pro the
preview, or render files, are for really
| | 08:23 | preview only. And what I mean by that is
if you come up to the Sequence menu here
| | 08:26 | and choose Sequence Settings, you can
see that this sequence is set up to use an
| | 08:31 | I-Frame Only MPEG codec, which
for preview purposes is fine.
| | 08:36 | Back in Chapter 2, I made the case that
you can change your sequence settings
| | 08:40 | when you created a sequence, and thus
change your previews to something like
| | 08:43 | Apple ProRes or Uncompressed or
whatever you wanted for your previews.
| | 08:47 | If you did this on export, you can use
existing preview files in the Export
| | 08:51 | Settings dialog, which we'll talk about
in the later chopper. But since many of
| | 08:55 | the presets use a lower-quality
preview, like this I-Frame Only MPEG, when
| | 08:59 | exporting, you want to just make sure
you don't use existing previews, but have
| | 09:03 | new render files generated in
the Export Settings of your choice.
| | 09:07 | Again, we'll talk more about that
option in the second-to-last chapter when we
| | 09:10 | talk about exporting.
| | 09:11 | Let me go ahead and close this.
| | 09:14 | Finally, I think it's important to
remember where these render files, or
| | 09:17 | previews, are going.
| | 09:19 | When you first create a project, you can
choose the location of preview files. And
| | 09:23 | if you want to see where this location
is, at anytime you can come up to the
| | 09:27 | Project menu here, down to Project
Settings, and then Scratch Disks.
| | 09:31 | And you can see right here, for Video
Previews and the Audio Previews, they are
| | 09:35 | set to the same location as my project.
And in this case, this is going back out
| | 09:40 | to the Exercise_Files disk image
and then into the Chapter 3 folder.
| | 09:44 | Remember, I've given you a little bit
of extra room on the disk image for doing
| | 09:48 | things like generating previews and renders.
| | 09:51 | So that's a little bit more about the
work area, render bars, and playback
| | 09:54 | resolution in Premiere Pro.
| | Collapse this transcript |
| Three-point editing| 00:00 | The three-point edit,
| | 00:01 | it's a technique that lives at the heart of
editing and has for, well, pretty much ever.
| | 00:04 | The idea behind three-point editing is
that you need to have three total points
| | 00:08 | that make an edit happen.
| | 00:10 | Usually, this is an in and out in the
source clip and an in point on the
| | 00:13 | sequence, but this technique can be reversed.
| | 00:15 | You can mark, say, only an out in the
source clip and an in and out in the
| | 00:18 | sequence, and that's often
referred to as back-timing an edit.
| | 00:21 | There is a lot of variations on
three-point editing, but regardless of any of
| | 00:25 | the methods that you use,
it requires three points.
| | 00:28 | The added little ripple is that you also
need to determine where on the sequence
| | 00:33 | your source tracks are going to go to,
and then you also need to determine when
| | 00:36 | they are going to go to.
| | 00:38 | In this movie we are going to take a
look at all of that in Premiere Pro.
| | 00:41 | Let's first start out here in the Final
Cut Pro, and here in the Final Cut Pro I
| | 00:45 | am going to come up to the browser,
and let me just double-click on a clip to
| | 00:47 | load it into my viewer.
| | 00:49 | Once it's loaded, I am simply going to mark
an in and then an out point for this clip.
| | 00:54 | Down here on the sequence I can let
my playhead be an in point, but I am a
| | 00:58 | little obsessive compulsive so I am
going to go ahead and actually mark an in on
| | 01:02 | the sequence by pressing
the I key on the keyboard.
| | 01:05 | Once I mark an in point, my
playhead position is now irrelevant.
| | 01:08 | So I have marked an in and out in
the clip and an in down here, so I have
| | 01:12 | three total points.
| | 01:13 | Now I need to get it down to the
sequence, but the first thing I need to be
| | 01:16 | aware of are these controls
right here, my targeting controls.
| | 01:20 | Right now, with these little guys right
here, I can see that in my source clip I
| | 01:24 | have a video track and I have two audio
tracks. And right now they're linked to
| | 01:29 | video track 1 and A1 and
A2 here in the sequence.
| | 01:33 | Of course, if I didn't want to, say,
bring audio down onto the sequence when I
| | 01:36 | made this edit, I can click this button
right here to detach my source tracks
| | 01:41 | from the tracks on the sequence.
| | 01:42 | But let me go ahead and link those back up.
| | 01:46 | Now that I've probably marked my clip
and I've checked my target tracks here, I
| | 01:49 | am simply going to make an overwrite edit
and to do that, I have a few different choices.
| | 01:53 | I can click this button right here, or I
can use the keyboard shortcut F10, or I
| | 01:57 | can simply drag the clip over here
into the canvas and choose overwrite.
| | 02:01 | Let me choose that option. And in just
a second, you can see that the clip was
| | 02:05 | brought down to the sequence, going to
video track 1 and auto tracks 1 and 2.
| | 02:10 | Let me back the playhead up here a
little bit in between these two clips, and let
| | 02:14 | me go ahead and load a different clip.
| | 02:17 | Again, I am going to mark an in and a
out point just like that, and this time
| | 02:22 | I'll just let my playhead
position be the in point.
| | 02:25 | Now I want to do an insert edit,
and to do an insert edit, you have a verity
| | 02:29 | of choices as well.
| | 02:30 | You can click this button or use the
keyboard shortcut, or you can simply drag
| | 02:34 | it over to the canvas and choose insert.
| | 02:36 | Let me go ahead and just click this
button, and in just a second you can see that
| | 02:41 | the clip was inserted down onto the timeline.
| | 02:44 | Now of course you can reverse this process.
| | 02:47 | Let me just go ahead and mark an in
and then an out here on my sequence, and
| | 02:50 | then I am going to go ahead and double-
click on a clip from my browser, and this
| | 02:54 | time I am simply going to mark an out point.
| | 02:57 | The thing is, I still have three total
points: two here on the sequence and one
| | 03:01 | up here in the clip.
| | 03:02 | Let me go ahead and do in overwrite
edit, and predictably, the clip was edited
| | 03:07 | into the sequence, but if I double-
click on it, you can see that Final Cut Pro
| | 03:11 | automatically determined my in point.
| | 03:14 | There's a couple of more variations on
that, but let's go ahead and switch over
| | 03:17 | to Premiere Pro and take a look at
how three-point editing works there.
| | 03:21 | Here in Premiere Pro, let me go ahead
and simply double-click on a clip to load
| | 03:25 | it up into the Source Monitor. And just
like we did in Final Cut Pro, I am simply
| | 03:28 | going to mark an in point and then an out point.
| | 03:31 | Then down here on my sequence I can
let my playhead be the in point, but as I
| | 03:36 | mentioned, I am little OCD so I am
actually going to go ahead and mark an in
| | 03:39 | point here on the sequence.
| | 03:42 | Just like in Final Cut Pro once I
have marked an in, my playhead position
| | 03:45 | becomes irrelevant.
| | 03:46 | So we have three total points,
but just like in Final Cut Pro, we need to
| | 03:50 | properly set up our targets, and the way
that this works in Premiere Pro is that
| | 03:55 | over here I have a couple of different
buttons, and these are called my source
| | 03:58 | track indicators, meaning that they
indicate what my source tracks are up here
| | 04:03 | in the Source Monitor.
| | 04:04 | To properly target these tracks, what I
need to do is actually click on a track itself.
| | 04:09 | So, for example, I can click on the
video track 1, and it becomes highlighted
| | 04:13 | just like that, audio 1 and then audio 2.
| | 04:17 | To actually have this edit work, I need
to have my source track indicators on, as
| | 04:21 | they are now, and then I also
need to have these tracks selected.
| | 04:25 | These are my target tracks.
| | 04:27 | So let me go ahead and make this edit.
| | 04:29 | To perform an overwrite edit, you can
simply click this button right here, or
| | 04:33 | you can use the period key on your keyboard.
| | 04:35 | So let me go ahead and just press the button.
| | 04:38 | And if I press the backslash key here,
you can see that the clip was in fact
| | 04:42 | brought down onto the sequence.
| | 04:44 | Let me go ahead and do that one time.
| | 04:46 | Just to really nail home the idea of
these source track indicators and the
| | 04:49 | target tracks, let me go ahead and
untarget these two audio tracks and do the
| | 04:55 | overwrite edit again.
| | 04:58 | This time you can see that the video
clip was brought down to the sequence, but
| | 05:02 | not my audio tracks.
| | 05:03 | Let me undo that one more time.
| | 05:05 | I'll target these tracks again by
selecting them, and this time I am simply going
| | 05:10 | to turn off the source track
indicators and do the overwrite.
| | 05:14 | The net result is exactly the same thing.
| | 05:17 | When you want to bring only audio or
video, you can either untarget the tracks by
| | 05:22 | clicking on the name of the track,
or you can click on the source track
| | 05:25 | indicators and unselect those.
| | 05:28 | This is a quick way, as I mentioned, to bring
only audio or only video down to the sequence.
| | 05:34 | Let's undo that one more time, and I'll
do the overwrite edit again to bring both
| | 05:38 | audio and video down.
| | 05:39 | Just like in Final Cut Pro of course,
we can do an insert edit and to do an
| | 05:43 | insert edit, I am simply going to place
my playhead between these two clips like
| | 05:46 | right here. And then let me go ahead and
load a different clip up, this guy right
| | 05:50 | here, and I'll mark an in and
I'll mark an out just like that.
| | 05:54 | Of course, down here I need to pay
attention to my source track indicators and
| | 05:57 | my target controls,
but they are set up properly.
| | 06:00 | So let me go ahead and click this
button right here to do an insert edit.
| | 06:03 | Notice that you can also use the
keyboard shortcut, comma, on the keyboard.
| | 06:07 | So let me press the key and
predictably, the clip was inserted.
| | 06:12 | Now just like in Final Cut Pro, we can
also back-time or forward-time an edit.
| | 06:16 | Let me come down here onto the
sequence, and I am going to mark an in point
| | 06:19 | right here, and I am going to mark an
out point down here towards the end of the
| | 06:23 | clip, right about there.
| | 06:25 | Then let me load a different clip up
into the Source Monitor, this guy right
| | 06:28 | here, and I am simply going to mark just an out
point. And then I'll perform an overwrite edit.
| | 06:35 | Just like in the Final Cut Pro, the clip
went down into the sequence, but if I
| | 06:38 | double-click on it to load it back up
into the Source Monitor and then zoom out
| | 06:42 | a little bit here, you can see that
Premiere Pro automatically determined what
| | 06:48 | my in point should be based on the
duration of my marks down in the sequence.
| | 06:52 | Now there is one last thing I want to
take a look at here in Premiere Pro about
| | 06:56 | three-point editing that we
didn't take a look at in Final Cut Pro.
| | 07:00 | Let's say you want to edit a clip
onto a different track. Well, it's easy.
| | 07:04 | What I am going to do first is simply
add some more tracks by right-clicking
| | 07:07 | here and choosing Add Tracks.
| | 07:09 | I am then going to add one more video
track, and I am going to add two more audio
| | 07:14 | tracks. And I will make those
audio tracks Mono and click OK.
| | 07:18 | So now down here on my sequence of
course, you can see that I have Video 2 and
| | 07:22 | then if I scroll down a little bit, A3 and A4.
| | 07:25 | Let's load a different clip up into the
Source Monitor here, this guy right here.
| | 07:30 | I'll mark an in, and I'll mark an out.
| | 07:33 | Then what I need to do, as we talked
about before, is change my source track
| | 07:36 | indicators to those other tracks
just like this, by dragging. Oops!
| | 07:40 | I am going to drag down a little bit
here. I want this guy to go to 4, and then we
| | 07:45 | want A1 to get down to 3, just like that.
| | 07:50 | Now just because I have changed my
source track indicators, that does not mean
| | 07:53 | that the clip is going to
go onto V2 and A3 and A4;
| | 07:56 | I also need to target those tracks.
| | 07:59 | Now you'll notice that you can actually
target multiple tracks at the same time.
| | 08:03 | In my usual workflow I usually just
target all of my tracks and then change
| | 08:08 | which track the clip is going to go to
by using the source track indicators, but
| | 08:12 | you can work that out on
your own for your own workflow.
| | 08:15 | So now that I have targeted V2 and I
have my source track indicator there and I
| | 08:19 | have targeted A3 and A4 and I have my
source track indicators there, let's go
| | 08:23 | ahead and do an overwrite edit. Press the
backslash key to snap the timeline back
| | 08:28 | in the view and predictably, the clip
went onto video track 2 and then down here
| | 08:33 | onto audio tracks 3 and 4.
| | 08:36 | So that's the basics of three-point
editing in Premiere Pro, and I think that you
| | 08:40 | can see it's a very
similar process to Final Cut Pro.
| | Collapse this transcript |
| Dragging and dropping clips| 00:00 | Earlier in this chapter, we talked
about three-point editing, and to be honest,
| | 00:03 | that's still my favorite way of editing;
| | 00:05 | however, when tools like Final Cut
Pro and Premiere Pro first came on the
| | 00:08 | market, because they were so "mousy,"
people really came to love drag-and-drop editing.
| | 00:13 | Now don't get me wrong:
| | 00:14 | I love drag-and-drop editing.
| | 00:16 | It's just that I see people
get in trouble with it every day.
| | 00:19 | And not knowing the basics of
three-point editing, well, they kind of get stuck.
| | 00:23 | However, if you're a drag-and-drop
type person, then hey, more power to you!
| | 00:26 | And in this movie, we will take a look at
drag-and-drop editing inside of Premiere Pro,
| | 00:30 | but first, let's start
out here in Final Cut Pro.
| | 00:32 | Up here in my Browser in Final Cut Pro, I
have a bin of footage with a few clips in it.
| | 00:36 | Let me go ahead and double-
click on one of these clips.
| | 00:39 | This one we will work. And I am simply going to
mark an in and an out point on the clip.
| | 00:44 | Now to actually drag this clip into the
sequence itself, all I need to do here
| | 00:47 | is click in the middle of the clip right
here on the image and then drag down to
| | 00:51 | the sequence, just like this.
| | 00:53 | Now what I want you to
notice is a few different things.
| | 00:55 | When I drag that clip, by default
it tried to snap to the tracks that I
| | 00:59 | have targeted with the target controls over
there on the left-hand side of the sequence.
| | 01:04 | Also, if I try to position this clip
left and right, you'll notice that it snaps
| | 01:08 | to the end of the previous clip.
| | 01:10 | This is because Snapping is enabled.
| | 01:13 | I can toggle Snapping on
and off by pressing the N key.
| | 01:16 | With it off, I can now
freely position this clip.
| | 01:19 | Now just because when you dragged the
clip it tried to snap to those target
| | 01:22 | tracks, you can also position it of
course wherever you want, just like that.
| | 01:27 | The other thing I want you to notice
right now on this clip is that there's a
| | 01:30 | downward-facing arrow and the
outline of a clip is opaque.
| | 01:33 | This indicates that I'll
be doing an overwrite edit.
| | 01:36 | If I drag my cursor up a little bit
like this, you will notice that the outline
| | 01:40 | of the clip changes, and I now have a
right-facing arrow, indicating that I'll be
| | 01:44 | doing an insert edit.
| | 01:46 | Let's go ahead and do an overwrite
edit and position it at the end of this
| | 01:50 | first clip, and I'll let go.
| | 01:52 | And you can see the clip was
overwritten onto the sequence.
| | 01:55 | Now what determines whether you will be
doing an overwrite or an insert is this
| | 01:58 | thin gray line here in the middle
of every track in Final Cut Pro.
| | 02:03 | With your cursor below that line, you
will be performing an overwrite edit.
| | 02:06 | With your cursor above that line,
you will be doing an insert edit.
| | 02:10 | Let's position the playhead back
between these two clips, and let's go ahead
| | 02:13 | and load up a different clip into the viewer.
And I'll mark an in and I'll mark an out.
| | 02:19 | This time I will drag the clip down
onto the sequence and I am looking for the
| | 02:22 | right-facing arrow like that
and I let go, and there you go:
| | 02:26 | I have gone ahead and done an insert edit.
| | 02:29 | Now sometimes you want to bring only
the video or only the audio down to the
| | 02:33 | sequence when you're dragging and dropping.
| | 02:35 | And you can accomplish this task
easily with these target controls over here.
| | 02:40 | So let's say that you only wanted to
bring video down unto the sequence.
| | 02:43 | Well, if you click these source controls
right here and disconnect them from the
| | 02:47 | tracks on the sequence, when you drag
and drop a clip, only video is going to
| | 02:51 | come down to the sequence.
| | 02:52 | Let's see if this actually works.
| | 02:54 | I will go ahead and double-click on a new clip
here, and I'll mark an in, and I'll mark an out.
| | 02:59 | And I will drag this down onto the
sequence again, and I am looking for the right-
| | 03:02 | facing arrow to do an
insert edit. And there you go!
| | 03:05 | You can see that only the video
was brought down onto the sequence.
| | 03:09 | Now, there is only one more thing I want
to talk about here in Final Cut Pro, and
| | 03:13 | that's the idea of copying and pasting
clips, as this goes hand in hand with the
| | 03:18 | ideology of drag-and-drop editing.
| | 03:21 | To copy a clip, all I need to do is
select the clip itself and then press
| | 03:24 | Command+C on the keyboard to copy it.
| | 03:27 | I can also press Command+X to cut it.
| | 03:29 | Once I have copied the clip--let
me go down a little further in time,
| | 03:32 | somewhere like right here--
| | 03:33 | and now I am going to press
Command+V to paste the clip, just like that.
| | 03:38 | Now you will notice that the clip was
pasted onto the same tracks that it was
| | 03:41 | originally copied from,
| | 03:42 | so V1 and A1 and A2.
| | 03:44 | Let me go ahead and undo that.
| | 03:46 | You can paste clips onto different
tracks, and how you do that is determined by
| | 03:50 | this button right here
called the Auto Select button.
| | 03:53 | What I am going to do is disable Auto
Select for Video track 1 here, and then
| | 03:58 | I'm going to paste the clip again.
| | 04:00 | And now you can see the video
portion was pasted onto Video track 2.
| | 04:04 | That's because Video track 2 has
its Auto Select button enabled.
| | 04:08 | Okay, let's go ahead and switch over to
Premiere Pro and take look at how these
| | 04:11 | functions work there.
| | 04:14 | Okay, here inside of Premiere
Pro, I have the same bin of Footage.
| | 04:17 | And what I am going to do is simply
double-click on a clip to load it up into
| | 04:21 | my Source Monitor, and then I am going to
mark an in point and an out point, just like that.
| | 04:26 | Now just like Final Cut Pro, to drag
the clip, all you need to do is click on
| | 04:30 | the clip itself here in the image and
then drag it down onto the sequence.
| | 04:33 | Now just like in Final Cut Pro,
Premiere Pro attempts to snap the clip to the
| | 04:38 | tracks that you have targeted,
but you can position it wherever you want.
| | 04:42 | Also just like in Final Cut Pro,
Premiere Pro automatically tries to snap the
| | 04:46 | clip, just like this, when you
position the clip left and right.
| | 04:49 | And you can toggle Snapping on and off
by pressing the S key on the keyboard.
| | 04:54 | Once it's turned off,
you can freely position this clip.
| | 04:56 | I'm going to turn it back on and
place it right on the end of that clip.
| | 05:01 | Now notice on the clip itself I have an
icon that looks like two pillars with a
| | 05:06 | downward-facing arrow.
| | 05:07 | This is indicating that I am
going to be doing an overwrite edit.
| | 05:10 | And here's a big difference
between Final Cut Pro and Premiere Pro.
| | 05:14 | Anytime that you drag in Premiere Pro,
the default is to do an overwrite edit.
| | 05:19 | There is no little line in the
middle of a track, or anything like that, to
| | 05:23 | determine whether you are going to be
doing an overwrite edit or an insert edit.
| | 05:26 | You actually have to press the
key if you want to do an insert.
| | 05:30 | So right now, as I said, I have these
two pillars and a downward-facing arrow,
| | 05:33 | indicating that I am going
to be doing an overwrite edit.
| | 05:35 | But if I press the Command key, notice
that I have those same two pillars, but I
| | 05:39 | have a right-facing arrow, indicating
that I will be doing an insert edit.
| | 05:44 | And to be honest with you, I love this system.
| | 05:47 | It takes a lot of the guesswork, or
rather, the mistakes that often creep in when
| | 05:52 | you're doing drag-and-drop editing in
Final Cut Pro, because you actually have to
| | 05:55 | press a key to do an insert.
| | 05:57 | By default, Premiere Pro is
trying to do an overwrite.
| | 06:01 | So let me go ahead and let go right
here, and then I will press the backslash
| | 06:05 | key to snap the timeline into the viewable area,
| | 06:07 | and you can see that I
overwrote this clip onto the sequence.
| | 06:11 | Let's go ahead with our playhead
positioned between these two clips still, come
| | 06:14 | up to the Project panel, and once
again double-click on a new clip to load it
| | 06:18 | into the Source Monitor here.
| | 06:19 | And then I am going to mark an
in point and a new out point.
| | 06:24 | This time I am going to drag the clip
down into the sequence and by default, it
| | 06:28 | tries to do an overwrite edit.
| | 06:30 | But if I hold down the Command key,
I can do an insert, just like this.
| | 06:33 | Now if I press the Backslash key again, you
can see that the clip was in fact inserted.
| | 06:39 | Now sometimes, just like in Final Cut
Pro, you want to drag a clip down into a
| | 06:43 | sequence, but you only
want to bring audio or video.
| | 06:46 | So let's go ahead and double-click on
a new clip here in the Project panel.
| | 06:49 | This guy will work. And I will mark an in
point and I will mark an out point right here.
| | 06:54 | Now unlike Final Cut Pro, you don't
actually have to worry about the target and
| | 06:58 | source track indicator
controls here on the sequence itself.
| | 07:01 | Notice below the image of the clip
here in the Source Monitor there are two
| | 07:05 | buttons: this one that looks like a filmstrip
and this one that looks like a speaker icon.
| | 07:10 | By dragging the filmstrip icon, you can
drag, as the little flag says here, Drag
| | 07:14 | Video Only or Drag Audio Only.
| | 07:17 | Let me go ahead and drag video only
down here to the sequence and I will hold
| | 07:20 | down the Command key to do
an insert, and there you go:
| | 07:24 | you can see that I inserted only the video.
| | 07:27 | in my mind, this way of doing things
is a little more simple and a couple
| | 07:31 | less steps than the way that
you do it in Final Cut Pro.
| | 07:34 | Okay, the last thing I want to talk
about is the idea of copying and pasting
| | 07:38 | clips in Premiere Pro.
| | 07:39 | Let me go ahead and select this clip
right here at the end of the sequence, and I
| | 07:43 | am going to press Command+C to copy it.
| | 07:45 | I will then come down a little later
in time and press Command+V to paste it.
| | 07:50 | And just like in Final Cut Pro,
the clip is pasted onto the same tracks that
| | 07:55 | it was copied from.
| | 07:56 | But unlike Final Cut Pro when you
want to paste onto a new track, there is
| | 07:59 | no Auto Select button.
| | 08:01 | So what you need to do is target a new track.
| | 08:04 | Right now, I have Video track 1
targeted, and you can see that it's targeted
| | 08:08 | because it's highlighted like this.
| | 08:09 | Let me go ahead and untarget it,
and then I will target Video track 2.
| | 08:14 | I will come down here a little
later in time and paste again.
| | 08:18 | And now you can see that the clip, or
the video portion of the clip anyway, was
| | 08:22 | pasted onto the Video track 2.
| | 08:25 | Okay, so that's drag-and-
drop editing in Premiere Pro.
| | 08:28 | And although it's slightly different than
Final Cut Pro, in many ways it's the same.
| | 08:33 | I do have to say that I really like the
ability to drag and drop only audio or
| | 08:37 | video without having to target specific tracks.
| | 08:40 | And I also like the ability to get
around the Auto Select button by only having
| | 08:44 | to target tracks in Premiere Pro.
| | 08:46 | But in most ways, you can see that it's
pretty similar to drag-and-drop editing
| | 08:50 | inside of Final Cut Pro.
| | Collapse this transcript |
| Replacing clips| 00:00 | As an editor, you probably know the feeling
of not getting an edit right the first time.
| | 00:04 | Of course there are lots of
techniques that go into refining an edit, such as
| | 00:07 | trimming, but sometimes a more drastic
approach is needed: replacing a clip.
| | 00:12 | in this movie I want to talk about a
few different techniques for replacing a
| | 00:15 | clip inside of Premiere Pro,
| | 00:16 | but let's first start out here in Final
Cut Pro. And perhaps the most obvious way
| | 00:20 | to replace a clip is by coming down
into the sequence itself and marking that
| | 00:24 | clip by pressing the X key on the
keyboard. Once you have the clip marked, you
| | 00:28 | can come over to your
browser and load up a new clip.
| | 00:31 | And from here you can mark a new in
point to forward-time the edit, or you can
| | 00:35 | mark a new out point to back-time the edit.
| | 00:37 | Let's go down here and mark a new out
point in this clip so we can back-time it.
| | 00:41 | Once I have marked that out point, I am
simply going to drag this clip over to
| | 00:45 | the canvas and choose Overwrite.
| | 00:47 | And the clip has essentially been
replaced, but of course what really happened
| | 00:51 | is that when I did that overwrite, Final
Cut Pro automatically determined what my
| | 00:55 | new in point for this source clip should be.
| | 00:57 | Let's go ahead and undo that, and then
I am going to go ahead and clear my in
| | 01:01 | and out points on the sequence by
pressing Option+X. Then let's go ahead and
| | 01:06 | double-click on that same source to
load it back into the viewer, and I will
| | 01:10 | clear this out point by pressing
Option+O. The other option that we have is to
| | 01:14 | use an edit type called a replace edit.
| | 01:17 | This functionality has always been in
Final Cut Pro, but for whatever reason, a
| | 01:20 | lot of editors don't realize how it works.
| | 01:23 | I like to think of a replace edit as a
synch edit. And what I mean is that it's
| | 01:27 | not the in and out points that make
the edit, but rather the position of the
| | 01:30 | playhead here in the source clip and the
position of the playhead down here in the sequence.
| | 01:35 | Down here in the sequence, let me go
ahead and position my playhead back to the
| | 01:38 | beginning of this clip.
| | 01:41 | Then here in the source clip, let me
position the playhead and right about here.
| | 01:44 | I am then going to take this
clip and drag it over to the canvas,
| | 01:48 | but before I do that, I want you to pay
attention to this frame that I am seeing
| | 01:51 | here on the source clip here in the viewer.
| | 01:54 | Drag this clip over to the canvas,
and I am going to choose this option right
| | 01:57 | here called Replace and when I
let go, the clip has been replaced.
| | 02:01 | But what I want you to really notice
is that if I look at this first frame of
| | 02:05 | the clip in the sequence--and I can
see that here in the canvas--it's exactly
| | 02:08 | the same frame as I have my
playhead on here in the viewer.
| | 02:13 | That's why I like to think of
it as a synch edit. So undo that.
| | 02:17 | We can of course position our playhead
down later in time here on the sequence,
| | 02:21 | say right there, and up here in the
viewer I will leave my playhead in the same
| | 02:25 | position. And now I am going to
go ahead and do another replace.
| | 02:30 | This time you can see that the frame
that I am currently viewing here in the
| | 02:33 | sequence, right here where my playhead
is, is again the same exact frame as I
| | 02:38 | saw here in the viewer.
| | 02:40 | Of course, for replace edits to work
properly, you must have enough media in the
| | 02:43 | source clip to match the duration of the
clip you are replacing on the sequence.
| | 02:48 | Let's switch over to Premiere Pro
and see how we can replace clips there.
| | 02:51 | While you can do the same type of
marking and back-timing and forward-timing as
| | 02:56 | you can in Final Cut Pro, Premiere Pro
has two cool ways of replacing a clip
| | 03:00 | that Final Cut Pro doesn't.
| | 03:02 | Here on this sequence I would like to
replace the same clip that we replaced
| | 03:05 | before, and what I am going to do is
come over to this clip here in the Project
| | 03:09 | panel, this guy right here.
| | 03:11 | Now I'm not going to actually mark
any ins and out points on this clip yet.
| | 03:15 | What I am going to do is simply drag the clip to
the clip on the sequence that I want to replace.
| | 03:20 | But while I am dragging, I am
going to hold down the Option key.
| | 03:24 | With the Option key held down when I
drag the new clip onto the clip in the
| | 03:27 | sequence, you will notice
this little green plus button.
| | 03:30 | This indicates that I am going to be
replacing the clip on the sequence with the
| | 03:34 | clip that I am dragging.
| | 03:35 | Let's go ahead and let go,
and voila, the clip is replaced.
| | 03:39 | Now the important thing to keep in
mind about this is that when you replace a
| | 03:42 | clip by dragging and holding the
Option key the in point of the new clip is
| | 03:46 | used to define the edit.
| | 03:48 | So in this case since I didn't have
any in or out points on the new clip, the
| | 03:52 | start of the media was used.
| | 03:54 | Let's go ahead and undo that.
| | 03:56 | This time let's go ahead and double-
click on the clip here in the browser to
| | 04:00 | load it into the Source Monitor.
| | 04:01 | And what I am going to do is mark a new
in point right about here, but this time
| | 04:05 | I am going to drag from the Source Monitor.
| | 04:07 | So I am going to drag down to
the clip here on the sequence.
| | 04:10 | Again, I am going to hold down
the Option key, and I'll let go.
| | 04:14 | Now over here in the Program Monitor
you can see this first frame of the clip
| | 04:18 | matches the in point that I have
over here in the Source Monitor.
| | 04:22 | When you replace a clip by dragging
and then holding down the Option key and
| | 04:25 | dragging a new clip onto an existing
clip in the sequence, Premiere Pro will
| | 04:29 | respect a clip's in point that
you've marked in the Source Monitor.
| | 04:33 | Now as we just saw when I dragged and I
held down the Option key, I replaced the
| | 04:38 | clip, and the in point of
the Source clip was used.
| | 04:41 | However, you can actually do the
opposite and use the in point of the clip that
| | 04:44 | you're trying to replace to define the edit.
| | 04:47 | Now I am not actually going to do this,
but if you want to do it on your own, all
| | 04:50 | you need to do is when you drag the new
clip to the clip on the sequence, is hold
| | 04:54 | down Shift+Option key.
| | 04:56 | As I said, the clip that you're trying
to replace, the one on the sequence, that
| | 05:00 | clip's in point will be used to define the edit.
| | 05:03 | Next, we can replace clips in a
manner very similar to the Replace Edit
| | 05:07 | command in Final Cut Pro.
| | 05:09 | Let's go ahead and undo that last
replace, and then up here in the Source
| | 05:13 | Monitor let me go ahead and press the G key
on the keyboard to clear this clip's in point.
| | 05:18 | Just like in Final Cut Pro, using the
Replace Clip command that we will use in
| | 05:21 | just one second synchs playheads in the
source to the playhead on the sequence to
| | 05:26 | make the replacement.
| | 05:27 | So what I am going to do is position
my playhead down here on the sequence at
| | 05:30 | the beginning of this clip, and then
we'll position the playhead here in the
| | 05:33 | source, somewhere right about there.
| | 05:35 | Again, pay attention to this frame
that loaded here into the Source Monitor.
| | 05:39 | But before I actually do this
replace, I need to do one important thing.
| | 05:43 | I need to come down to the sequence and
actually select the clip that I want to
| | 05:48 | replace, just like that.
| | 05:49 | Now that we have done that, let's come
up to the Clip menu here and then down to
| | 05:53 | this option, Replace With Clip.
| | 05:55 | There are a couple of options here,
but one of the options that you will see is
| | 05:58 | From Source Monitor.
| | 05:59 | So you can use the clip that you
have loaded into the Source Monitor and
| | 06:03 | synchronize the playheads to do the replace.
| | 06:05 | Let me go ahead and choose this option,
and just like that, the replace happened.
| | 06:09 | Now just like in Final Cut Pro, you can
see that the first frame of the clip that
| | 06:12 | we have in a sequence, as you can see
right in the Program Monitor, is exactly
| | 06:16 | the same as the frame that we have the
playhead on here in the Source Monitor.
| | 06:21 | Let's undo that one more time.
| | 06:23 | Now just like in Final Cut Pro, I can
come down later into the clip, say right
| | 06:28 | about here, and I can reposition my
playhead up here in the Source Monitor,
| | 06:32 | say right about there, and then of
course with the clip still selected down
| | 06:35 | here in the sequence, if I come back
up to Clip, then down to Replace Clip >
| | 06:39 | From Source Monitor, just like in
Final Cut Pro, those playhead positions are
| | 06:44 | once again synchronized.
| | 06:45 | So this playhead position, as I can see
in the Program Monitor, matches that same
| | 06:49 | frame, or playhead position
that I had in my Source Monitor.
| | 06:52 | Switching gears slightly.
| | 06:53 | Sometimes as you edit a project you'll
have clips that are maybe stock footage
| | 06:57 | with watermarks on them ,,\or maybe you
have temporary or initial renders and
| | 07:01 | other cases like that.
| | 07:02 | Eventually, you want to replace those
clips, but you don't want to have to
| | 07:05 | reinvent the wheel, as you will probably
already have those items in a sequence.
| | 07:08 | So to facilitate this type of edit, you
can replace footage on the project level
| | 07:13 | and have that replacement ripple
through the project. Now one big note:
| | 07:17 | this action is undoable, meaning
that you can't choose Edit > Undo or use
| | 07:21 | Command+Z. When you replace a clip, you are
pointing Premiere to a new file to link to.
| | 07:27 | If you made a mistake, the only way to undo
is to re-point Premiere to the original clip.
| | 07:33 | So if I come down here to the second
clip on the sequence, you can see that
| | 07:36 | there's a watermark on this clip.
| | 07:38 | But I've actually received the clean,
or un-watermarked, footage, and I want
| | 07:42 | to replace this clip.
| | 07:44 | So to do this, what I am going to do is
come over to the Project panel here and
| | 07:46 | select this clip, and then I am going
to come up to the Clip menu and then down
| | 07:51 | to this option right
here called Replace Footage.
| | 07:54 | in the Replace Footage dialog box, let's
navigate back out to the Exercise_Files
| | 07:58 | disk image right here.
| | 08:00 | We will go into the Chapter 03 folder
and then to this folder right here called
| | 08:03 | Chapter Specific Media. And then right
here I can choose the Replacement Clip.
| | 08:08 | Just keep in mind that you do have this
option right here labeled Rename Clip to File Name.
| | 08:13 | What this allows you to do is
rename the clip in Premiere Pro with the
| | 08:17 | new footage file name.
| | 08:19 | So we will leave that
checked, and then let's click Open.
| | 08:22 | In just a second, you can see that the
clip has been replaced throughout the
| | 08:25 | project, including down here on the sequence.
| | 08:28 | You will notice that the watermark is
gone and because we have that option
| | 08:31 | selected for renaming the clip, the
new clip is now called Replacement Clip.
| | 08:37 | So that's replacing clips in Premiere Pro.
| | 08:39 | I think that you can see that it's
pretty easy and in fact, in some ways,
| | 08:42 | better than in Final Cut Pro, as we
have a couple of additional options for
| | 08:46 | replacing clips.
| | Collapse this transcript |
| Retiming clips| 00:00 | Adjusting the speed of a clip is something
that you need to do all the time as an editor.
| | 00:03 | Sometimes this is to make a
clip fit a specific amount of time.
| | 00:07 | This is generally called a fit-to-fill edit.
| | 00:09 | More commonly though, you will use speed
changes to create a special type of an effect.
| | 00:13 | For example, you might slow
down a clip, speed it up, or some
| | 00:16 | combination thereof.
| | 00:18 | in this movie I want to take a look at
re-timing clips in Premiere Pro to achieve
| | 00:22 | both fit-to-fills and general speed changes.
| | 00:24 | Now before we begin, I just want to
say that we are not going to cover every
| | 00:28 | single way to make a speech change
in Final Cit Pro, or in Premiere Pro.
| | 00:32 | Depending on the situation that you find
yourself in as an editor, you might have
| | 00:35 | to use one method or a different method.
| | 00:38 | I also want to say that in Premiere
Pro we have almost all of the different
| | 00:41 | methods to create speed
changes that we do in Final Cut Pro.
| | 00:45 | Now let's start out here in Final Cut
Pro, and perhaps one of the simplest kinds
| | 00:48 | of speed changes that you can
make is called a fit-to-fill edit.
| | 00:51 | Let me go over here to my browser and
double-click on this clip to load it into
| | 00:54 | the viewer. And what I am going to do is
mark an in and an out point around the
| | 00:58 | trick that the snowboarder is performing.
| | 01:00 | I will mark an in right about
here and an out right about there.
| | 01:08 | Then down here in my sequence,
you will notice that I have a gap.
| | 01:10 | Let me place my playhead in the
middle of that gap and then press X on the
| | 01:13 | keyboard to mark that gap.
| | 01:15 | Notice that my source clip is
1 second and 20 frames long and that the gap
| | 01:20 | that I have marked--and I can see
that over here on the canvas--is 4 seconds
| | 01:23 | and 16 frames long.
| | 01:25 | So it's to get 1 second and 20 frames into 4
seconds and 16 frames, something's got to give.
| | 01:30 | Well, one of the ways that I can make
this work is by doing a fit-to-fill edit.
| | 01:34 | I am simply going to take this clip
and drag it over here to the canvas and
| | 01:37 | choose this option labeled Fit to Fill.
| | 01:39 | In just a second you can see that the
clip went into the sequence, but also
| | 01:43 | notice right here on the clip, it says 36%.
| | 01:46 | That's because the clip was
slowed down to fit that gap.
| | 01:49 | Of course, if you had a clip that was
longer and then you had a shorter gap on
| | 01:52 | the sequence, the opposite would happen.
| | 01:54 | No more often than not though, you
want to make speed changes for aesthetic
| | 01:58 | reasons, and in Final Cut Pro that's easy to do.
| | 02:01 | You can simply select a clip and then
press Command+J to get the Change Speed
| | 02:05 | dialog. And in this dialog you have a
variety of controls to make both constant-
| | 02:09 | and variable-speed changes.
| | 02:11 | For right now though, I am just going to
make a simple constant-speed change by
| | 02:15 | coming into the Rate box here and typing in 50%.
| | 02:18 | There are some other options down
here for Smoothing, thus creating variable
| | 02:21 | speed effects, and then these options
down here like Ripple Sequence, Frame
| | 02:25 | Blending, and Scaling Attributes.
| | 02:27 | Let's leave these set to where they are.
| | 02:29 | I am just going to go ahead and click OK.
| | 02:31 | Down here on the sequence, you can see
that the clip was adjusted to 50%.
| | 02:35 | And because I had that Ripple option
turned on, the rest of the clips in the
| | 02:38 | sequence were pushed down further in time.
| | 02:41 | Another way that I have to make a
speed change in Final Cut Pro is by
| | 02:44 | simply activating the Speed tool, or you can
activate it by pressing SSS in the keyboard.
| | 02:49 | With the Speed tool active, you can
simply come to the in or out point of a clip
| | 02:53 | and drag just like you were trimming,
something like this, and when you let go, you
| | 02:58 | can adjust the speed of the clip.
| | 02:59 | Of course, if you choose to show your
clip keyframes, you can come in here with
| | 03:03 | the Speed tool and create
variable-speed effects, just like this.
| | 03:09 | The last common way to make a speed
change in Final Cut Pro is to simply
| | 03:12 | double-click on a clip to load it into
the viewer. And then if you rip the Motion
| | 03:15 | tab off, this guy right here, and then
come down to the Speed graph, you can use
| | 03:20 | the Pen tool to create a variable-speed change.
| | 03:24 | Let's go ahead and switch over to
Premiere Pro and take a look at how we can make
| | 03:27 | most of the speed changes over there.
| | 03:30 | Here on Premiere Pro, I have the same
sequence and the same clips over in my Project
| | 03:33 | panel, and the first speech change that
I want to make is the fit-to-fill edit.
| | 03:37 | So let me go ahead and double-click on
this clip right here in my Project panel
| | 03:41 | to load it up into the Source monitor.
| | 03:43 | And just like we did in Final Cut Pro, I
am going to mark an in and an out around
| | 03:47 | the trick that the snowboarder is performing.
| | 03:48 | So I will mark an in right
there and an out right about there.
| | 03:55 | It wasn't exactly the same in and out that
I made in Final Cut Pro, but close enough.
| | 03:58 | And you can see right here that the
clip's duration is 1 second and 21 frames long.
| | 04:03 | Down here in my sequence, I have that
same gap that we had over in Final Cut Pro.
| | 04:07 | To select this gap, I am simply going
to click on it, and then I am going to
| | 04:11 | use the forward slash key on the keyboard,
which is the same key as the question mark key.
| | 04:16 | When I press that, I can easily mark the gap.
| | 04:18 | You will notice the in and out point right here.
| | 04:20 | Then let's come back up the Source
Monitor, and I am going to click this button
| | 04:24 | right here to perform an overwrite edit.
| | 04:25 | You can also use the keyboard
shortcut period on the keyboard.
| | 04:29 | When I press that, I get this
dialog right here labeled Fit Clip.
| | 04:33 | See the thing is, Premiere Pro is
actually smart enough to recognize that the
| | 04:36 | clip that you marked in the Source
Monitor is of a different duration than the
| | 04:40 | gap that we marked down in the sequence.
| | 04:43 | So you have several options, but one
of the options that we have is to change
| | 04:47 | the clip's speed, or fit-to-fill.
| | 04:49 | Let's go ahead and choose that option.
| | 04:50 | And I will go ahead and click OK,
and predictably the clip went into the sequence.
| | 04:56 | Now the thing I didn't mentioned in
Final Cut Pro that I will mention here in
| | 04:59 | Premiere Pro is that when you do fit-to-
fill edits is your audio will also change speed.
| | 05:04 | So let me go ahead and undo that,
and what I want to do this time is simply come
| | 05:08 | over here to my source track indicators
for my audio channels and turn them off,
| | 05:12 | just like that. And then I will perform
the fit-to-fill once again, and this time
| | 05:17 | only the video goes into the sequence.
| | 05:20 | You will notice right here, just like in
Final Cut Pro, the clip was slowed down,
| | 05:23 | and here it's 37.5%.
| | 05:26 | Just like in Final Cut Pro, you'll
want to make speed changes for aesthetic
| | 05:29 | reasons, and that's really easy
to do in Premiere Pro as well.
| | 05:32 | So I will simply select this first
clip here in the sequence, and then I am
| | 05:36 | going to use the keyboard shortcut
Command+R, and the way that I remember this
| | 05:39 | keyboard shortcut is R for rate.
| | 05:42 | And when I press that, I get the Clip
Speed/Duration dialog box, and this is
| | 05:45 | similar to the controls that I had in
the Speed dialog back in Final Cut Pro.
| | 05:49 | I am just going to make a
constant-speed adjustment here.
| | 05:52 | I will change this to 50%. And down
here I have several other options.
| | 05:56 | I can of course reverse the speed. I can
choose to ripple the edit, which I will select.
| | 06:00 | But then right here is a very cool
option that I don't actually have in Final
| | 06:03 | Cut Pro, and that's to maintain audio pitch.
| | 06:06 | When you perform the speed change
Premiere Pro will try to maintain the audio
| | 06:11 | pitch of your audio tracks.
| | 06:13 | Now when you are making large speed
changes, this doesn't work particularly well;
| | 06:16 | but if you are making small speed
changes, say 1% or 2%, give this a go, as it can
| | 06:21 | generally work pretty well in those situations.
| | 06:24 | But for right now, I will leave this
unchecked and go ahead and click OK.
| | 06:28 | And you can see that the clip was
slowed down to 50% here on my sequence and
| | 06:32 | because I have that Ripple option on,
the rest of the clips in the sequence were
| | 06:35 | pushed down further in time.
| | 06:37 | Now in Premiere Pro we have a
tool called the Rate Stretch tool.
| | 06:40 | It's just this guy right here. Or you can
activate it by pressing X on the keyboard.
| | 06:44 | This operates in a very similar fashion
to the Speed tool back in Final Cut Pro.
| | 06:49 | With the Rate Stretch tool selected,
I am simply going to come to the end of
| | 06:52 | this clip and drag out, just like we
did with the Speed tool in Final Cut Pro.
| | 06:56 | This is cool because you can change the
speed of a clip in a similar method to
| | 07:00 | how you would, say, trim a clip.
| | 07:01 | Then when I let go, you can see that
the speed of the clip has been adjusted.
| | 07:06 | Now there is one more thing I want to
talk about in Premiere Pro, and that's
| | 07:09 | variable-speed changes.
| | 07:10 | To make a variable-speed change, what
I am going to do is simply select this
| | 07:14 | third clip, this guy right here,
and then double-click on it to load it up into
| | 07:17 | the Source Monitor and come over to
the Effect Controls tab right here.
| | 07:21 | Here in the Effect Controls tab
we have all of our video effects.
| | 07:25 | Now some of these effects, like Motion,
Opacity, and Time Remapping, are what are
| | 07:28 | known as fixed, or intrinsic, effects,
meaning that they appear on every single
| | 07:33 | clip. And these are things that you're
used to seeing in the Motion tab in Final
| | 07:38 | Cut Pro, but here in Premiere Pro they
are on the Effect Controls panel, and they
| | 07:41 | are on every single clip.
| | 07:44 | So let's go ahead and open up the Time
Remapping section, and then once in there,
| | 07:48 | let's go ahead and open up
the Speed parameter right here.
| | 07:51 | Over here in the mini timeline, or
keyframe graph, I can actually set keyframes.
| | 07:56 | And what I want to do is, as this
jumper is going off the top of the half-
| | 08:00 | pipe, which we can see over here in
the Program Monitor, I want the clip to
| | 08:03 | slow down while he is in the air ,and then when
he lands I want it to go back to regular speed.
| | 08:09 | So to facilitate this, let's come back
over to the Effect Controls panel, and I
| | 08:12 | want to find the exact point where I want
the clip to slow down. Right about there.
| | 08:18 | And then what I am going to do is
Command+Click on this velocity line right
| | 08:22 | here, and you will notice when I hold down the
Command key, I get a Pen tool with little plus icon.
| | 08:27 | I am going to click to add a new keyframe.
| | 08:30 | Then let's come down a little further
in time, right about there, and I am going
| | 08:35 | to Command+Click once
again to create a new keyframe.
| | 08:39 | Now, I could make the speed adjustment
here on the Effect Controls panel, but
| | 08:43 | what I like to do is come down to clip
itself, and I can make that change on the sequence.
| | 08:48 | You will notice on top of this
clip right here there is a little flag
| | 08:50 | that's labeled Opacity.
| | 08:52 | If I click in here, I can actually choose to
show other parameters, such as Time Remapping.
| | 08:57 | in fact, if I had any other effects
on this clip, say a color corrector or a
| | 09:01 | blur, I could access
keyframe-able parameters through this menu.
| | 09:06 | So let's go ahead and chose Time
Remapping and then choose Speed.
| | 09:09 | When I do that, you can actually see my
keyframes right here on top of the clip.
| | 09:14 | I do want to point out, the only
reason I am able to see these keyframes is
| | 09:17 | because of this button right here
called Show Keyframes. And right now I'm
| | 09:20 | choosing to Show Keyframes, instead of
this other option to Show Opacity Handles.
| | 09:26 | Now that I can see the keyframes, what I
am going to do is simply place my cursor
| | 09:29 | between the two keyframes and drag
down. And let's change the speed of this to
| | 09:34 | something like 40%-45%
between those two keyframes.
| | 09:40 | Let me go ahead and play this back.
| | 09:41 | (clip playing)
| | 09:48 | All right, pretty cool!
| | 09:49 | We created a variable-speed effect.
| | 09:51 | Now the last thing I want to point out
though, is that notice these keyframes
| | 09:55 | down here on the clip?
| | 09:56 | They kind of look like they're split.
And what you can do is actually drag these
| | 10:01 | handles apart from each other to smooth
out, or ramp, that speed effect. But I'll
| | 10:07 | let you go ahead and experiment on
your own with ramping these keyframes.
| | 10:12 | So that's the basics of
re-timing clips in Premiere Pro.
| | 10:15 | While in some ways it's similar to Final
Cut Pro, there are some minor differences.
| | 10:19 | But now that you know how it works,
practice a bit, and I think you will become
| | 10:22 | really comfortable with the tools and
techniques available in Premiere Pro.
| | Collapse this transcript |
|
|
4. Performing Additional Editing TasksReviewing speech transcriptions| 00:00 | As an editor, a lot of your time is
spent finding specific keywords and bites
| | 00:04 | from interviews, b-roll,
and even archival clips.
| | 00:07 | For years using Final Cut Pro, you've
spent a lot of time manually previewing
| | 00:11 | clips and finding bites you like. Or
maybe you've used the timecode paper edit
| | 00:15 | that a producer has provided.
| | 00:17 | Either way, it's been a time-consuming
process to find parts of a clip based on speech.
| | 00:22 | Well, Adobe Premiere Pro changes all that.
| | 00:24 | And in this movie, I want to show you
the basics of how you can use the speech
| | 00:27 | transcription functionality of
Premiere Pro to easily find words and bites.
| | 00:32 | Here in Premiere Pro, I have a few
clips that I want to analyze to figure out
| | 00:36 | what's being said in each clip.
| | 00:38 | So what I'm going to do is go ahead
and select this first clip right here
| | 00:40 | called customer feedback1.
| | 00:42 | With the clip selected, what I want to
do is come over to the Metadata panel.
| | 00:46 | But where's the Metadata panel?
| | 00:47 | I can't see it right now.
| | 00:48 | Well, maybe it's because it's being hidden.
| | 00:50 | If I use this little gray scrollbar
right here, I can scroll over, and here
| | 00:54 | is the Metadata panel.
| | 00:56 | You can also access the Metadata panel
anytime by coming up to the Window menu
| | 01:00 | and then choosing Metadata. Okay.
| | 01:03 | With the Metadata panel active here,
let's go ahead and press the grave or
| | 01:06 | tilde key on the keyboard to make it bigger,
so we can see everything that's going on here.
| | 01:11 | Down here at the bottom of the Metadata
panel, I have the Speech Analysis section.
| | 01:15 | What I want to do is go ahead and click
this button right here called Analyze.
| | 01:19 | When I click on that button, I get a new
window that pops up called Analyze Content.
| | 01:24 | Here at the top, I can choose to
analyze this clip based on faces, this option
| | 01:28 | right here called Face Detection.
| | 01:29 | But I don't know about you,
| | 01:30 | I don't really find this option all that
useful, so I'm going to leave it unchecked.
| | 01:34 | Down here in the Speech section, I can
choose the language and the quality of
| | 01:39 | the analysis for speech.
| | 01:41 | If you click into the Language menu
here, you can choose from a number of
| | 01:44 | different languages.
| | 01:45 | Now, obviously this language
should match what your speaker is using.
| | 01:49 | You'll notice here that I only have one choice,
| | 01:51 | English - U.S. And that's because
when I installed Premiere Pro on this
| | 01:54 | machine, I installed using English U.S.
as the language, and I didn't install
| | 01:59 | these other languages.
| | 02:00 | That's fine, since my speaker is using English.
| | 02:03 | Here in the Quality menu, I have two choices:
| | 02:05 | High (slower) and then Medium (faster).
| | 02:08 | Now in almost every situation, you're going
to get better results by using High (slower).
| | 02:14 | Down here in the Script section, you
can actually attach a reference script.
| | 02:18 | What this will do is it will make the
analysis that much better. And we'll go
| | 02:22 | ahead and do this in just a few minutes.
| | 02:24 | Then finally down here you can choose
to identify speakers in the clip if your
| | 02:28 | clip has multiple speakers. Okay.
| | 02:30 | So with English - U.S. as our Language
and Quality set to High (slower), what's
| | 02:36 | going to happen when I click OK here
is that Adobe Media Encoder, which is a
| | 02:39 | stand-alone application, will launch.
| | 02:41 | It's in Adobe Media Encoder where
the analysis of the speech takes place.
| | 02:46 | So let me go ahead and click OK.
| | 02:48 | You saw a quick flash of Adobe Media
Encoder, and that's because this analysis
| | 02:52 | can actually happen in the background.
(chiming sound)
| | 02:54 | You can continue to work in Premiere
Pro and when you hear that little chime, as
| | 02:58 | we just did, that's when the speech
analysis is done. And down here in the
| | 03:02 | Analysis Text section, you can see
the results of the speech analysis.
| | 03:07 | Now let me go up to the Window menu
here and then come down to Workspace and
| | 03:11 | then choose Metalogging.
| | 03:12 | I'm going to choose this workspace so I
can see the Metadata panel at the same
| | 03:17 | time that I see the clip
here in the Source Monitor.
| | 03:19 | So let me go ahead and double-click on
this clip, this first one right here.
| | 03:22 | And over here I can see the results
of the text analysis, and I can see the
| | 03:27 | clip at the same time.
| | 03:28 | What's really cool about this is if I
play back the clip, I'll be able to see
| | 03:32 | each word being
highlighted as I play back the clip.
| | 03:35 | Let me show you what I mean.
| | 03:36 | (Male speaker: Hansel and Petal is awesome. It's
actually my anniversary tonight, and I forgot about it until--)
| | 03:43 | Pretty cool, right?
| | 03:44 | Well, it actually gets even cooler.
| | 03:45 | If you click on a particular word, say
anniversary here, the playhead over here
| | 03:50 | in the Source Monitor will
actually jump to that exact point in time.
| | 03:54 | From there, you could add
an in point or a marker.
| | 03:56 | Now you'll notice over here in the
Analysis Text section the results of the
| | 04:00 | speech analysis aren't really good.
| | 04:02 | Let me play it back again.
| | 04:03 | (Male speaker: --awesome. It's actually my anniversary
tonight, and I forgot about it until fifteen
| | 04:09 | (Male speaker: minutes ago whenever I was at work.).
| | 04:11 | So you can see that, well, yeah,
not really good results there.
| | 04:14 | So what I want to do is analyze this
clip again, but this time I want to use a
| | 04:18 | script to help the analysis do its job.
| | 04:21 | So once again, let me go ahead and
press the tilde or grave key on the keyboard
| | 04:24 | to make this Metadata panel bigger. Okay.
| | 04:26 | So now what I want to do is
come and analyze this clip again.
| | 04:30 | The way I'm going to do that is by
clicking the Analyze button, and once again,
| | 04:33 | the Analyze Content window will pop up here.
| | 04:35 | Down here in the Script section,
you'll notice this menu right here
| | 04:38 | for Reference Script.
| | 04:39 | Let's click into this menu.
And here I can choose to add a script.
| | 04:43 | So let me click this.
| | 04:43 | Then what I'm going to do is
navigate back out to the Exercise_Files disk
| | 04:47 | image, to CH04, and then to Chapter
Specific Media. And right here I have a
| | 04:52 | script called Help Script.
| | 04:54 | Now the thing about this is that Premiere Pro
requires plain text files in the UTF-8 format.
| | 04:59 | You could also use Adobe Story,
but that's a little bit beyond the scope of
| | 05:02 | this particular movie.
| | 05:03 | So let's go ahead and choose this
Help Script and then click Open.
| | 05:07 | Here you can see the contents of the script.
| | 05:10 | Now, for this to work properly, what I
need to do is come up here and check this
| | 05:14 | option, Script Text Matches Recorded Dialogue.
| | 05:17 | So let's go ahead and check
that, and then let's click OK.
| | 05:20 | In just a second, the reference script
will be attached, and then let's click OK
| | 05:25 | to analyze this clip again.
| | 05:28 | Just like before, Adobe Media Encoder
launches and in the background, it's
| | 05:31 | going to analyze this file, but this time, it's
going to be using the script that we attached.
| | 05:37 | Okay, so down here in the Speech
Analysis section, you can see already that the
| | 05:42 | speech analysis was much better.
| | 05:44 | Let's go ahead and make this window
back to its regular size like that and then
| | 05:48 | let's play this clip again,
just watching the text.
| | 05:50 | (Male speaker: Hansel and Petal is awesome. It's
actually my anniversary tonight, and I forgot about it until)
| | 05:57 | (Male speaker: about fifteen minutes ago whenever--)
| | 05:59 | Okay, so you can see it's not perfect,
perfect, but it's way, way better than it
| | 06:04 | was originally when we let Adobe
Premiere Pro do the analysis on its own.
| | 06:08 | Lastly, sometimes you're not going to
have a full script to attach to a clip.
| | 06:13 | Let's go ahead and select
this second clip right here.
| | 06:16 | I'll double-click on it to load it into the
Source Monitor here, and play it back real quick.
| | 06:19 | (Female speaker: Hansel and Petal has been, for years,
providing me the most beautiful floral arrangements.)
| | 06:25 | (Female speaker: Often I'll come here in a rush,
and sometimes my stress is really high.)
| | 06:29 | So there are some words there like "rush"
and "stress" and that kind of thing that
| | 06:34 | I don't think that the speech analysis
functionality of Adobe Premiere Pro is
| | 06:38 | going to get right.
| | 06:39 | So what I can actually do is use
what's called a phrasionary or a list of
| | 06:44 | keywords, and attach it to this clip.
| | 06:46 | So when analysis happens, we can use
those keywords to help the speech analysis,
| | 06:52 | in a similar way that we used a
script before on the other clip.
| | 06:55 | So what I'm going to do is select
this clip, and then I'm going to make the
| | 06:59 | Metadata panel over here larger
by pressing the grave key again.
| | 07:02 | We'll click the Analyze button.
And all these settings are fine, but this
| | 07:06 | time down in the Reference Script area,
let's go back and choose to add another script.
| | 07:10 | Let's navigate back out to Exercise_
Files, CH04, and Chapter Specific Media.
| | 07:16 | This time, let's choose this file
right here called Phrases and click Open.
| | 07:21 | You can see that this is just a list
of various phrases that I think that
| | 07:25 | Premiere Pro is going to have problems with.
| | 07:27 | But what we don't want to do is
check this option right here, Script Text
| | 07:31 | Matches Recorded Dialogue, because it doesn't.
| | 07:34 | This is just a list of phrases.
| | 07:35 | Let's go ahead and click OK, and then in
one second that list of phrases will be
| | 07:39 | attached to this clip,
and we'll click OK to analyze this file.
| | 07:43 | Just as we saw before,
the analyzation happens in the background.
| | 07:47 | You can see the status of the clip
being analyzed right down here. Okay.
| | 07:52 | So just like before, the analysis has completed.
| | 07:54 | Let's press the grave or tilde key
again, and let's play back this clip.
| | 07:58 | (Female speaker: Hansel and Petal has been, for years,
providing me the most beautiful floral arrangements. Often)
| | 08:04 | Okay, so again, not perfect, but we've been
able to help out the speech analysis for
| | 08:09 | this clip by using some keywords,
or as I like to call, a phrasionary.
| | 08:14 | Okay, so that's the basics of
using speech transcription analysis in
| | 08:17 | Adobe Premiere Pro.
| | 08:19 | While you probably won't use this
functionality for every project, for some
| | 08:22 | projects, especially those
that are dialog-intensive,
| | 08:26 | this feature can come in handy, and there's
nothing quite like it natively in Final Cut Pro.
| | 08:30 | Just keep in mind that speech analysis
by itself is not a magic bullet, but you
| | 08:35 | can greatly help your results by
adding a script or a list of phrases.
| | Collapse this transcript |
| Mutli-cam editing| 00:00 | It seems like these days, from events
to TV shows, and even corporate videos,
| | 00:04 | everyone is shooting with multiple cameras.
| | 00:06 | This might be because the cameras are so
cheap, but the benefit is, as an editor,
| | 00:10 | you have tons of footage and
options for cutting a show together.
| | 00:13 | To facilitate this cutting, many
editors like to use the Multicam
| | 00:17 | functionality of their NLE,
and perhaps you've worked with the Multicam
| | 00:21 | function of Final Cut Pro.
| | 00:22 | Well, in this movie, I want to
show you how you can use the multicam
| | 00:25 | functionality of Premiere Pro to cut
together multiple cameras quickly and efficiently.
| | 00:30 | As we have in other movies, let's
first start out here in Final Cut Pro.
| | 00:33 | I have a couple of clips here in my
browser that come from the same interview
| | 00:37 | from a show I work on for
PBS called Closer to Truth:
| | 00:40 | Cosmos, Consciousness, and God.
| | 00:42 | The show is produced by
Getzels Gordon Productions.
| | 00:45 | Now, the first step to getting a
multicam clip to work is you need to find a
| | 00:50 | common sync point between the
different angles that you'd like to use.
| | 00:53 | For these two clips, I've
already gone ahead and done that.
| | 00:57 | The sync point that I've used is this
clapboard that appears in each shot.
| | 01:01 | So when the clapboard closed here, what
I did was I marked an in point at that
| | 01:05 | point in both clips.
| | 01:07 | So now that I have a common sync point,
what I'm going to do is simply select
| | 01:10 | both of these clips, or my two angles,
and I'm going to right-click and then come
| | 01:14 | down here and choose Make Multiclip.
| | 01:17 | Here in the Make Multiclip dialog, I
can choose however I want to synchronize
| | 01:20 | these clips, but I'm fine using in
points since I already marked an in point.
| | 01:23 | So I'm just going to go ahead and
click OK here. And over here in the browser,
| | 01:27 | you can see that a new multiclip is
created, and notice that its icon is slightly
| | 01:31 | different than that of a
regular clip. All right!
| | 01:33 | Let's go ahead and load this multiclip
into the viewer by double-clicking on it.
| | 01:37 | When I do, you can see
the two angles that I have.
| | 01:40 | Now, in Final Cut Pro, you can
actually have up to 128 different angles in a
| | 01:45 | multiclip, which is just kind of
ridiculous, to be honest with you.
| | 01:49 | But at any time, you can come up to
this menu right here and choose to show
| | 01:52 | how many angles you're viewing at
any given time: 1, 4, 9, and 16.
| | 01:56 | Now you can easily rearrange angles in
a multiclip by holding down the Command
| | 02:02 | key and then just dragging to rearrange angles.
| | 02:06 | When you click on one angle or the
other, by default you're switching both
| | 02:10 | audio and video together at the same time.
| | 02:14 | Now, you can switch audio and video
separately, but for simplicity, we'll leave
| | 02:18 | this default behavior on.
| | 02:20 | Now, to actually get this clip down
into a sequence, what I need to do is
| | 02:23 | Option+Drag it here from the
viewer down onto the sequence itself.
| | 02:28 | I can just click Yes here
on this warning message.
| | 02:31 | Remember, Final Cut Pro is just
trying to automatically match my sequence
| | 02:33 | settings to this clip.
| | 02:34 | So I'll go ahead and click Yes. Okay.
| | 02:37 | So now that we've got the multiclip down
here on the sequence, let's take a look
| | 02:41 | at how we actually cut back
and forth between the two angles.
| | 02:44 | So what I want do is back my
playhead up here to the beginning of the
| | 02:47 | clip, somewhere right about here--
maybe a little further down where they
| | 02:50 | actually start talking.
Yeah, right about there.
| | 02:52 | Then I'm going to double-click on it
to load it back up here into the viewer.
| | 02:55 | Then in this middle menu, this guy right
here in the viewer, I'm going to choose
| | 02:59 | this option right here called Open.
| | 03:02 | By choosing this option when I begin
playback down here in the sequence, I'll
| | 03:05 | be able to see the two angles playing
simultaneously along with the sequence.
| | 03:09 | So let's go back down here to the
sequence, and I'll begin playback.
| | 03:13 | Then what I'm going to do is just cut
between these two different angles by
| | 03:17 | clicking on one angle or the other.
| | 03:19 | You can also use the keyboard
to cut between different angles.
| | 03:22 | (Male speaker:--the question, why is there something
rather than nothing? Why is there anything at all?)
| | 03:27 | (Male speaker: And this is not just asking why there's
a universe, but why there is anything: any laws of physics,)
| | 03:33 | (Male speaker: anything whatsoever. In fact, a well-known
philosopher said, "If this question does--)
| | 03:38 | Okay. Let me stop playback and you can
see after I stopped that Final Cut Pro
| | 03:42 | automatically cut between
these two different angles.
| | 03:45 | Now, of course because I was choosing
to cut audio and video together, it also
| | 03:49 | made some cuts in the audio.
| | 03:51 | But that's actually okay, because this
production actually fed the same audio to both cameras.
| | 03:56 | So if I play this back real quick, just
to prove it to you, you can see it cut
| | 03:59 | back and forth between the two angles.
| | 04:00 | (Male speaker: Why is there something
rather than nothing? Why is there anything at all?)
| | 04:05 | So that's the basics of multicam
functionality inside of Final Cut Pro.
| | 04:09 | Let's switch over to Premiere Pro and
take a look at how multiclip editing or
| | 04:13 | multicam editing works over there.
| | 04:16 | So here in Premiere Pro,
I have the exact same two clips.
| | 04:20 | Of course, the first step in creating
a multiclip is that you need to find
| | 04:24 | a common sync point.
| | 04:25 | So what I'm going to do is go ahead and
load this first clip right here called
| | 04:28 | 0423B into the Source Monitor.
| | 04:32 | Remember that there was a
clapboard at the beginning of this clip.
| | 04:35 | Now, I could use in points, but what
I'm more of a fan of is using numbered
| | 04:39 | markers to mark a sync point.
| | 04:42 | That way I can use the synchronize
functionality of Premiere Pro, which I'll show
| | 04:45 | you in just a second.
| | 04:46 | So, let's go ahead and find where the
clapboard hits right here on this first clip.
| | 04:50 | (clip playing)
| | 04:55 | Right about there, so what I'm going
to do is come up to the Marker menu and
| | 04:58 | then down to Clip Marker and choose
this option right here, Set Other Numbered.
| | 05:03 | So I'll choose that and in this dialog,
I'm going to type in a value of 1.
| | 05:07 | So I'll go ahead and click OK here.
| | 05:09 | Then let's go ahead and double-click on
the second angle, and we'll go ahead and
| | 05:13 | do the exact same thing.
| | 05:14 | I'm going to find that sync
point and then add a marker.
| | 05:16 | (clip playing)
| | 05:21 | Right about there, we'll come up to
the Marker menu, down to Clip Marker, and
| | 05:25 | choose this option again.
| | 05:26 | We'll also call this number 1.
| | 05:28 | Now, you might be wondering
why I use numbered markers.
| | 05:30 | Well, I'll show you the synchronization
thing in a second, but the other benefit
| | 05:34 | this has is if you're using a lot of
different multiclips, by using different
| | 05:38 | numbers for each set of multiclips, it
can make syncing them up pretty easy.
| | 05:42 | So let me go ahead and click OK.
| | 05:45 | Now, what I'm going to do is double-
click back here on this first clip, and I've
| | 05:48 | actually already set up a timeline
right here called Multi-Cam Prep.
| | 05:52 | What I want to do is edit this
first angle into the sequence.
| | 05:55 | So for this first angle, my source track
indicators and target tracks are set up appropriately,
| | 05:59 | so let me go ahead and click this button right
here to overwrite the clip into the sequence.
| | 06:04 | There it is!
| | 06:05 | Now, I want to double-click on the second angle,
and I want to get this guy into the sequence.
| | 06:09 | So what I need to do though, is I need
to change my source track indicators and
| | 06:12 | my target tracks to go to different tracks.
| | 06:14 | So to facilitate this, let's go ahead
and make this panel a little bigger by
| | 06:17 | pressing the grave, or tilde, key on the keyboard.
| | 06:20 | Then what I'm going to do is move my
source track indicators to V2, then
| | 06:24 | down here to A3 and A4.
| | 06:27 | Then I'm going to target V2 and A3 and A4 and
turn off targeting for tracks V1, A1, and A2.
| | 06:34 | All right! Let's back the playhead up a little bit.
| | 06:37 | We'll press the tilde key, or grave key,
again to get back to our regular view.
| | 06:41 | With the second clip loaded up into
Source Monitor, I'm going to go ahead
| | 06:44 | and click Overwrite.
| | 06:46 | Okay, and if I press the tilde, or
grave, key again on this Timeline panel, you
| | 06:50 | can see now that the clip
went into the appropriate place.
| | 06:53 | Okay, but you probably notice that
these clips aren't really aligned.
| | 06:56 | Well, to fix this, what I'm simply
going to do is highlight both of these clips
| | 07:00 | and I'm going to right-click on the
clip, and then I'm going to come to this
| | 07:03 | option right here called Synchronize.
| | 07:05 | This is actually pretty cool.
| | 07:06 | Premiere Pro can automatically
synchronize your clips based on
| | 07:09 | different parameters.
| | 07:10 | So let me choose this option and here
at the bottom, one of those parameters, as
| | 07:14 | you'll notice, is to use Numbered Clip Markers.
| | 07:17 | So let me select that
option and click OK. And voila!
| | 07:21 | Automatically the clips are aligned based
on that numbered marker, this guy right here.
| | 07:25 | Now this next step is optional,
but it's something that I like to do.
| | 07:28 | I'm simply going to trim these clips so
they're the exact same length, just like that.
| | 07:33 | Then what I'm going to do is come in
just a little further into the clip
| | 07:35 | where these guys actually start
talking, so I can get rid of some of that
| | 07:38 | chatter at the top.
Let's find where that is.
| | 07:45 | (Male speaker: twenty six. Why is there anything at all,
or nine twenty-six, explaining existence?)
| | 07:50 | All right. Right about there, and I'll simply trim
both of these clips back to that point
| | 07:54 | so we don't have to deal
with all the chatter at the top.
| | 07:57 | Then I'll just move them back to the
beginning of the sequence, just like that.
| | 08:01 | Okay, now you're thinking to yourself,
well, how was this multicam editing?
| | 08:05 | You've just stacked a couple clips on top of
each other and synchronized them? Big deal!
| | 08:09 | Well, the process of multicam editing in
Premiere Pro is different than in Final
| | 08:13 | Cut Pro, and it requires two sequences:
| | 08:15 | first, a sequence where you sort of
stack all of your shots on top of each other,
| | 08:19 | like we've done here, and synchronize
those shots, then you need to come to a new
| | 08:23 | sequence and nest that prep
sequence into the new sequence.
| | 08:27 | I've already gone ahead and created a
new sequence called Multi-Cam Edit here.
| | 08:32 | Notice the sequence that I have been
working on is called Multi-Cam Prep.
| | 08:35 | So let me click over to this sequence and
you'll notice that there's nothing on it.
| | 08:38 | It's a blank sequence.
| | 08:39 | So what I'm going to is come up to the
Project panel here and take the Multi-Cam
| | 08:43 | Prep sequence and drag it down into
the Multi-Cam Edit sequence, basically
| | 08:48 | placing one sequence into another, or
creating what's called a nest. Okay.
| | 08:52 | So now that we've nested the clip,
there's actually one more step to make
| | 08:56 | multicam editing work.
| | 08:58 | By itself, this nest doesn't
actually do anything for me;
| | 09:01 | you can nest anything.
| | 09:02 | But what I need to do is select the
clip and then right-click on it and then
| | 09:06 | come up to this option right here
called Multi-Camera, and I need to enable
| | 09:10 | multi-camera editing for this nested sequence.
| | 09:14 | Otherwise, I won't be able to
do anything with Multi-Camera.
| | 09:16 | So let me go ahead and
choose Enable. All right!
| | 09:19 | So I've enabled the multiclip for
this nested sequence, but it still
| | 09:23 | doesn't look like much.
| | 09:24 | I'm still only seeing one angle here.
| | 09:26 | Well, to be able to facilitate the
switching back and forth between multiple
| | 09:29 | angles, what you need to do is come up
to the Window menu here and then down to
| | 09:34 | this option right here,
called Multi-Camera Monitor.
| | 09:36 | So let me go ahead and select that.
| | 09:38 | Here in the Multi-Camera Monitor, on
the left, I can see the angles that I have
| | 09:42 | in this multiclip, or this nested sequence.
| | 09:45 | Then over here on the right, as I play
back, I'll be able to see the results of
| | 09:48 | going back and forth between different angles.
| | 09:50 | Now, speaking of angles, in Premiere
Pro, a multiclip, or a multi-camera
| | 09:55 | sequence, can only have four angles.
| | 09:59 | Now, while this might seem like a big
limitation compared to the 128 angles you
| | 10:03 | can have in Final Cut Pro, in reality,
and in my experience, most productions
| | 10:07 | only use, say, two, three,
and maybe at most, four cameras.
| | 10:11 | So while it seems like a limitation, in
reality, it's really not that big of a limitation.
| | 10:16 | Underneath of these two windows right
here, I have some timecode values and
| | 10:19 | with these menus right here, I can
switch back and forth between different
| | 10:22 | audio and video tracks.
| | 10:24 | I can also come up to the panel menu
here and choose whether I want to switch
| | 10:28 | audio and video at the same time.
| | 10:31 | So let's go ahead and choose this option, so as
we cut back and forth, audio from these clips
| | 10:35 | is following the video.
| | 10:37 | Again, you can choose to have audio
and video switch independently of one
| | 10:40 | another, but like I said before, the
audio for this production was being fed to
| | 10:44 | both cameras simultaneously, so
I'll choose this option. Okay.
| | 10:47 | The big thing to pay attention to in this
window is this button right here, to record.
| | 10:52 | Now, you're asking
yourself, what am I recording?
| | 10:54 | Well, you're going to be recording the
changes that you make as you switch back
| | 10:58 | and forth between the different angles.
| | 11:00 | If you don't have this button
active, you're just practicing.
| | 11:04 | So I want to make sure that we
have this button active, like that.
| | 11:07 | Then what I'm going to do is back up
closer to the beginning of the sequence,
| | 11:10 | right about here, and I'm
going to play back the sequence.
| | 11:14 | As I'm playing back, I can either click
on each angle that I want, or I can use
| | 11:18 | the keys 1, 2, or 3, or 4 on the keyboard:
| | 11:21 | 1 for angle one, 2 for angle two, and so on.
| | 11:24 | Just remember, Premiere Pro
is limited to four angles.
| | 11:28 | Okay, so let me begin playback,
and I'll switch between these two angles.
| | 11:31 | (Male speaker:--at all. And this is not just asking why there's
a universe, but why there is anything: any laws of physics,)
| | 11:41 | (Male speaker: anything whatsoever. In fact, a well-known
philosopher said, "If this question doesn't totally drive you nuts,)
| | 11:48 | (Male speaker: you just don't understand the question."
How do you address something like that?)
| | 11:53 | Okay, so, the aesthetics decide--I didn't do a
great job cutting between those clips--
| | 11:57 | what I want you to notice is down here
on the sequence itself, if I close the
| | 12:01 | Multi-Camera Monitor, is that in fact we
did cut back and forth between the two angles.
| | 12:07 | Again, I have that option for audio
follows video, so as I cut back and forth
| | 12:11 | between the two, audio was following video.
| | 12:13 | Let me go ahead and play this back just
so you can see that it actually worked.
| | 12:16 | (Male speaker:--with the question, why is there something
rather than nothing? Why is there anything at all?)
| | 12:21 | (Male speaker: And this is not just asking why there's
a universe, but why there is anything: any laws of physics,)
| | 12:26 | (Male speaker: anything whatsoever.)
Yep! Sure enough, that worked.
| | 12:30 | Okay, and of course just like in Final
Cut Pro, the thing I want you to remember
| | 12:33 | is that after switching back and
forth between different angles, you can of
| | 12:37 | course come back in with the various
trim tools that you have in Premiere Pro
| | 12:42 | and refine these transition
points, or these edit points.
| | 12:46 | So that's the basics of
multi-camera editing in Premiere Pro.
| | 12:49 | While it's a different approach
than Final Cut Pro, and perhaps slightly
| | 12:53 | more limited by the fact that you can only
have four angles in a clip, or a nested sequence,
| | 12:57 | I think that you'll find that the end
results will be on par with what you can
| | 13:01 | do in Final Cut Pro.
| | Collapse this transcript |
| Storyboard editing| 00:00 | A lot of editors are fans of what I
refer to as storyboard editing, that is,
| | 00:03 | switching the browser, in the case of
Final Cut Pro, or the Project panel, in
| | 00:07 | Premiere Pro, into icon view and
arranging clips in the order that you'd like them
| | 00:11 | to be edited into a sequence.
| | 00:13 | This technique works great,
| | 00:14 | especially for things like
photo-heavy corporate videos and the like.
| | 00:17 | In this movie, I want to show you
this feature in Premiere Pro and how in
| | 00:20 | one small way it's a bit better and
easier than in Final Cut Pro. Let's go
| | 00:24 | ahead and get started.
| | 00:25 | Here in Premiere Pro I have a project
that I've already created a sequence in,
| | 00:27 | and over here in the Project
panel I have a bin labeled Photos.
| | 00:31 | While I'm doing this with a bin of
photos, the technique that we'll talk about
| | 00:34 | works just fine with the video
footage and with clips with audio.
| | 00:38 | Let's go ahead and double-click on this
bin labeled photos to get it into its
| | 00:41 | own floating window.
| | 00:42 | Down here at the bottom of the bin, I
can choose how I want to view this bin,
| | 00:46 | just like in Final Cut Pro.
| | 00:47 | I can view it in List View, as I'm viewing
it now, or I can view it in the Icon View.
| | 00:51 | Let's click the Icon View button right here.
| | 00:52 | What you'll now see is a grid of clips.
Unlike Final Cut Pro, where you can
| | 00:57 | sort of drag clips all over the place
in Icon View, I kind of like this grid to
| | 01:01 | help me stay organized.
| | 01:03 | To reposition a clip, simply select
the clip and then drag it, like this.
| | 01:06 | Let me spend a second reorganizing these clips.
| | 01:10 | If you're following along with the exercise files,
feel free to sort these however you'd like.
| | 01:14 | Okay, now that I've sorted these
photos, let me go ahead and use the keyboard
| | 01:17 | shortcut Command+A to select All of them.
| | 01:20 | From here in Final Cut Pro, you're
probably used to just making the selection
| | 01:23 | and then dragging to the canvas or
directly to the timeline, but it can work
| | 01:27 | slightly differently in Premiere Pro.
| | 01:29 | So what I'm going to do is come down
and use this button right here called
| | 01:32 | Automate to Sequence, so let me click on that.
| | 01:34 | Here in the Automate to Sequence
dialog, I have quite a few options.
| | 01:37 | And the first is up here in the
Ordering menu, so let me click on here.
| | 01:41 | Here I have two choices:
Sort Order and Selection Order.
| | 01:44 | We'll come back to Selection Order
in just a moment, so let's go ahead
| | 01:47 | and choose Sort Order
| | 01:48 | so that the clips will go into the
sequence based in how we sorted them in the bin.
| | 01:53 | Next, down here in the Placement
menu, I have two choices once again.
| | 01:57 | I can choose Sequentially, which will
simply place the clips down one after
| | 02:00 | another, but this other option right
here that is grayed out is interesting.
| | 02:04 | If you've gone ahead and place markers
on the sequence, which you're going to
| | 02:07 | find under the Marker menu and then
sequence marker, you can set points at which
| | 02:12 | items will go into a sequence.
| | 02:14 | For example, if you were doing a show
with a graphic bump at the end of each
| | 02:18 | act, you can set a marker at the end
of each act and then quickly get your
| | 02:22 | graphic bumps all into the sequence.
| | 02:24 | For right now, Sequentially is okay.
| | 02:26 | Next, you can choose how the clips
will actually go into the sequence,
| | 02:30 | either by using an overlay, or
overwrite edit, or insert edit.
| | 02:34 | Since, I'm just bringing these clips
into a blank sequence, Overwrite or
| | 02:38 | Overlay is just fine.
| | 02:40 | The next option right here is for Clip
Overlap, and this is just another way of
| | 02:43 | saying if you're playing a transition
for video or audio--these options right
| | 02:47 | down here--how long the transition will be.
| | 02:50 | Just keep in mind that the transition is
a default transition for both audio and
| | 02:54 | video, and by default that's
cross-dissolve and a cross-fade.
| | 02:58 | Later in this chapter, we'll talk
more about working with transitions.
| | 03:01 | For right now, we can leave the default
of 30 frames, but if you click in this
| | 03:05 | menu, you can also change
those from Frames to Seconds.
| | 03:10 | Down in the Transitions section, you
can choose whether you want to have a
| | 03:13 | default audio or video transition applied.
| | 03:16 | And then finally, down here in the
Ignore Options, you have the option to ignore
| | 03:20 | audio or video of the items that
you're editing into the sequence.
| | 03:24 | In this case, because I'm just working
with photos, audio isn't even an option.
| | 03:28 | But these options are useful, so you don't have
to take one or the other if you don't want to.
| | 03:33 | Okay, now two more things before we
go ahead and click the OK button here.
| | 03:36 | The Automate to Sequence function
ignores target tracks and rather tries to
| | 03:41 | place video or audio on
the lowest available tracks.
| | 03:45 | Next, the Automate to Sequence
command will respect in and out points that
| | 03:49 | you've made on a clip. But in this
case, since these are all just photos, I'm
| | 03:52 | fine with the default length.
| | 03:54 | Let's go ahead and click OK here. And voila!
| | 03:58 | Down here on the sequence--let me close
this bin so we can see it a little bit easier--
| | 04:02 | you can see that the clips were
all edited into the sequence with the
| | 04:05 | default video transition.
| | 04:07 | Let me go ahead and play this
back real quick. Pretty cool!
| | 04:14 | If you're following along, just keep
in mind, when I imported these photos, I
| | 04:17 | had disabled the default
scale to frame size preference.
| | 04:20 | So these photos are actually quite a bit
bigger than the frame size of the sequence.
| | 04:24 | If you'd like to, you can adjust the
scale by selecting a clip and then coming
| | 04:28 | up here to go Effects Controls panel
and then into the Motion category and
| | 04:31 | adjusting the scale. But I think you
can see that this makes quick work of
| | 04:35 | getting things into a sequence.
| | 04:37 | All right let's move the playhead,
or as Adobe sometimes calls it, the CTI,
| | 04:41 | Current Time indicator, down right about here.
| | 04:44 | One last thing I want to show you
is the option called Selection Order.
| | 04:47 | Let me we go ahead and double-click on
this bin again to load it back up into its
| | 04:52 | separate window. And let me sort of
just randomly select clips here in the bin,
| | 04:56 | until I've selected them all. So I'll
select this first one, this one, that one,
| | 05:02 | that one, that one, this one, and so on.
| | 05:05 | I'm just using the
Command key to select each one.
| | 05:08 | Okay, now once again, let's come down
to the Automate to Sequence button here,
| | 05:12 | and we'll leave all these options the
same, but let's change the Ordering menu
| | 05:16 | here from Sort Order to Selection Order.
| | 05:20 | And then I'm going to ahead and click OK.
| | 05:23 | Now all the clips went down into the
sequence again. Let me close this bin. And
| | 05:27 | I'll use the backslash key to
snap the view here, so it's viewable.
| | 05:31 | All the clips went back down into the
sequence, but this time they went in the
| | 05:34 | order that I had selected them in the
bin, which gives you just another option
| | 05:38 | that you can't really do in Final Cut
Pro, since Final Cut Pro essentially works
| | 05:42 | on sort order only. This is pretty cool.
| | 05:45 | Okay, so that's Storyboard editing and
using the Automate to Sequence command.
| | 05:49 | Although we only used photos in this
movie, I think you can see how quickly you
| | 05:53 | can build a sequence without having to
manually edit each clip into a sequence
| | 05:58 | and then adding things like transitions.
| | 06:00 | I love this feature and find it
really helpful in a variety of situations.
| | Collapse this transcript |
| Building with subclips| 00:00 | Subclips are one of those topics in
editing that seem to get a lot of discussion.
| | 00:03 | Some editors love them, and some
editors, well, could care less. Either way, I
| | 00:07 | think there are some really
strong uses for subclips.
| | 00:10 | In this day and age of tapeless
acquisition or in the case of lazy logging from
| | 00:14 | tape-based content, it's not uncommon
to have some really really long clips.
| | 00:18 | 20- to 30-minute long clips are not
uncommon. But by using subclips, you can break
| | 00:22 | up footage into much smaller and more
usable segments, and in this movie I want
| | 00:26 | to show you how we can use
subclips in Premiere Pro.
| | 00:29 | But before we start in Premiere Pro,
let's quickly take a look at how subclips
| | 00:32 | work in Final Cut Pro 7.
| | 00:33 | Here in this project I have a clip
that I want to break up into subclips.
| | 00:36 | So let me go ahead and double-
click on it to load it into the viewer.
| | 00:39 | Now I have watched this clip before,
and I can tell you that there is pretty
| | 00:42 | much two segments of this clip.
| | 00:44 | In the first segment, the person being
interviewed is talking about olives, and
| | 00:47 | in the second segment the person is talking
about the location where the olives are grown.
| | 00:52 | So let me come down here and try to
find the end of the first section, right
| | 00:57 | about there. And I want to mark an out point.
| | 00:59 | And let's come back up to the beginning of the clip,
(Male speaker 1: Okay, whenever you're ready)
| | 01:04 | and I will mark an in
point right about here.
| | 01:07 | This is the first section of the interview.
| | 01:08 | Then what I am going to do is come up
to the Modify menu and choose this option
| | 01:12 | right here to Make Subclip.
| | 01:13 | Notice you can also use the keyboard
command Command+U to make a subclip.
| | 01:17 | So let's choose this.
| | 01:18 | Then over here in the
browser, a new clip was created,
| | 01:21 | and notice its icon.
| | 01:22 | It's different than that of a regular clip.
| | 01:24 | It sort of has these tattered edges.
| | 01:25 | This is a subclip. And here
you can rename the subclip.
| | 01:29 | And while you can rename it something
totally different, my preference is to
| | 01:32 | keep the original name in the clip and
then just use underscore and then type in
| | 01:36 | some descriptive text about that segment.
| | 01:38 | So I am going to call this
About Olives. All right!
| | 01:41 | Let's come back into the original clip,
and let's find the second segment and mark it.
| | 01:46 | I will mark an in point right about
there and then down here towards the end, I
| | 01:51 | will mark an out point.
| | 01:55 | And just like we did before, let's
make a subclip, but this time I am going
| | 01:58 | to use the keyboard shortcut Command+U.
And just like before, we can rename this subclip,
| | 02:03 | so I will call this the
original name, _About Location.
| | 02:08 | Okay, now that we have created some subclips,
we can use some just like any other clip.
| | 02:12 | I can simply take one of these
subclips and drag it into a sequence and from
| | 02:17 | here, we can continue editing.
| | 02:18 | If you double-click on the clip, you
should notice that the clip is only the
| | 02:23 | part of the clip that we marked in the
original clip, that is, the area between
| | 02:27 | the in and out in the original clip.
| | 02:29 | Now, what happens if you ended up
making a mistake when you mark the clip
| | 02:33 | originally? Or maybe you need handles, so
you need to mark a different in and out
| | 02:38 | point on this sub clip. Well, that's easy.
| | 02:40 | With the subclip loaded up into the
viewer, all you need to do is come up to
| | 02:43 | Modify menu and choose Remove Subclip
Limits. And when you do that, you will
| | 02:47 | notice that the clip in the viewer
disappears, but over here in the browser, you
| | 02:51 | also notice that the subclip icon on
this clip changes back to a regular clip.
| | 02:56 | And if I double-click on this, I now
have the original in and out points that I
| | 03:00 | marked. And from here, I can
adjust these in and out points.
| | 03:03 | But notice that the clip
is still a separate clip.
| | 03:06 | So you can use it as a separate clip
like this, or you could make another subclip.
| | 03:09 | Now finally, there is one more way
to make subclips in Final Cut Pro.
| | 03:13 | If you double-click on the original
clip here to load it back into the
| | 03:16 | viewer, what I am going to do is
clear the in and out points by using
| | 03:19 | Option+X on the keyboard.
| | 03:20 | What we can do is use
markers to define the subclip.
| | 03:24 | So let me come back up here to the beginning of the clip
(Male speaker 1: Okay, whenever you're ready.)
| | 03:29 | and right about there I am going to
use the M key on the keyboard to make a marker.
| | 03:33 | Down here let's find the end of the
first segment, or the beginning of the second.
| | 03:38 | Right about there I will add another marker.
| | 03:40 | And you will notice over here on the
clip, the original clip right here, there
| | 03:43 | is a little disclosure triangle next to it now.
| | 03:45 | Now if I click on this,
I have two different markers.
| | 03:49 | If I double-click on these markers, I
can play back each section of this clip.
| | 03:53 | Now the way this works is that a
subclip was created for each part of the clip
| | 03:57 | between the markers,
| | 03:58 | so right here and then right here.
| | 04:01 | From here, I can rename these markers
to anything I want, and I can also edit
| | 04:05 | them into a sequence.
| | 04:06 | Okay, let's go ahead and switch over
to Premiere Pro and take a look at how
| | 04:09 | subclipping compares to Final Cut Pro 7.
| | 04:11 | Here in my Project panel I
have the exact same clip.
| | 04:14 | So let me go ahead and double-click on
it to load it into the viewer. And just
| | 04:17 | like we did in Final Cut Pro, I can
mark in and out points around this clip.
| | 04:21 | So let's play back the beginning of the clip.
(Male speaker 1: Okay, whenever you're ready.)
| | 04:25 | And I will mark an in point, and
let's come down a little later--
| | 04:28 | (Male speaker 2:--the reason is, we think it makes a
very nice oil, so that's why we wanted to have more of it.)
| | 04:38 | --and we will mark an out point right there.
| | 04:40 | Now after I have marked an in and an out
point, to make this subclip, what I can
| | 04:44 | do is come up to the Clip menu and
chose this option right here, Make Subclip.
| | 04:48 | Now just notice that there's no
default keyboard shortcut for making a
| | 04:52 | subclip; however, you can edit your keyboard
shortcuts to make a shortcut for this command.
| | 04:57 | So let me go ahead and choose Make
Subclip. And then in just a second, the
| | 05:00 | Make Subclip dialog will appear and just like
in Final Cut Pro, we can rename this subclip.
| | 05:04 | My preference again is to keep the
original name of the movie_ and than
| | 05:08 | something a little bit more descriptive.
| | 05:09 | So we will call this About
Olives, and we will click OK.
| | 05:13 | Over here in the Project panel you can see
that a new clip is created, and notice its icon.
| | 05:17 | It's different from that of the original clip.
| | 05:19 | This is a subclip icon.
| | 05:21 | Let's double-click on the original clip
again, and let's find and mark the second
| | 05:25 | segment, right about there, and right about there.
(Male speaker 2:--which is very good for the olives.)
| | 05:34 | Okay, so now that we have marked that
second segment, let's come back up to the
| | 05:37 | Clip menu and choose Make Subclip.
And again, we'll rename this _About Location,
| | 05:45 | and we will click OK.
| | 05:47 | Now just like in Final Cut Pro, we can
edit these subclips into a sequence and
| | 05:51 | use them just like any other clip.
| | 05:53 | Of course, if you double-click on a
subclip and load it back up into the
| | 05:57 | Source monitor, the clip is only
between the area that you originally marked
| | 06:01 | in the original clip. Of course
| | 06:03 | you can come in and mark new
in and out points on a subclip;
| | 06:05 | that will work as well.
| | 06:07 | Now, what happens if you made a mistake?
| | 06:09 | Well, of course you can come back into
the original clip, mark new in and out
| | 06:13 | points, and create a new subclip, but the
other thing that you can do as well is
| | 06:17 | select a subclip here in the Project
panel, right-click on it, and then scroll
| | 06:21 | down to this option right
here called edit Subclip.
| | 06:24 | In this dialog you can see some
information about the original clip, such as
| | 06:27 | its in and out points and its duration,
but down here in this section you can
| | 06:30 | also see info about the subclip.
| | 06:33 | The cool thing is that you can actually
edit the in and out points of a subclip.
| | 06:36 | So if you made a mistake marking it,
or you want to have handles to add
| | 06:39 | transitions, et cetera, you can.
| | 06:41 | Just notice this warning down here
where it says, "When subclips are in use in
| | 06:44 | the sequence shifting the subclip Start/
End is restricted to prevent frames from
| | 06:48 | being eliminated in the sequence."
| | 06:50 | What this warning really means is that
we can make the subclip longer, but you
| | 06:54 | can't make it shorter if the clip is already
being used in a sequence, like this clip is.
| | 06:59 | So what I am going to go ahead and do
is actually adjust the end point of this
| | 07:03 | clip by dragging out a little bit,
something like that. And you will notice
| | 07:09 | here that we have shifted the end of
this clip by about a second, and I will go
| | 07:12 | ahead and click OK.
| | 07:13 | And now if I was to edit this clip
back down to the sequence, you will notice
| | 07:18 | that it's a bit longer than it was originally.
| | 07:21 | Now unfortunately, the other way we
talked about making subclips in Final Cut Pro
| | 07:24 | with markers, you can't do at this
time with Premiere Pro, which is a bummer,
| | 07:28 | since I really like using markers to
create subclips. But it's possible that
| | 07:31 | that functionality will come into
a future version of this software.
| | 07:35 | Okay, so that's creating
subclips in Premiere Pro CS5.5.
| | 07:38 | I think you can see that this process is
really similar to Final Cut Pro 7, with
| | 07:42 | the exception of using
markers to create subclips.
| | 07:46 | If you are the type of editor who likes
using subclips, then I think you'll find
| | 07:49 | them just as useful in
Premiere Pro as in Final Cut Pro.
| | Collapse this transcript |
| Running dual-system sound and merging clips| 00:00 | In a past few years, shooting with
video-enabled DSLR cameras has become very common.
| | 00:04 | These cameras are capable of
producing beautiful high-quality HD video by
| | 00:08 | employing large image
sensors in interchangeable lenses;
| | 00:11 | however, one thing about
them is not so great--audio.
| | 00:15 | Because of this, many productions have
reverted to something that was common when
| | 00:19 | shooting motion-picture film, and that
is recording audio onto another device.
| | 00:24 | The issue with shooting dual-system
sound, as it's referred to, comes
| | 00:27 | when you get to post-production.
| | 00:29 | You need a way to easily sync and then
merge video and reference audio from the
| | 00:33 | camera with a high-quality
audio from a digital audio recorder.
| | 00:36 | Well, there exists several third-
party products in the market, most notably
| | 00:40 | singularsoftware's PluralEyes and DualEyes,
| | 00:43 | you can pretty easily sync and then
merge clips directly inside of Premiere Pro.
| | 00:47 | Let's take a look at how this works.
| | 00:49 | Here in this Premiere Pro project I
have two bins: this one right here called
| | 00:52 | DSLR Video Footage, which is a video
clip that came off a DSLR camera--it also
| | 00:56 | has some reference audio with it--
| | 00:58 | and then this bin right here called HQ
Audio or high-quality audio. This bin
| | 01:02 | contains a clip that was
recorded on a digital auditor recorder.
| | 01:05 | In the Video bin, let's just go ahead and
double-click on this clip called a Sync Clip.
| | 01:11 | Now just keep in mind like
most footage for this title,
| | 01:13 | it's been recompressed to a smaller size,
so you might see some slight banding
| | 01:16 | or other artifacting in the clip.
| | 01:18 | Now before you ask, this clip comes from
a doc that I'm working on, and yes, it
| | 01:22 | was shot purposely in black and white.
| | 01:25 | It looks pretty good, but the audio,
not so much, and that's because it was
| | 01:29 | recorded on the camera.
| | 01:30 | Let me scrub into the clip and
just play back a second or two.
| | 01:32 | (Female speaker: My father and his brother
paid their way through medical school by)
| | 01:36 | (Female speaker: playing in a folk band
on the radio. And my mom--)
| | 01:40 | Okay, so you can hear that the audio
sounds pretty distant, pretty hollow, et
| | 01:44 | cetera, and this is because
it was recorded on the camera.
| | 01:47 | Let's go back over here to the HQ
Audio bin and load up this clip. And I'll
| | 01:51 | scrub back into it a
second or two and play it back.
| | 01:53 | (Female speaker: We grew up with music everywhere.
My father paid their way through medical school by--)
| | 02:00 | Okay, same audio, but now it sounds
much, much better, since it was recorded
| | 02:05 | with a good microphone to a
good digital audio recorder.
| | 02:07 | All right, let's go back to the video
clip and go ahead and open it back up by
| | 02:11 | double-clicking on it.
| | 02:12 | The first thing that we want to do is
locate a point in the clip that we can
| | 02:15 | use as a sync point.
| | 02:17 | So at the beginning of this clip
I know that there is a point where
| | 02:20 | somebody claps their hands.
| | 02:22 | Now a clap order something else could
have been used, but a clap of the hands it
| | 02:24 | will work just fine.
| | 02:25 | Let's find that point right back
here at the beginning of the clip.
| | 02:27 | (video playing)
| | 02:31 | Okay, right about there. But I want it
to be pretty accurate, so let me use the
| | 02:34 | left and right arrow keys on the
keyboard to go frame by frame to find exactly
| | 02:37 | where the sound of the hand-clap happens.
| | 02:40 | Now you're going to notice that it's
going to be a little different than what
| | 02:42 | I'm seeing on the actual image, but that's okay.
| | 02:45 | We want to get the sound of the clap.
| | 02:47 | (video playing)
| | 02:52 | Right about there. So now what I
want to do is go ahead and add a marker
| | 02:56 | right at this point.
| | 02:57 | So to do that, I'm going to come up to
the Marker menu, down to Clip Marker, and
| | 03:01 | I'm going to use Set Other Numbered Marker.
| | 03:04 | And in this dialog right here, I'm
going to ahead and type in the number 1.
| | 03:08 | Now, you can use just a regular marker
of course, but the reason I'm doing it
| | 03:12 | this way will make more sense in a few moments.
| | 03:15 | If you're trying to be as accurate as
possible when adding a marker, you can
| | 03:18 | always click the output button here and
change your view to Audio Waveform, and
| | 03:23 | then you can find the exact point
where the clap or the other sound that you
| | 03:26 | want to use as a sync point happens.
| | 03:28 | Let's switch back to Composite Video.
| | 03:29 | All right, let's go ahead and double-
click on the HQ Audio file right
| | 03:34 | here, and what we're going to do is try
to find the exact same point. And I think
| | 03:38 | it's right about here. Let's scroll back.
| | 03:40 | (Male speaker: Take one.)
(hand-clap)
| | 03:46 | Yup, right about there.
| | 03:47 | I'll come up to the Marker menu again,
down the Clip Marker, and choose Set Other
| | 03:51 | Number, and I'm going to
use the exact same number.
| | 03:54 | I'm going to use number 1.
| | 03:57 | Okay, let's bring both of
these clips down onto the sequence.
| | 04:00 | I'm going to drag this guy down here,
and then I'm going to drag the
| | 04:04 | HQ Audio down here.
| | 04:06 | Well, right now I don't care that they're
not in sync or lined up with each other.
| | 04:10 | I can have Premiere Pro do this for me
automatically, and the reason that's going
| | 04:14 | to happen automatically is
because I used these numbered markers.
| | 04:17 | So let me select both of these sets
of clips right here, and I'm going
| | 04:20 | to right-click, and then I'm
going to choose this option right here
| | 04:23 | called Synchronize.
| | 04:24 | And you'll notice down here at the
bottom of the Synchronize Clips dialog, we can
| | 04:29 | synchronize these clips by
using a numbered clip marker.
| | 04:32 | So let me go ahead and choose that option,
and of course the only option I have
| | 04:35 | here is 1 because I set 1 on both clips.
| | 04:38 | I'll click OK, and in just a second, the
clips are automatically aligned and synced.
| | 04:43 | Now, what I'm going to do next is just
trim this high-quality audio to match the
| | 04:47 | length of the actual recorded
clip on the camera, just like that.
| | 04:53 | Okay, so now I've got them in sync, I've got them
trimmed to be approximately the same length.
| | 04:57 | What I'm going to do is select the
video clip, because I don't actually need
| | 05:01 | this reference audio anymore.
| | 05:02 | I want to use just the HQ Audio.
| | 05:04 | So I'm going to right-click on the Sync
Clip, and then I'm going to come up here
| | 05:08 | to choose Unlink, and you'll notice
now I can select the audio and video
| | 05:12 | separately. So I'm going to delete the
reference audio from the original clip,
| | 05:17 | just like that, and then what I'm
going to do is just select the HQ
| | 05:21 | Audio and drag it up, just like that.
| | 05:24 | So now I've got these clips lined up and
synced up. The next step I want to do
| | 05:27 | is actually merge these clips together so
they'll act as one clip from here on out.
| | 05:32 | And the way that I'm going to do that
is by selecting these clips and then
| | 05:35 | right-clicking, and then I'm going
to choose this option right here,
| | 05:38 | called Merge Clips.
| | 05:40 | Here in the Merge Clips dialog, we
can choose to rename this clip. And I'm
| | 05:43 | just going to leave the default name
of Sync Clip.mov-Merge as is, and let's
| | 05:48 | go ahead and click OK.
| | 05:50 | And now over here in the Project panel
you can see a new clip was created, based
| | 05:54 | on the name that I
called in the previous dialog.
| | 05:56 | And if I bring this clip down onto the
sequence and play it back, you'll notice
| | 06:00 | it's the video clip with the high-quality audio.
| | 06:02 | (Female speaker:--band on the radio.
And my mom, well, she--)
| | 06:03 | Pretty cool, right?
| | 06:09 | So while it does seem like it
takes quite a few steps, it's
| | 06:13 | pretty straightforward.
| | 06:14 | With that said, if you're constantly
working with dual-system material, I
| | 06:18 | would strongly take a look at the
singularsoftware packages of PluralEyes and DualEyes.
| | 06:23 | They can make quick work of syncing
and merging clips, and in the case of
| | 06:26 | PluralEyes, it can also work
with multiple camera angles.
| | Collapse this transcript |
| Adding and customizing transitions| 00:00 | Oh, the cut: a transition that I love,
but maybe it's because I'm a purist.
| | 00:04 | These days many shows are heavy on
transitions, everything from simple cross-
| | 00:08 | dissolves to flashes and beyond.
| | 00:10 | In this movie, I want to talk about
adding transitions in Premiere Pro, but
| | 00:13 | first, let's do a quick recap here in
Final Cut Pro about adding transitions.
| | 00:17 | There are a few different ways that you
can add transitions in Final Cut Pro, and
| | 00:21 | perhaps one of the easiest is by coming
up to the Effects tab here and then into
| | 00:25 | the Video Transitions category and
choosing the transition of your choosing and
| | 00:29 | simply dragging that transition
down onto a clip here in the sequence.
| | 00:33 | You can of course, when dragging, choose
to position the clip either to end on an
| | 00:37 | edit, be centered on an
edit, or to start on an edit.
| | 00:40 | Let me go ahead and undo that.
| | 00:43 | Now one thing you noticed up here
in the Effects tab is that this cross-
| | 00:46 | dissolve was underlined.
| | 00:47 | The underlining means that this
cross-dissolve is the default video
| | 00:51 | transition in Final Cut Pro.
| | 00:52 | We will talk about default transitions
over in Premiere Pro in just a moment.
| | 00:56 | Another way that I have to add a
transition in Final Cut Pro is to simply
| | 00:59 | select an edit point itself. And you
can use the U key to toggle between the
| | 01:03 | different sides of the edit point, or like I have
right here, have it be centered on the edit point.
| | 01:07 | Once you have made your selection, you
can some up to the Effects menu, down to
| | 01:11 | Video Transitions, and of course you
can add a transition of your choosing.
| | 01:16 | Now the other way that you have to
add a transition is to simply place your
| | 01:19 | playhead over a transition point
like this and use the keyboard shortcut
| | 01:23 | Command+T to add the default
transition, for either video or audio.
| | 01:28 | Now if you double-click on a transition
itself, you can load it into the viewer
| | 01:31 | here, and you can of course change its
duration, how it's positioned. You can
| | 01:36 | roll clips underneath the transition.
By using this little Hand icon, you can
| | 01:40 | drag the transition onto another edit
point, but you could also drag it over here to,
| | 01:44 | say, your Favorites bin if you
have customized this transition.
| | 01:47 | Down here you can use the Start and End
percentage sliders, or these text fields,
| | 01:52 | to change the percentage of the
transition, meaning where it starts, or what
| | 01:55 | percentage it starts at,
and what percentage it ends at.
| | 01:59 | And finally if you come down to a
transition on the sequence itself, you can
| | 02:02 | do many of these things by simply
right-clicking on the transition and from
| | 02:06 | here, you can choose to open the transition,
change its duration, or change its alignment.
| | 02:11 | Okay, let's go ahead and switch over to
Premiere Pro to see how we can do most
| | 02:14 | of these same things.
| | 02:16 | Here in Premiere Pro I have the same
simple sequence I was working with in Final
| | 02:19 | Cut Pro. And I first want to locate a transition.
| | 02:22 | To do that, let's come over to the
Effects panel, this guy right here/ And we'll
| | 02:26 | talk more about the Effects panel later
in this title, but one of the things I
| | 02:29 | can do is locate video and audio
transitions, as well as video and audio effects.
| | 02:34 | So right here you can see the Video
Transitions category and if I click to open
| | 02:38 | this up, you can see, just like in
Final Cut Pro, I have a lot of different
| | 02:41 | categories of transitions.
| | 02:43 | Let's go ahead and open
up the Dissolve category.
| | 02:45 | And let me scroll down just a little
bit. A here you can see a cross-dissolve.
| | 02:50 | Now notice that this Cross Dissolve
has a slightly different icon than say
| | 02:53 | this Additive Dissolve.
| | 02:54 | It has this red box around the icon.
| | 02:57 | This indicates that it's the default
video transition here in Premiere Pro.
| | 03:01 | If you want to have another
transition be the default transition, you can
| | 03:04 | simply select it, right-click on it,
and choose Set Selected as Default
| | 03:08 | Transition, and you'll
notice that the icon changes.
| | 03:10 | Let's change that back to Cross Dissolve.
| | 03:13 | To actually add a transition to an
edit point over here on the sequence, all
| | 03:17 | you need to do is simply drag it over.
And just like in Final Cut Pro, you can
| | 03:21 | choose to center-position this transition, have
it end on an edit, or have it start on the edit.
| | 03:27 | Let's go ahead and chose center on the edit.
| | 03:30 | So here's the transition itself on the
sequence, and it looks a little different
| | 03:34 | than it does in Final Cut Pro,
but the results are exactly the same.
| | 03:37 | Let me go ahead and play this back. Yup!
| | 03:42 | That was a cross-dissolve.
| | 03:44 | Unlike Final Cut Pro, if you right-click
on a transition, the only thing you can
| | 03:47 | actually do is clear it.
| | 03:49 | But if you select a transition itself,
up here in the Effect Controls panel, this
| | 03:54 | is where you can really customize
what's going on with the transition.
| | 03:58 | Okay, this is pretty cool.
| | 03:59 | Here in the middle of the window, you can
of course see the outgoing and incoming
| | 04:03 | clips, and here in the middle,
you can see the transition itself.
| | 04:07 | Just like in Final Cut Pro, you can come
to either end of the transition to trim
| | 04:11 | it, to make it longer or to make it shorter.
| | 04:14 | Positioning the cursor over the middle of
the transition like I have here so I get
| | 04:18 | this little box icon will not roll
the clips underneath the transition, but
| | 04:22 | rather and perhaps cooler,
roll the transition itself.
| | 04:25 | Let me show you what I mean. So click and drag.
| | 04:28 | I can roll the transition
itself to reposition it.
| | 04:32 | Yes, you're thinking right:
| | 04:33 | unlike in Final Cut Pro you are not
limited to just the start, end, or having
| | 04:38 | a centered transition; you could actually
position it anywhere between the two clips.
| | 04:43 | This is pretty cool!
| | 04:45 | Over here on the left, you can of course
change the duration of the transition by
| | 04:49 | simply clicking on this yellow text
and entering in a value of your choosing.
| | 04:53 | You can also of course adjust the alignment.
| | 04:55 | Notice that it says Custom right now.
That's because I have rolled this
| | 04:58 | transition itself to reposition it.
| | 05:00 | Down here, just like in Final Cut
Pro, you can adjust the Start and End
| | 05:04 | percentages of a transition by using these
numerical values, or by using these sliders.
| | 05:09 | And then with this button right here,
which I think is really pretty neat, you can
| | 05:12 | actually show the sources and set up
just those A and B icons. And then by
| | 05:17 | clicking this button right up here,
you can actually preview or play the
| | 05:21 | transition, and you can see it
preview in this small little box right here.
| | 05:25 | Once you have altered or changed the
transition, you might want to save it as a
| | 05:30 | present or favorite.
| | 05:31 | Unfortunately, you can't.
| | 05:32 | I know this is a big oversight by Adobe,
and it's one that I hope is rectified soon.
| | 05:37 | You also can't drag and drop a
transition onto another edit point in a sequence
| | 05:41 | as you can in Final Cut Pro,
which is another bummer.
| | 05:44 | However, you can come down to a
sequence and copy and then paste a transition
| | 05:48 | from one edit point to another edit point.
| | 05:51 | I do want to show you one more thing
that I think is really, really cool.
| | 05:54 | Let's come down to this next edit
point down here. And if I go ahead and
| | 05:58 | double-click on this clip--and let me
go ahead and zoom out a little bit here
| | 06:02 | after it's loaded into the Source
Monitor, like that--you can see on either side--
| | 06:08 | this side on the in point side and
this side on the out point side--I have a
| | 06:12 | large amount of handles.
| | 06:13 | Let's go ahead and double-click on
this last clip here in the sequence.
| | 06:17 | And if I do that same thing, by
zooming just a little bit, you can see that I
| | 06:22 | have some handles on the outside of
this clip, but I don't have any handles
| | 06:27 | here where the clip starts.
| | 06:29 | in Final Cut Pro because I have handles
on one side and not the other, I wouldn't
| | 06:34 | be able to add a centered, or start-on-
edit, transition, because there aren't
| | 06:39 | enough handles on this clip;
however, in Premiere Pro you can.
| | 06:44 | Let's go ahead and drag out a
cross-dissolve again from the Effects panel and
| | 06:49 | drag it out onto this edit point.
| | 06:51 | Notice that we can only place it on the
start of the edit, as this will use the
| | 06:55 | handles of the outgoing
clip to populate the dissolve.
| | 06:59 | You can force the transition, however,
onto the end of the edit by holding down
| | 07:03 | the Command key, just like this.
| | 07:05 | But let's go ahead and add it to
the incoming clip, just like that.
| | 07:11 | Now what I am going to do is go ahead
and double-click on this cross-dissolve to
| | 07:14 | open it up into the Source Monitor,
and you can see what I was saying.
| | 07:17 | You can see here on the incoming clip I
don't actually have any handles, but I
| | 07:21 | have quite a bit of
handles on the outgoing clip.
| | 07:24 | Let's come into the Alignment menu
right here and choose Center at Cut.
| | 07:28 | When I do this, as you'd
expect, the transition is realigned.
| | 07:33 | But notice these hash marks
right here in the transition?
| | 07:36 | This is Premiere Pro's way of telling
you that there aren't enough handles
| | 07:39 | to make this transition work as it should;
however, it still will, and it still does.
| | 07:45 | What the hash marks mean is that
Premiere Pro will use a still frame of the
| | 07:49 | clip, in this case the incoming clip,
for this part of the transition to make
| | 07:53 | the transition work.
| | 07:55 | Let's go ahead and play back this
transition to see what it looks like.
| | 07:57 | Let me go ahead and do it one more time.
| | 08:05 | And sure enough, you could sort of
see playback stutter for a second as it
| | 08:09 | hits the part of the transition
that's a still frame, this part right here
| | 08:13 | with all the hash lines.
| | 08:14 | Let me go ahead and do this
frame by frame, so you can see.
| | 08:18 | So there is a still, still,
and then finally, it goes into motion.
| | 08:24 | Of course, this might look weird
depending on your footage, but in other cases
| | 08:28 | it might work just fine and also save
you the difficulty of placing transitions.
| | 08:33 | The last thing I want to talk about
is how to apply a default transition.
| | 08:37 | We have already talked about
changing the default transition over here in
| | 08:40 | the Effects panel, but we can easily apply
a default transition here in the sequence.
| | 08:44 | Let me go ahead and delete this cross-dissolve.
| | 08:47 | To apply a default transition, all you
need to do is position your playhead on
| | 08:51 | or near an edit point, and then what you
can do is come up to the Sequence menu
| | 08:55 | and then down here to Apply Video or
Audio Transition. And note the keyboard
| | 09:00 | shortcuts: Command+D or Shift+Command+D.
Let's go ahead and apply the default
| | 09:05 | video transition, which in this case
is cross-dissolve, and you can see it was
| | 09:09 | applied down here in the sequence.
| | 09:11 | Finally, if you come up to the
Premiere Pro menu here and then down to
| | 09:14 | Preferences and then choose General,
right here with these two categories, you
| | 09:19 | can adjust the default length of
either a video or audio transition.
| | 09:24 | So you can see, transitions in
Premiere Pro are pretty powerful;
| | 09:28 | however, there are some limitations,
such as saving custom transitions as
| | 09:33 | favorites and dragging and dropping
transitions from one edit point to another.
| | 09:38 | However, I'm hopeful that these
limitations will be addressed in future
| | 09:41 | versions of Premiere Pro.
| | Collapse this transcript |
|
|
5. TrimmingBasic trimming| 00:00 | To a large degree, editing
is a process of refinement.
| | 00:02 | You mark clips, edit them into a
sequence, and from there it's all about swapping
| | 00:06 | out clips with new ones, moving
sections of clips around, but more importantly,
| | 00:10 | and perhaps more common, is adjusting
the in and out points of existing clips in
| | 00:15 | some shape or fashion.
| | 00:16 | In this movie, we are going start our
exploration of trimming in Premiere Pro
| | 00:20 | CS5.5. And I think you'll see that in
many regards trimming in Premiere is very
| | 00:25 | similar to Final Cut Pro 7.
| | 00:27 | So here in Final Cut Pro, I have a
pretty simple sequence, and I want to trim a
| | 00:30 | couple of these clips.
| | 00:31 | So perhaps the easiest way to trim a
clip is with your Selection tool active. And
| | 00:35 | from there, something come to the end or
the start of a clip, until you get this
| | 00:38 | vertical bar tool and
click and drag to trim a clip.
| | 00:43 | You can also trim the
beginning of a clip in the same way.
| | 00:45 | Of course you leave a gap when you
trim like this, but we will come back in a
| | 00:49 | later movie and talk about using the Ripple
tool to make a trim where we don't leave a gap.
| | 00:54 | Let me undo that.
| | 00:55 | You can of course trim a clip by
double-clicking on it into the viewer and then
| | 00:59 | either dragging its in and out points
or going to a new position and then
| | 01:04 | updating the in or out by pressing I or O.
| | 01:08 | Okay, so that's a pretty simple trim.
| | 01:10 | Let's switch over to Premiere Pro and
see how we can do these exact same things.
| | 01:15 | Here in Premiere Pro, with my Selection
tool active, which is just this guy on
| | 01:18 | the toolbar--or I can also activate it
by using the keyboard shortcut V--I can
| | 01:23 | come to the end of a clip, just like I
can in Final Cut Pro. And when I do that,
| | 01:26 | notice I don't get sort of a Vertical
Bar tool, but I get this Staple-looking
| | 01:30 | tool, with two outward arrows.
| | 01:33 | This is my regular Trim tool.
| | 01:34 | So if I click here and drag, I can trim
the clip, and just like in Final Cut Pro,
| | 01:40 | up in the Program Monitor, if I were to
let go right here, you can see what the
| | 01:44 | new out point would be.
| | 01:46 | Also just like in Final Cut Pro, I
can of course trim in points of clips.
| | 01:50 | So if I come to this clip right here,
you'll notice I get the same tool, but now
| | 01:54 | the staple is facing the opposite way,
indicating that I will be trimming the
| | 01:58 | in point of this clip.
| | 02:00 | So if click and drag, you can see that
I'm trimming the in point. And again, up in
| | 02:04 | the Program Monitor, if I was to let go
right here, you can see that this would
| | 02:07 | be the new in point for this clip.
| | 02:09 | And as I drag here, just like in
Final Cut Pro, you can see a little sticky
| | 02:13 | here on the sequence, showing me how far I'm
trimming this clip, either forwards or backwards.
| | 02:19 | Let me go ahead and undo that.
| | 02:21 | Just like in Final Cut Pro of course
you can double-click on a clip to load it
| | 02:25 | up into the Source Monitor. And when
you first load a clip up into the Source
| | 02:28 | Monitor, it's kind of hard to tell
where your in and out points are.
| | 02:32 | That's because Premiere Pro by default
likes to fit your in and out points to
| | 02:36 | the viewable area here in the
mini-timeline in the Source monitor.
| | 02:40 | So to remedy this, I am just going
to use this thin gray bar right here.
| | 02:43 | I am going to drag these handles at
either end and drag like this. You can
| | 02:47 | see as I am dragging, either in or out,
| | 02:51 | I can adjust the zoom level on the
little mini-timeline, or scrubber bar. And
| | 02:55 | here I can see my in and out points.
| | 02:58 | Just like in Final Cut Pro, I can
simply place my cursor over either the out
| | 03:01 | point or the in point and you will
notice that I get that Trim Tool icon.
| | 03:06 | From here, I can click
and drag to trim the clip.
| | 03:09 | Of course, just like in Final Cut Pro,
we are left with a gap down here on the
| | 03:13 | sequence, but in a later movie we
will talk about rippling this edit point.
| | 03:17 | Also just like Final Cut Pro, you
can reposition your playhead here in the
| | 03:20 | Source monitor and press I
or O to mark a new in or out.
| | 03:26 | So if I drag back a little further here, right
about here and press I, the in point updates.
| | 03:33 | One more thing to point out: just like
in Final Cut Pro when you trim a clip,
| | 03:36 | if you have linked audio while you are
trimming a video clip, the linked audio
| | 03:40 | will be trimmed as well.
| | 03:41 | And we saw this down here in the
sequence. And just like Final Cut Pro, you can
| | 03:45 | also use the Option key to
temporarily unlink audio from video.
| | 03:51 | If I hold down the Option key while I
am dragging, say, this video clip here, I
| | 03:55 | can temporarily unlink audio from video,
and you can see that's an easy way to
| | 04:00 | create a split-edit.
| | 04:01 | And finally, while I am not a big fan
of this tool, you can also edit clips by
| | 04:05 | using the Razor Blade tool and if I
come over here to my toolbar, that's this
| | 04:09 | tool right here, the Razor tool--and its
keyboard shortcut is C on the keyboard.
| | 04:14 | So if I press this tool, I can then come in
here and cut this clip wherever I am positioned.
| | 04:19 | So let's cut it right here, and you can
see that I have made an edit. And then I
| | 04:24 | can switch back to my Selection
tool by pressing V on the keyboard.
| | 04:28 | I can simply select that
section I don't want and press Delete.
| | 04:32 | So that's making a simple trim in
Premiere Pro. In later movies in this chapter,
| | 04:35 | I will show you how we can do things
like ripples and rolls and slip and slides.
| | Collapse this transcript |
| Using the Ripple and Roll tools| 00:00 | Earlier in this chapter we talked
about performing a basic trim to adjust the
| | 00:03 | clip's in or out point.
| | 00:05 | While you use this basic type of trim
all the time, when you get into the thick
| | 00:08 | of editing, you'll need to do slightly
more complex trims that involve trimming
| | 00:12 | a clip but not leaving a gap, or
massaging both the in and out point of adjacent
| | 00:17 | clips at the same time.
| | 00:18 | These types of trims are
called ripple and roll edits.
| | 00:21 | And in this movie, I want to show you
how they work inside of Premiere Pro.
| | 00:24 | But first, let's start out here in
Final Cut Pro and do a quick recap of
| | 00:28 | rippling and rolling edits points.
| | 00:29 | Now I have already watched this sequence
a few times here in Final Cut Pro and I
| | 00:33 | know there are some edit points that
need to be rippled and another edit point
| | 00:36 | that needs to be rolled.
| | 00:37 | So the thing I want you to understand
about Final Cut Pro and rippling and
| | 00:40 | rolling is that there are actually
three ways to perform these tasks.
| | 00:43 | First, you can use a tool to ripple or roll;
| | 00:46 | next, you can use keyboard shortcuts to
ripple and roll; and then finally, you can
| | 00:50 | use timecode to ripple and roll.
| | 00:52 | So, on this first clip right here I actually
want to ripple this out point back a little bit.
| | 00:57 | And to do this I am going to come over
to the toolbar and select this tool right
| | 01:01 | here called the Ripple tool.
| | 01:02 | You can also activate it on
the keyboard by pressing RR.
| | 01:06 | And then with the Ripple tool active, I
am going to come over to this first edit
| | 01:08 | point. And notice a little
tail on the Ripple tool.
| | 01:11 | Depending on which side the tail is on,
you'll be rippling either the in point,
| | 01:15 | as I am right here, or the
out point, as I am right here.
| | 01:18 | All right, let's go ahead and
ripple this clip's out point back.
| | 01:21 | So I will just click and drag
and ripple back, just a little bit.
| | 01:25 | Up in the canvas, you can see a 2-up
view of my new out point, if I was to let
| | 01:29 | go here, and the in point of the adjacent clip.
| | 01:33 | So I'll ripple back to
right about here and let go.
| | 01:36 | Now, what's going to happen is that
the rest of the timeline is going to move
| | 01:39 | forward in time, closing the gap that
would've been left if I had done a basic trim.
| | 01:44 | Now, we just rippled this clip's out point,
but we didn't ripple the clip's in point.
| | 01:47 | This clip seems to be a little short.
| | 01:49 | So, while I could use the Ripple tool,
as I mentioned before, we can also
| | 01:53 | use keyboard shortcuts.
| | 01:54 | So I am going to make my Selection
tool active by pressing A on the keyboard,
| | 01:58 | and then I am going to select this edit point.
| | 01:59 | By default, you will notice that both
sides of the edit are selected. And I can
| | 02:03 | use the U key to toggle
to one side or the other.
| | 02:06 | So let me make sure that the in point of
this clip is selected, and then by using
| | 02:10 | the bracket keys on the keyboard, I
can ripple this clip frame by frame.
| | 02:15 | If I add the Shift key, I can also
ripple this clip in a multi-frame increment.
| | 02:19 | All right, let's come down to the
second batch of clips right here.
| | 02:22 | Now I know that this edit
point needs to be rolled.
| | 02:25 | So of course, I can use the Roll
tool. I can access the Roll tool over
| | 02:29 | here on the toolbar.
| | 02:30 | It's just this guy right here.
| | 02:31 | You can also activate it by using
the keyboard short R on the keyboard.
| | 02:35 | To roll a clip, you can simply
select the edit point itself and then drag
| | 02:39 | forward or backwards.
| | 02:40 | And when you do, you will notice up
in the canvas, you have a 2-up view.
| | 02:44 | showing your new out point of the
outgoing clip and showing you the new in
| | 02:48 | point of the incoming clip.
| | 02:50 | And if I let go right about
here, the edit point updates.
| | 02:54 | Now the thing to understand about roll
edits is that they don't actually change
| | 02:57 | the length of your sequence.
| | 02:58 | You're simply moving an edit
point in time. Let me undo that.
| | 03:03 | As I mentioned, we can of course
ripple and roll by using keyboard shortcuts,
| | 03:06 | as we did back here when we rippled this clip,
but you can also use timecode to ripple or roll.
| | 03:11 | So with this edit point selected and
both in and out selected, I am simply going
| | 03:15 | to type on my keyboard +100 to roll this
edit point forward by one second. Just like that.
| | 03:23 | Okay, let's jump over to Premiere Pro and
see how ripple and roll edits work there.
| | 03:26 | Here in Premiere, I have the same sequence
that we are working on in Final Cut Pro.
| | 03:31 | Let's come down to the end of this
first clip and play it back for one second.
| | 03:34 | (Male speaker: Trees, uh--)
| | 03:37 | Notice that big "uh"?
| | 03:38 | Well, I want to get that uh out of
there, and I can do that very easily by
| | 03:43 | rippling this first clip.
| | 03:45 | So the first way that I am going to do
this is by coming over to the toolbar
| | 03:48 | over here and selecting this tool
right here, called the Ripple Edit tool.
| | 03:52 | You can also activate it on
the keyboard by pressing B.
| | 03:55 | So with the Ripple Edit tool
selected, I am going to come over here to
| | 03:58 | the actual edit point.
| | 03:59 | Now, depending on which side of the
edit I am on, you'll see that the staple-
| | 04:03 | looking icon of the Ripple tool changes
sides. And this is just like the tail
| | 04:08 | of the Ripple tool in Final Cut Pro.
| | 04:10 | So you need to make sure it's on the
correct side of the edit for the clip
| | 04:13 | that you want to trim. Now the thing that's a
little confusing about this is that the Ripple tool here
| | 04:17 | looks exactly like the Basic Trim tool.
| | 04:20 | I can get back to the Basic Trim tool
if I press V on my keyboard. And here you
| | 04:24 | can see the Basic Trim tool.
| | 04:25 | Notice it looks pretty much the same.
| | 04:28 | Well, the difference is is that it's
a staple tool, but if I go back to the
| | 04:31 | Ripple tool, notice that the arrows
coming out of either side of the staple are
| | 04:35 | now bolded with the Ripple tool.
| | 04:37 | So with the Ripple tool active, let me
trim this clip back a little bit, trim it
| | 04:41 | back by about 23 frames or so. And up
there in the Program monitor, you can see
| | 04:45 | a 2-up view just like you have in Final
Cut Pro, showing you the new out point
| | 04:49 | of the clip that I am rippling and
the in point of the adjacent clip.
| | 04:52 | Now, that in point is not going to
change, since we are only doing a one-sided
| | 04:55 | trim. And if I let go, the gap that
would have been created by doing a basic
| | 04:59 | trim is closed, and the rest of the clips in the
sequence snap further in time, closing the gap.
| | 05:04 | Okay, so that was rippling a clip to make
it shorter, but how about making one longer?
| | 05:09 | Right here I have shot that I think
could be a little longer, and I can go ahead
| | 05:13 | and ripple it, but I want
to ripple it on the keyboard.
| | 05:15 | Well, I have a little bit of bad news.
| | 05:17 | As of right now, there is actually
no way to ripple on the keyboard when
| | 05:22 | trimming in the timeline.
| | 05:24 | Part of this stems from the fact that
you can't actually select an edit point
| | 05:28 | like you can in Final Cut Pro.
| | 05:29 | So, if I go back to my Selection tool,
there's actually no way to select the edit
| | 05:34 | point itself, or either side of the edit.
| | 05:37 | So, in other words, for rippling,
you're stuck using the Ripple tool.
| | 05:41 | And I have talked to the folks at
Adobe about this, and they are aware of
| | 05:43 | the issue, and hopefully in future versions of
the software, we will see keyboard rippling.
| | 05:48 | So for now, I want to
show you one more cool thing.
| | 05:51 | Previously we selected the ripple
edit tool to make a ripple edit; you don't
| | 05:54 | actually need to do that.
| | 05:56 | Right now I just have my basic
Selection tool active, or just V on the keyboard,
| | 06:00 | and if I place that over this edit
point, you can see that Basic Trim tool.
| | 06:03 | But if I hold down the Command key,
I can temporarily switch the regular Trim
| | 06:08 | tool into the Ripple tool. And I can
click here and drag and extend this clip
| | 06:14 | out, making it longer.
| | 06:16 | Okay, now let's go down the next group of
clips, and let me play back this edit point.
| | 06:20 | (Male speaker: Process the olives.)
| | 06:24 | Okay, it seems like the person speaking
was getting cut off, and at the beginning
| | 06:28 | of this machine shot, it looks
like there was some shaky camera work.
| | 06:32 | This is a perfect situation
for performing a roll edit.
| | 06:35 | And to perform a roll edit, I can
simply come over to the toolbar here and
| | 06:39 | activate the Rolling Edit tool.
You can also activate it on the keyboard by
| | 06:43 | pressing N. So let me go
ahead and activate that.
| | 06:45 | And then with the Roll tool over here,
I can click and drag the actual edit
| | 06:49 | point and as I do, up in the Program
monitor, you'll see a 2-up view, showing me
| | 06:54 | if were to let go right here where my
new out point of the outgoing clip would
| | 06:58 | be and where my new in point
of the incoming clip would be.
| | 07:01 | Let me roll it to about one second.
| | 07:04 | Okay, and I will let go, and you can
see that the edit point has updated.
| | 07:08 | Unlike Rippling, you can roll from
the keyboard in a couple different ways.
| | 07:13 | The first way to do this is to
simply spot where you want the edit to be.
| | 07:17 | So I'll place my Current Time
Indicator, or my playhead, right about here.
| | 07:22 | Let me go ahead and switch
back to my Selection tool.
| | 07:24 | Now that I have sort of spotted where
I want the edit point to be, I am going
| | 07:28 | to come up to the Sequence menu and right
here, you can see that I have two commands:
| | 07:33 | Extend Previous edit to Playhead, or E
on the keyboard, or Extend Next edit to
| | 07:38 | Playhead, or Shift+E. In this case, I
want to choose this option right here,
| | 07:42 | Extend Previous edit to Playhead.
And you can see that the result was that the
| | 07:48 | edit was moved,
essentially performing a roll edit.
| | 07:51 | Let me undo that one more time.
| | 07:52 | I can do it from the keyboard, as I
mentioned, simply by pressing E. Now what about
| | 07:57 | rippling or rolling numerically with
timecode, like you can in Final Cut Pro?
| | 08:01 | Well, unfortunately, you can't ripple
or roll with timecode from the timeline.
| | 08:06 | We will talk about how to ripple and
roll numerically with timecode later in
| | 08:09 | this chapter on a movie about the Trim Monitor.
| | 08:11 | Okay, so that's the basics of
rippling and rolling in Premiere Pro.
| | 08:14 | While the basics of using the Ripple
and Roll tools are pretty much the same
| | 08:18 | between Final Cut Pro and Premiere,
| | 08:20 | when it comes to rippling and rolling on
a sequence using keyboard shortcuts and
| | 08:24 | timecode, Premiere is currently a
little more limited than Final Cut Pro.
| | 08:28 | However, I know that Adobe is aware
of these things and working on them.
| | 08:32 | Even with these limitations, you can
still effectively use the ripple and roll
| | 08:37 | tools to make those types of edits.
| | Collapse this transcript |
| Using the Slip and Slide tools| 00:00 | Slip 'n Slide, that magical piece of
backyard fun on a summer day. Oh wait,
| | 00:05 | this is a title about editing.
Sorry, I forgot for a second.
| | 00:07 | In this movie, I want to talk about slip and
slide edits and how they work in Premiere Pro.
| | 00:11 | Slip edits of course allow you to keep
the duration of the clip the same but
| | 00:15 | shift its in and out points at the
same time to effectively show a different
| | 00:18 | portion of the clip.
| | 00:20 | A slide edit, on the other hand, can be a
little more difficult to get your mind around.
| | 00:23 | Basically, it involves three clips,
and when you slide the middle clip, you're
| | 00:27 | keeping its duration the same, but if
you slide to the left or earlier in time,
| | 00:31 | you're making the first clip shorter
by adjusting its out point and the third
| | 00:34 | clip longer by adjusting its in point--
| | 00:37 | or the opposite if you slide the other way.
| | 00:38 | Just like we had in other movie, let's
start out here in Final Cut Pro to see
| | 00:42 | how these functions work, so we
can compare them to Premiere.
| | 00:45 | This is just a simple string-out that I
have here in this Final Cut Pro project,
| | 00:48 | but it has a couple problems. And I've
watched this down a couple times, and I can
| | 00:51 | tell you that this first
clip needs to be slipped.
| | 00:54 | And in Final Cut Pro, there is
actually a few different ways that you can
| | 00:57 | slip and slide clips.
| | 00:59 | You can do it with a tool, you can
do it with the keyboard shortcut, or you
| | 01:02 | can do it via timecode.
| | 01:04 | I'm not going to show you all of those,
because you probably know how to do most
| | 01:07 | of them, but let's just take a
quick recap about how to slip and slide.
| | 01:10 | One of the easiest way is to slip a
clip is to simple double-click it to load
| | 01:14 | it up into the viewer.
| | 01:15 | And from here, with the Selection tool,
if you place your cursor over either the
| | 01:19 | out or the in point here, and then
hold down the Shift key, you can click and
| | 01:22 | drag to slip the clip.
| | 01:27 | If I hold down this key still, here in
the viewer you're seeing the new in point
| | 01:30 | for this clip, and then over in the
canvas you're seeing the new out point.
| | 01:32 | Of course, Final Cut Pro has a
dedicated slip tool, which you can just
| | 01:36 | activate on the keyboard by pressing S,
and then you could come into the clip and slip it.
| | 01:41 | And if you more of a keyboard person,
you could also use the left and right
| | 01:44 | bracket keys to slip this clip on the
keyboard. And finally, you could slip this
| | 01:48 | clip by using timecode.
| | 01:51 | Now, let's come down to this next
batch of clips, these three right here, and
| | 01:55 | let's talk about doing a slide edit.
| | 01:56 | A slide edit, of course, involves three clips.
| | 01:59 | To slide clips, you can actually only
do it on the sequence, since it involves
| | 02:04 | three clips. And to slide this clip, I'm
going to activate the Slide tool on the
| | 02:08 | keyword. And I can find that over here
in the toolbar, this guy right here, or I
| | 02:12 | could just press SS on the keyboard.
| | 02:14 | Once I have the Slide tool active, I'm just
going to click on this middle clip and drag.
| | 02:19 | And up in the canvas, you can see, if I
were to let go right here, what the new out
| | 02:23 | point of my first clip would be, and on
the right, you can see what the new in
| | 02:27 | point of my third clip would be.
| | 02:28 | I'm going to go ahead and let go,
and you can see that the edits update.
| | 02:32 | I've effectively made the first clip
shorter, the third clip longer, but the
| | 02:36 | middle clip, it's still the same length.
| | 02:39 | And of course, just like slipping, we can
also slide on the keyboard by using the
| | 02:42 | bracket keys, and we can
also slide by using timecode.
| | 02:46 | All right, let's go ahead and jump over
to Premiere Pro and take a look at the
| | 02:50 | way slipping and sliding works there.
| | 02:53 | Here in Premiere Pro I have the exact
same sequence and as I said, I know that
| | 02:57 | this first clip needs to
be slipped a little bit.
| | 02:59 | Let's back the playhead up
and watch it for a second.
| | 03:01 | (clip playing)
| | 03:04 | Okay and you can see at the top of
that clip, there is a little bit of a weird
| | 03:08 | zoom-out or pull-out that I'd like to eliminate.
| | 03:10 | And just like Final Cut Pro, one of
the easiest ways to slip a clip is to
| | 03:15 | double-click on it and load it
up here into the Source Monitor.
| | 03:18 | Here in the Source Monitor, you can
see your in and your out, right here.
| | 03:22 | But you notice this gray bar right here?
| | 03:24 | Well, if I move the playhead out of the
way, what I want you to notice is this
| | 03:28 | area right here where you
have these vertical lines.
| | 03:31 | If you place your cursor over
that, the cursor becomes this hand.
| | 03:34 | From here, you can simply just
click and drag to slip the clip.
| | 03:39 | Now I'm not going to let go yet.
What you're seeing here in the Source
| | 03:42 | Monitor is a 4-up view.
| | 03:44 | Now it only looks like a 3-up view,
but I promise it's a 4-up view.
| | 03:47 | The two larger images are the new in point
and out point for the clip that I'm slipping.
| | 03:52 | So as I move this left and
right, you can see those update.
| | 03:56 | In the upper right-hand corner, I can see
the in point of the next clip in my sequence.
| | 04:01 | I should be able to see the in point
for the previous clip on my sequence, but
| | 04:06 | right now I'm only seeing black because
this is the first clip on the sequence.
| | 04:10 | All right, let me go ahead and let
go here, and I've slipped the clip.
| | 04:14 | Let me go ahead and play that back--
| | 04:15 | (clip playing)
| | 04:18 | And yup, we don't have any movement in the clip.
| | 04:20 | Let's go ahead and undo that.
| | 04:22 | We can of course slip a clip by using a
dedicated tool, and if I come over here
| | 04:26 | to the toolbar, I can find
the Slip tool right here.
| | 04:29 | You can also activate it by
pressing Y on the keyboard.
| | 04:33 | So let's go ahead and activate that,
and once active, you can simply click on the
| | 04:36 | clip and drag to slip the clip.
| | 04:41 | And up in the Program monitor, you'll
see that same 4-up view that we saw in
| | 04:44 | the Source monitor.
| | 04:46 | So let me go ahead and let
go and I've slipped the clip.
| | 04:49 | Let's undo that one more time.
| | 04:50 | Now in Premiere Pro you can't actually
slip a clip by using timecode, but like
| | 04:55 | Final Cut Pro, you can use
some keyboard shortcuts.
| | 04:58 | So what I'm going to do is make sure
that this clip is selected, and it doesn't
| | 05:01 | matter if I select it with the Slip
tool or with the regular Selection tool.
| | 05:05 | Once it's selected, what I want
to do is use the keyboard shortcut
| | 05:08 | Option+Command and then the left and right
arrows. And I can slip this clip frame by frame.
| | 05:14 | And you can see up in the source motor,
because the clip is so loaded up there,
| | 05:18 | you can see that I'm slipping this clip.
| | 05:19 | If you add the Shift key, so Shift+
Option+Command, you can slip the clip in
| | 05:24 | multiple-frame increments.
| | 05:26 | And this multiple-frame
increment is controlled by a preference.
| | 05:30 | If you come up to the Premiere Pro menu
and down to Preferences and then down to
| | 05:33 | Trim, it's this preference right here,
Large Trim Offset. And currently it's set
| | 05:38 | to 5 frames, but you could
change it to whatever you want.
| | 05:42 | Okay, let's go ahead and
play these next three clips.
| | 05:45 | (clip playing)
| | 05:56 | Okay, so what I hope you noticed was
that the first clip was really long, the
| | 06:00 | middle clip seemed to be just about right,
and then the third clip, or the last clip
| | 06:04 | in the sequence, seemed to be too short.
| | 06:07 | And this is a perfect situation for sliding.
| | 06:10 | So to slide this clip, I could of
course go ahead over here to the toolbar and
| | 06:13 | activate the Slide tool.
| | 06:16 | I can also press U on the
keyboard to activate it.
| | 06:19 | With the Slide tool active, I can
simply click on the middle clip--because
| | 06:22 | remember, a slide involves three clips--and
if I click and drag, I can slide these clips.
| | 06:29 | Up in the Program monitor
you're seeing a 4-up view.
| | 06:32 | The two big images are showing you what
you're new out point on the first clip
| | 06:37 | would be if you were to let go right
here, and the big image on the right is
| | 06:40 | showing you what your new in point of
the last clip, or the third clip, would be
| | 06:44 | if you were to let go right here.
| | 06:46 | Then the two smaller images are
showing you the in and out point of the clip
| | 06:50 | that you're actually sliding.
| | 06:52 | So if I let go right here, I've
effectively made the first clip shorter, the
| | 06:56 | third clip longer, but the middle clip
that I was sliding is exactly the same length.
| | 07:02 | Just like the Slip tool, you can
slide using some keyboard shortcuts.
| | 07:05 | So let me go ahead and undo this.
| | 07:07 | With the Slide tool or Selection tool--
it doesn't matter--select the clip,
| | 07:11 | and then using Option and the left and
right arrows, I can slide this clip by
| | 07:17 | one frame at a time. Or if I add
the Shift key, I can slide the clip in
| | 07:22 | multiple-frame increments.
| | 07:24 | Okay, so that's slipping and sliding.
| | 07:26 | As you can see, it's very similar to
Final Cut Pro, with the exception of
| | 07:30 | slipping and sliding with timecode.
| | 07:32 | I think that you'll find that slipping
and sliding are tools that you will use
| | 07:35 | every once in a while, but when you
have to use them in Premiere Pro, I think
| | 07:39 | that you'll find them just as powerful
as the Slip and Slide tools and options
| | 07:43 | in Final Cut Pro.
| | Collapse this transcript |
| Using the Trim Monitor| 00:00 | The Trim Edit window, or as I like to
call it, the Super Edit tool, is a way that
| | 00:04 | you can perform ripple and roll edits
in a variety of ways to video and audio,
| | 00:08 | and do it visually, and by hearing your audio.
| | 00:11 | It makes quick work out of finessing an edit.
| | 00:14 | in this movie, I want to show you how
we can use the very similar Trim Edit
| | 00:17 | monitor in Premiere Pro.
| | 00:20 | Let's start out here in Final Cut Pro,
and perhaps the easiest way to invoke the
| | 00:23 | Trim Edit window is by
double-clicking on an edit point.
| | 00:26 | So I'll just go ahead and double-click
of this first one right here, and just in
| | 00:30 | a second, I'm presented
with the Trim Edit window.
| | 00:32 | In the Trim Edit window, we can
perform ripple and roll edits,
| | 00:36 | and how you know which one you're
performing is measured by this green line right here.
| | 00:40 | With the green line over both clips,
you'll be performing a roll edit.
| | 00:43 | If you click on one side or the other
side, you'll be performing a ripple edit.
| | 00:48 | Now there are a variety of ways to
perform ripple and roll edits here in the
| | 00:52 | Trim Edit window in Final Cut pro,
and I'm sure that you're familiar with most of
| | 00:55 | them. But the one thing I want to point
out about the Trim Edit window here in
| | 00:58 | Final Cut Pro is this option
right here labeled Dynamic.
| | 01:02 | in Final Cut Pro we can actually use
the J, K, and L keys to dynamically edit.
| | 01:08 | Let me show you how this works.
| | 01:09 | I'm going to click on this clip
right here, so I'm rippling this side, and
| | 01:13 | then when my cursor is still over this side,
I'm going to press the J key to go backwards.
| | 01:16 | (clip playing)
| | 01:19 | And when I press the K key,
the edit updates automatically.
| | 01:24 | This is a pretty cool feature and one
of the things I love most about the Trim
| | 01:27 | Edit window inside of Final Cut Pro.
| | 01:30 | Okay, let's go over to Premiere Pro
and take a look at how we can invoke and
| | 01:34 | then use the Trim Edit monitor.
| | 01:36 | Okay, here in Premiere Pro to
activate the Trim monitor, you can't actually
| | 01:41 | double-click on an edit point, since
Premiere doesn't allow you to select
| | 01:45 | an actual edit point.
| | 01:46 | So the easiest thing to do is just to
position your playhead near an edit point,
| | 01:51 | like this, and then press T on the
keyboard to activate the Trim monitor.
| | 01:57 | When you activate the Trim monitor, you
can see that it looks very similar to the
| | 02:01 | Trim window in Final Cut Pro.
| | 02:03 | And here in the trim monitor, we
can do the exact same types of edits.
| | 02:07 | We can perform ripples and we can
perform rolls. And which type of edit that
| | 02:11 | you're going to perform is dependent on
this blue line above and below the clips,
| | 02:16 | and this is just like the green line
that you see back in Final Cut Pro.
| | 02:20 | With the blue line above and below both clips,
right now I'll be performing a roll edit.
| | 02:24 | If I click on one side or the other, I
can perform a ripple edit on that side of
| | 02:30 | the edit point itself.
| | 02:32 | Now let's go ahead and click on this
left side over here on the outgoing clip.
| | 02:36 | This is a clip that I
want to perform a ripple on.
| | 02:38 | Now before we actually perform the
ripple itself, let's go ahead and press the
| | 02:42 | spacebar to preview this edit point.
| | 02:44 | (Male speaker: On the trees, uh--)
| | 02:48 | Okay, so when I play that back, what
you should have heard is the person
| | 02:51 | getting interviewed has a big "uh" at the end of
their thought, and we want to get rid of that.
| | 02:57 | This is a perfect
example of using a ripple edit.
| | 03:00 | So I'm just going to make sure that
this left side is selected, which it is, as
| | 03:04 | indicated by this blue line
above and below just this side.
| | 03:08 | To actually make the ripple,
I have quite a few choices.
| | 03:11 | First, I can come down here to this
little mini-timeline underneath the
| | 03:14 | clip, just like you have in Final Cut
Pro, by the way, and click and drag on
| | 03:19 | the actual out point.
| | 03:20 | And as I do that you can see that, I'm
rippling this clip back, as indicated by
| | 03:25 | the Out Shift timecode.
| | 03:26 | And if I let go right here, down in the
sequence you can see that we rippled the clip.
| | 03:31 | Let me go ahead and play that back.
| | 03:33 | (Male speaker: Leave the olives on the trees.)
| | 03:37 | Okay, so we fixed this clip.
| | 03:39 | We've gotten that "uh" out of there.
| | 03:41 | Let's go ahead and undo that.
| | 03:43 | There are of course other ways
that you can perform a ripple.
| | 03:46 | One of the ways that you can do a
ripple edit is by coming into this
| | 03:49 | timecode value right here.
| | 03:51 | By placing your cursor over this value,
you can click and drag and ripple the
| | 03:56 | clip backwards, just like that.
| | 03:58 | Let me go ahead and undo that.
| | 04:00 | Now, one of my favorite ways of using
these timecode values is to simply click
| | 04:04 | into the timecode value itself,
and from here, you can actually type in a value
| | 04:08 | that you want to ripple or roll.
| | 04:10 | So let me go ahead and type in -23
frames and press Enter, and I've rippled this
| | 04:15 | clip back by 23 frames.
| | 04:17 | Let's undo that once again.
| | 04:19 | Down here you have a number of jog wheels.
| | 04:22 | This wheel right here will let you jog the
out point of this clip, performing a ripple edit.
| | 04:26 | This jog wheel right here will jog the
in point of this clip again, performing a
| | 04:31 | ripple edit, and this jog wheel right
here will jog both the in and out points,
| | 04:36 | allowing you to perform a roll edit.
| | 04:38 | We'll get back to rolls in just a second.
| | 04:40 | So if I click on this jog wheel right
here and drag and go backwards, you can see
| | 04:46 | that once again I'm rippling this edit.
| | 04:48 | Let's undo that one more time.
| | 04:51 | Another way that we can ripple this
clip is by using these controls here in the
| | 04:55 | middle of the Trim monitor.
| | 04:56 | By clicking on this button right here, I can
trim backwards by a single frame at a time.
| | 05:02 | If I use this button right here, I can
trim backwards by five frames at a time, but
| | 05:06 | the value of this button is
actually set by a preference.
| | 05:10 | And you can find that preference by
going to the Premiere Pro > Preferences, down
| | 05:13 | to the Trim category, and then
adjusting the Large Trim Offset, and you can
| | 05:18 | actually use any value that you want.
| | 05:20 | You can also enter in a custom
value in this text box right here.
| | 05:25 | Let's go down a couple edit points.
| | 05:27 | Now I don't actually need to close the
Trim monitor; I can navigate to different
| | 05:31 | edit points by clicking
these buttons right here.
| | 05:33 | So let me click Go to Next edit
point, and I'll go down a couple edits.
| | 05:38 | Let's go ahead and preview this edit.
| | 05:40 | (Male speaker:--where we process the olives.)
| | 05:45 | Okay, so when I preview that, you saw
that the person getting interviewed sort of
| | 05:49 | got cut off and then on the incoming
shot, there was some weird shaky camera
| | 05:53 | movement at the beginning of the shot.
| | 05:55 | This is a perfect example of
when a roll edit is needed.
| | 05:58 | So to roll this clip, I'm simply going
to click here in the middle of these two
| | 06:02 | clips, in this gray area here.
| | 06:04 | So that way I get the blue
line above and below both clips.
| | 06:08 | The blue line above and below both clips
indicates that I'll be doing a roll edit.
| | 06:12 | And just like when we did a ripple, there is
a variety of ways to actually roll the clip.
| | 06:17 | One of the ways that you could do it is
by simply coming here to this timecode
| | 06:20 | value labeled Edit Point Position,
and then by just dragging. And when you let
| | 06:25 | go, as you can see down here in the
Out Shift and In Shift values, the actual
| | 06:30 | edit point was rolled.
| | 06:31 | Let's go ahead and undo that.
| | 06:33 | Another way that you could do this of
course is by using this jog wheel right here.
| | 06:37 | I'll just roll forward by about a second,
something like that, and once again the
| | 06:45 | clip is rolled, as you can see
down here on the sequence itself.
| | 06:49 | And of course, as we did before, you
could use the single-frame or multiple-
| | 06:53 | frame trim buttons to roll this clip
forwards or backwards, depending on which
| | 06:57 | way that you want to go.
| | 06:59 | Okay, so now that I've actually rolled
this clip forward, let's just preview
| | 07:02 | this edit point one more
time. I'll press the spacebar.
| | 07:05 | (Male speaker:--process the olives and extract the oil.)
| | 07:09 | Okay, and you can see that we
have in fact fixed this edit.
| | 07:13 | Now, the one thing that you'll notice
that is missing here inside of the Trim
| | 07:17 | monitor in Premiere Pro is the
capability to perform dynamic trimming like we
| | 07:22 | did back in Final Cut Pro.
| | 07:24 | It's my hope that this feature will
make its way into future versions of
| | 07:28 | Premiere Pro, but right now it's not
there, so you just need to be aware of that.
| | 07:32 | Okay, so that's the essentials of
the Trim monitor in Premiere Pro.
| | 07:35 | There are lots of options and lots of
flexibility when making ripple and roll
| | 07:39 | edits, and with the exception of the
ability to dynamically edit trims, I think
| | 07:43 | that you can see that its
functionality is pretty similar to Final Cut Pro.
| | Collapse this transcript |
| Splitting and adjusting sync| 00:00 | A very experienced and well-awarded
editor I know once told me that one of the
| | 00:03 | secrets of editing is blending.
| | 00:05 | I asked her what she meant,
| | 00:07 | and she said, "Let me show you." And for
the next twenty minutes she showed me how
| | 00:10 | subtle overlapping of audio or video
with adjacent clips can make an edit flow,
| | 00:15 | or in her words, blend.
| | 00:16 | What she was really showing me of
course was the concept of split edits, or as
| | 00:19 | some people refer to them, L edits.
| | 00:21 | In this movie, I want to jump right
into Premiere Pro and show you how we
| | 00:25 | can create split edits.
| | 00:26 | I also want to show you how we can work
with Sync, as these functions are almost
| | 00:29 | exactly the same in
Premiere Pro as in Final Cut Pro.
| | 00:33 | Here in this Premiere Pro project I
have a pretty simple sequence, and let me
| | 00:36 | play back just a section
of it, right here at the top.
| | 00:37 | (Male speaker: To start our tour today--)
| | 00:43 | Okay, and what you should have
noticed when I played this back was that the
| | 00:47 | person getting interviewed, or the stand-up
section right here, came in really abruptly.
| | 00:52 | But we can fix this pretty
easily by creating a split.
| | 00:55 | Now just like Final Cut Pro, you could
have loaded the clip up here into the Source
| | 00:59 | monitor and set different in and out
points for audio and video; but to be
| | 01:02 | honest, that is just too many steps.
| | 01:05 | Instead, you can use the Trim tools
here in Premiere Pro to create the split
| | 01:09 | edit directly on the sequence.
| | 01:10 | So for this clip what I'm going to do
is come over here to the toolbar and
| | 01:13 | activate the Ripple Edit tool.
| | 01:15 | I can also press B on the
keyboard to activate it.
| | 01:18 | Then I'm going to place the Ripple
Edit tool over this clip's in point.
| | 01:22 | Now just pay attention to
the actual icon of the clip.
| | 01:25 | With the icon open to the inside of
this clip, I'll be affecting this clip's
| | 01:29 | in point. And if I position it over here, I'm
going to be affecting this clip's out point.
| | 01:34 | I want to affect this clip's in point.
| | 01:36 | Also, don't get confused between
the Ripple Edit tool and the regular
| | 01:40 | Selection or Trim tool.
| | 01:42 | If I go back to the regular Selection
tool by pressing V, you'll notice that the
| | 01:45 | icon for this looks very, very similar,
but it doesn't have bolded arrows coming
| | 01:50 | out of the staple icon.
| | 01:51 | If I press B again to activate the
Ripple tool, the Ripple tool does have bolded
| | 01:56 | arrows, and it's the Ripple tool
that I want to use on this clip.
| | 01:59 | Now if I were to use the Ripple tool
right now and just drag, because this clip
| | 02:03 | has linked audio with it, I'd be
rippling the audio as well as the video.
| | 02:08 | So to actually create the split, what I
want to do is hold down the Option key
| | 02:13 | as I ripple the video.
| | 02:14 | So let me go ahead and do that.
| | 02:15 | There we go, and I'll let go,
and predictably, the rest of this sequence here
| | 02:22 | shifted down to close any gap that
would have been created. But the net result
| | 02:26 | is that it created a split, or an L
edit, and you can see that L right here.
| | 02:30 | The audio comes in before the video.
| | 02:33 | Let's go ahead and play that back.
| | 02:35 | (Male speaker:--to start our tour today. From here--)
| | 02:40 | Okay, that's much, much better.
| | 02:42 | It seems to flow just a bit
better, or blend, as my friend says.
| | 02:46 | Let's come down to the
second video interview clip.
| | 02:49 | Sometimes you want to create a split so
you can make room for another clip, such
| | 02:52 | as a B-roll shot to fit in, and you can
easily do this by creating a split using
| | 02:57 | the standard Selection tool.
| | 02:58 | So what I'm going to do is come
in over the out point here with the
| | 03:02 | standard Selection tool.
| | 03:03 | I need to switch back to that.
| | 03:04 | There we go. And again, holding down the
Option key, I'm going to click and drag.
| | 03:09 | Remember, the Option key
temporarily unlinks audio from video.
| | 03:14 | So I'll let go right here and as you'd
expect, we left a gap, because I was using
| | 03:19 | the regular Selection tool, or the
regular Trim tool, instead of the Ripple tool.
| | 03:23 | Next, what I'm going to do is select
this gap. I can place my playhead over if I
| | 03:27 | want, just to verify that there is
nothing there. And then I'm going to use the
| | 03:30 | forward slash key on the
keyboard to mark this gap.
| | 03:33 | That's the same key as the question mark key.
| | 03:36 | And when I did that, you can see that in
and out points were placed around the gap.
| | 03:40 | Next, let's come over here to the
Project panel and open up this B-Roll
| | 03:44 | folder, and let's select this first
clip right here, b-roll_Hilltop_02, and
| | 03:48 | double-click on it.
| | 03:50 | Because I already have an in and out
point on the sequence, I want to go ahead
| | 03:52 | and back-time this edit.
| | 03:54 | So let's just find a place in
this clip where we can go out on.
| | 03:57 | Something like that works.
I'll just mark an out.
| | 04:01 | Now that I've marked the clip and I have
the sequence marked down here, I am ready
| | 04:04 | to edit it into the sequence, but I
need to be careful about my Source track
| | 04:08 | indicators in my target tracks.
| | 04:10 | I don't want to overwrite this portion
of the person-being-interviewed's audio.
| | 04:14 | So what I'm going to do is click on the
Source Track indicators here. Then I can
| | 04:18 | also un-target these audio tracks.
| | 04:20 | All right, we're ready to make the edit.
| | 04:22 | I'll simply press the Overwrite button here.
| | 04:24 | I can also use the keyboard shortcut, period.
| | 04:27 | So let me press that button and as you'd
expect, the clip is edited into the sequence.
| | 04:32 | Let's go ahead and play it back.
| | 04:33 | (Male speaker: I'll show you the olives on the trees.)
| | 04:34 | All right, that works much better.
| | 04:39 | Of course there are other variants on
creating split edits, but with any of them,
| | 04:43 | the key is holding down the
Option key and then trimming.
| | 04:47 | All right, let's talk
about one more thing, sync.
| | 04:49 | There are couple parts to sync, so
first let's talk about what happens when
| | 04:53 | audio and video go out of sync with each other.
| | 04:56 | To do this, I'm going to do something
that I normally wouldn't do, but it will
| | 04:58 | illustrate the point.
| | 05:00 | Let's activate the Zoom tool by
pressing Z on the keyboard and then click to
| | 05:03 | zoom in a little bit.
I want to go back to the regular Selection tool.
| | 05:07 | What I'm going to do is click on this
clip and move it, but I'm only going to
| | 05:11 | move the video portion and to do that,
I'm going to hold down the Option key.
| | 05:15 | I'll click on this and then move it like this.
| | 05:17 | All right, and just like in Final Cut
Pro, you can now see that the clip is out
| | 05:23 | of sync, as indicated by
this little flag on the clip.
| | 05:27 | To get this clip back into sync,
you can simply right-click on this flag and
| | 05:30 | you have a few options.
| | 05:32 | You can move back into sync, slip
back into sync, or you could move or slip
| | 05:36 | other clips back into sync.
| | 05:38 | Let's go ahead and choose Slip into Sync,
and that got the clips back into sync,
| | 05:43 | but I'm left with a gap down here.
| | 05:44 | Let's go ahead and undo that.
| | 05:46 | If I right-click on this flag again and
choose Move into Sync, it moves the clip
| | 05:51 | back into sync, but as you'd expect, I'm
left with a gap up here before the clip.
| | 05:56 | Now if you want to get back to the
original alignment of this clip, simply just
| | 05:59 | press Command+Z a few times to undo.
| | 06:01 | There is one more thing about
sync, and it pertains to making trims.
| | 06:06 | Let's go over here and activate
this sequence called Sync Lock.
| | 06:08 | This sequence has a few clips that
sort of A-B themselves here on track 1 and
| | 06:13 | track 2, then back to track 1.
| | 06:15 | Let's come over and activate the Ripple tool.
| | 06:17 | Again, you can activate it by
pressing B on the keyboard as well.
| | 06:20 | What I'm going to do is
ripple this clip's out point.
| | 06:23 | So I'll click on it and drag
backwards like this, and then I'll let go.
| | 06:28 | Predictably, it will rippled the
clips, but really only on track 2.
| | 06:33 | I'm left with a gap here between these clips,
and these clips down here are also out of sync.
| | 06:39 | And the reason this happened is because
of this little button right here called
| | 06:42 | Toggle Sync Lock, and you
can find it on all tracks.
| | 06:47 | Let's go ahead and undo that last ripple.
| | 06:49 | What I'm going to do is go ahead
and turn on Sync Lock for video track
| | 06:53 | 1; currently it's off.
| | 06:56 | And then with my Ripple tool still
active, I'll ripple this clip back once again.
| | 07:00 | When I let go this time, you'll
notice that the video on track 1 was trimmed
| | 07:05 | by the same amount, essentially
closing the gap that was created before.
| | 07:11 | I love this feature of Premiere Pro,
and while it takes a few moments--especially
| | 07:14 | in complicated sequences--to get your
mind around, it can be a huge timesaver when
| | 07:19 | you're making trims.
| | 07:20 | Okay, there you go:
| | 07:21 | making split edits and adjusting and
maintaining sync, not only for audio and
| | 07:25 | video, but also for trims.
| | 07:27 | Hopefully, you can see that these
operations are very similar to Final Cut Pro,
| | 07:30 | with the exception of the Sync Lock
feature that lets you keep different tracks
| | 07:33 | in sync with each other as you make a trim.
| | Collapse this transcript |
|
|
6. Using EffectsFinding effects and adding them to clips| 00:00 | Effects--we all use them.
| | 00:02 | From color correction ones to fix
problematic footage, to more stylized ones like
| | 00:05 | blurs, to even more specialized ones
like keyers, effects are part of most
| | 00:10 | editorial workflows.
| | 00:11 | Here in Final Cut Pro you probably used
to accessing filters in one of two ways:
| | 00:15 | First, by coming up to the browser and
by clicking on the Effects tab here, and
| | 00:19 | then by coming into the Video Filters
category and then into a filter category
| | 00:23 | of your choosing, and then by selecting
an individual filter and dragging it onto
| | 00:27 | a clip just like this.
| | 00:28 | Let me go ahead and undo that.
| | 00:31 | Another way that you can add video
filters in Final Cut Pro is by simply
| | 00:34 | double-clicking on a clip to load it up
here into the viewer and then by coming
| | 00:37 | up to the Effects menu, down to Video
Filters, into the category of your choosing,
| | 00:42 | and then by choosing an individual filter.
| | 00:44 | Of course, you can add audio
filters in the exact same two ways.
| | 00:49 | Let's switch over to Premiere Pro
and take a look at how we can apply
| | 00:52 | effects over there. It's very similar.
| | 00:55 | Here in Premiere Pro I'm in my default
editing workspace, and if I come down to
| | 00:59 | the lower left-hand corner of the
interface here, you'll see a number of panels,
| | 01:02 | and one of those panels is
called the Effects panel.
| | 01:05 | You can always access the Effects
panel with the keyboard shortcut:
| | 01:08 | it's just Shift+7. And if for some
reason the effects panel is not being shown,
| | 01:12 | you can always come up to the Window
menu and then down here, to Effects.
| | 01:15 | Just be careful that you don't choose
Effect Controls, this panel right here.
| | 01:20 | We'll come back to this later,
but this is where you actually manipulate
| | 01:23 | a particular effect.
| | 01:24 | For right now, all I want
to do is locate some effects.
| | 01:27 | So down here on the Effects panel, one
thing that I like versus Final Cut Pro is
| | 01:31 | that you can actually search the Effects panel.
| | 01:35 | Now before we go ahead and search it,
just notice that just like in Final Cut Pro,
| | 01:38 | you have Audio Effects, Audio Transitions,
Video Effects, and Video Transitions.
| | 01:42 | You even have a folder right here
labeled Presets, which is sort like the
| | 01:46 | Favorites folder that you have in
the Effects tab in Final Cut Pro.
| | 01:49 | However, the Presets folder here does have
some presets that ship with Premiere Pro.
| | 01:55 | Okay, let me come into the search field
right here. And as I mentioned, this is a
| | 01:58 | big benefit versus the Effects tab in
Final Cut Pro, because you can actually
| | 02:01 | search for an effect that you're trying to find.
| | 02:04 | Let me go ahead and type in the
word "color." And as I type that in, the
| | 02:08 | Effects panel becomes filtered, showing me the
effects that have something to do with color.
| | 02:13 | And for most of these, the word "color"
is simply in the name of the effect.
| | 02:16 | Let me go ahead and make the Effects
panel here just a little bit bigger by
| | 02:20 | pressing the grave, or tilde, key on the
keyboard, because I want to show you a
| | 02:23 | couple other things.
| | 02:25 | You'll notice next to some of
these effects there are some icons.
| | 02:28 | Well, what do these icons mean?
| | 02:29 | Well, first let's go up here and
clear this search by clicking this little
| | 02:33 | X button right here.
| | 02:35 | Below the Search field, you'll notice
three different icons and if you hover your
| | 02:38 | mouse over them, you can see what they are.
| | 02:40 | This first one here that looks like a
play button on a folder is to filter the
| | 02:44 | Effects panel to show you accelerated effects.
| | 02:47 | Let me go ahead and click on this button
for accelerated effects and predictably,
| | 02:51 | the Effects panel filters to show me
those effects that can be accelerated.
| | 02:55 | Now what do I mean by acceleration?
| | 02:56 | What I mean is that these are
effects that can benefit from CUDA-hardware
| | 03:01 | acceleration as part of
the Mercury Playback Engine.
| | 03:04 | Notice, however, here on my system, all
these effects that can be accelerated, the
| | 03:08 | icon for those effects is actually grayed out.
| | 03:10 | This is because the system I'm on
does not have a supported CUDA-enabled
| | 03:14 | graphics card, but if your system does,
you'll get a performance boost by being
| | 03:18 | able to use accelerated effects.
| | 03:20 | Let's click on this button again.
| | 03:23 | The next button right here with a 32 on
a folder is the 32-bit Color button and
| | 03:27 | if I click this button, I can filter
the Effects panel to show me effects that
| | 03:31 | are 32-bit-color-capable.
| | 03:34 | All these effects labeled 32, with this
icon right here, support 32-bit color
| | 03:38 | processing, which gives me much
smoother gradients in the tonal range.
| | 03:42 | And this is especially important for
things like color-correction effects
| | 03:45 | and keying effects.
| | 03:46 | There are two gotchas, however,
about using these effects.
| | 03:50 | First, your sequence must be set up to
support them, so that they work properly.
| | 03:55 | Let me go ahead and press the grave, or
tilde, key again to minimize the Effects
| | 03:58 | panel and then with the sequence
selected here, I'm going to come up to the
| | 04:02 | Sequence menu and then
down to Sequence Settings.
| | 04:05 | Here in my sequence settings, for
32-bit-color-capable effects to work properly, I
| | 04:09 | must select this option right
here labeled Maximum Bit Depth.
| | 04:14 | This will allow you to use these 32-bit
color effects at their full bit depth.
| | 04:19 | I don't need to do that now, so let me
go ahead and just click Cancel here.
| | 04:22 | The other gotcha about 32-bit
effects is that every effect in your
| | 04:26 | sequence needs to be 32-bit.
| | 04:27 | If you were to drop, say, a three-way
color corrector onto a clip, but another
| | 04:31 | clip in the sequence is using a
non-32-bit effect, guess what?
| | 04:34 | The 32-bit effect will not operate
at 32-bit, but rather at only 8 bits.
| | 04:38 | But it gets a little bit more confusing,
because what I just said is true for
| | 04:42 | systems using the Mercury Playback
Engine in software; but for systems with
| | 04:47 | supported CUDA cards, the rule is
only true on a clip-by-clip basis.
| | 04:51 | So when you need to work, or want to work, at
32-bits, just be aware of these limitations.
| | 04:55 | Let me go back to the Effects panel,
and let's make it bigger again. And let's
| | 04:59 | clear this filtering by clicking the 32 button.
| | 05:02 | Okay, the last button that we have here is
to filter the Effects panel by YUV effects.
| | 05:07 | Now this kind of drives me a bit crazy.
| | 05:09 | This option is called YUV,
but technically it should be called YCbCr, as that is
| | 05:15 | the correct terminology for component
digital encoding that's used by most
| | 05:18 | video formats. But somewhere along the line YUV
became a catch-all, even though YCbCr is implied.
| | 05:24 | All right, enough ranting.
| | 05:25 | Let's go ahead and click on this button.
| | 05:27 | Now what you can see are all the
effects that are YUV-capable, like all these
| | 05:30 | color correctors right here.
| | 05:32 | So what's the big deal with this?
| | 05:34 | Well, effects that are not YUV-capable
must first convert the image internally
| | 05:38 | within the application to RGB and
since most video formats are YUV, this
| | 05:42 | conversion is not perfect and can
cause some rounding errors, resulting in
| | 05:46 | things like gamma and color
shifts and in general, artifacting.
| | 05:50 | Effects that can work in native YUV don't
have this problem, so results can be cleaner.
| | 05:55 | So that's it for finding some effects
and filtering the Effects panel, but what
| | 06:00 | about actually applying these
effects? Well, that's easy.
| | 06:03 | Let me minimize the Effects panel again,
and let's go back and search for "color."
| | 06:08 | And let's say I want to add this effect
right here labeled Fast Color Corrector.
| | 06:12 | Well, just like in Final Cut Pro, I can
simply drag it onto a clip and drop it.
| | 06:17 | And once I do that, up here in the
Effect Controls panel, I can see all the
| | 06:21 | parameters for that particular effect.
| | 06:23 | And the Effects Control panel is
exactly the same thing as, say, the Filters tab
| | 06:29 | over in Final Cut Pro, where you can see
the parameters for a particular effect.
| | 06:33 | The only thing I just want to point out
real quick here on the Effects panel is
| | 06:36 | that some effects are built-in,
or intrinsic, to a particular clip.
| | 06:41 | Let me go ahead and click this button right
here to hide this mini-timeline, or keyframe graph.
| | 06:47 | And what I'm talking about are these
effects right here: Motion, Opacity,
| | 06:51 | and Time Remapping.
| | 06:52 | These three categories are native to
every clip. And these are things that you're
| | 06:57 | used to seeing on the Motion tab in
the viewer in Final Cut Pro, but here in
| | 07:01 | Premiere Pro they are on
the Effects Control tab.
| | 07:04 | Okay, so that's it for finding
and applying an effect to a clip.
| | 07:08 | In the rest of the movies in this
chapter, we'll look at things like adjusting
| | 07:11 | effect controls, keyframing
effects, and saving effects as presets.
| | Collapse this transcript |
| Using intrinsic effects and other effects controls| 00:00 | As we have seen a couple of times
throughout this title, every clip in Premiere
| | 00:02 | Pro has some fixed, or intrinsic, effects,
| | 00:06 | things like motion
properties, opacity, and so on.
| | 00:08 | These intrinsic effects are the same
types of things that you would find here on
| | 00:12 | the Motion tab in the viewer in Final Cut Pro.
| | 00:14 | And in this movie, I want to show
you how we can work with these fixed, or
| | 00:17 | intrinsic, effects, as well show you a
few things about adjusting other effects.
| | 00:22 | Let's go ahead and
switch over to Premiere Pro.
| | 00:25 | Here in Premiere, let's go ahead and
select this first clip, and then let's come
| | 00:28 | up to this panel labeled Effect
Controls. You can also activate the Effect
| | 00:32 | Controls pane on the keyboard
by using the shortcut Shift+5.
| | 00:35 | Next, let's hide this little
mini-timeline, or keyframe graph, by clicking on
| | 00:39 | this button right here.
| | 00:41 | Then let's open up the Motion category.
| | 00:44 | Here you can see parameters that are
very similar to the controls that you have
| | 00:48 | on the Motion tab and
the viewer in Final Cut Pro.
| | 00:50 | The first thing I want to do
is adjust the position of this clip.
| | 00:53 | And I can do that by simply placing
my cursor over this yellow text and
| | 00:57 | dragging, just like that.
| | 00:58 | Of course, if you are a geometry geek,
you can always click into one of these
| | 01:02 | values and enter in a precise value.
| | 01:04 | Of course, you don't have to
position a clip by using numbers.
| | 01:08 | If you come over here to the Program
Monitor and click on the actual clip
| | 01:11 | itself, when I do that, you will see
that you get this bounding box around the
| | 01:14 | clip, or a wireframe.
| | 01:16 | And unlike in Final Cut Pro where you
have to switch into separate wireframe
| | 01:19 | mode, I do like this ability to simply just
click on the clip to get into wireframe mode.
| | 01:24 | Once I have the bounding box around
the clip, I can simply click and drag and
| | 01:28 | position this clip wherever I want.
| | 01:30 | All right, let's go ahead and reset that move.
| | 01:32 | And the way I am going to do that is by
clicking this little curved arrow right
| | 01:35 | here to reset the
parameters for the motion category.
| | 01:38 | Next, let's come down to the
second clip in sequence and select it.
| | 01:42 | Back up here in the Effect Controls,
let's once again open up the Motion category.
| | 01:46 | The next thing we can do of course is
adjust scale for this clip, and I can do
| | 01:50 | that by simply dragging this parameter
right here. Or if I open up the Scale
| | 01:53 | category, I can drag the slider right here.
| | 01:57 | Now when it comes to scale, Premiere Pro
differs a little bit than Final Cut Pro,
| | 02:02 | By default when you scale, because this
button for uniform scale is checked, when
| | 02:06 | you scale a clip, X and Y
are scaling proportionally.
| | 02:10 | But if you unselect this, you can
now change Scale Height and Scale Width
| | 02:14 | independently from another.
| | 02:16 | This essentially allows you to distort a
clip just like you can in Final Cut Pro.
| | 02:21 | And of course, you can do this over here
in the Program Monitor by selecting the
| | 02:25 | clip and scaling the clip, X or Y independently.
| | 02:31 | Now, I know what you are thinking;
| | 02:32 | this is not exactly like the Distort
parameter inside of Final Cut Pro, because
| | 02:36 | in Final Cut Pro you can
distort the four corners of the image.
| | 02:40 | We can do that in Premiere Pro; it's
just not an intrinsic, or fixed, effect.
| | 02:44 | Let's go ahead and reset the Motion
category once again by clicking this Reset button.
| | 02:48 | And then let's come down here to the
Effects panel, and let's search for Corner.
| | 02:53 | And this is the effect that I was looking
for, this one right here labeled Corner Pin.
| | 02:56 | Let's go ahead and drag it onto the
clip. And then if I scroll down in the
| | 03:00 | Effects Control panel, I can see the
controls for the Corner Pin effect.
| | 03:04 | Of course, you can adjust this by
using these numeric values here, but if you
| | 03:07 | select the Corner Pin effect, over here
in the Program Monitor, you can see that
| | 03:11 | I have some handles to distort the four
corners of the clip, just like I do in Final Cut Pro.
| | 03:17 | All right, let's go ahead and remove
this effect by simply selecting it here in
| | 03:21 | the Effect Controls panel and
then pressing the Delete key.
| | 03:24 | Let's scroll back up a little bit.
| | 03:27 | Let's close the Scale parameter.
| | 03:30 | Rotation works just as you'd expect.
You can simply come to this value right
| | 03:34 | here to rotate the clip or if you open
up the Rotation Parameter, you can use
| | 03:39 | this little clock icon
and rotate the clip as well.
| | 03:42 | Now this brings up one little interesting point.
| | 03:44 | Over here in the Program Monitor, I have
this little menu right here, and this is
| | 03:47 | where I can adjust my zoom level
of the clip in the Program Monitor.
| | 03:50 | If you had a clip loaded in to Source
Monitor, you could do the same thing over there.
| | 03:54 | Let me change the zoom level to about
10% and when I do that, I have a much
| | 03:59 | smaller view of the clip.
| | 04:00 | Now, if I select the clip and place my
cursor on the outside edge till I get
| | 04:04 | this curved arrow, you can
see that I can rotate this clip.
| | 04:09 | Back over in the Effect Controls panel,
of course we can adjust the anchor point.
| | 04:12 | That is the point which will be
anchored for things like rotation and position.
| | 04:16 | And this control works just
like it does in Final Cut Pro.
| | 04:19 | And then next we have the Anti-flicker
Filter, and this is a control you don't
| | 04:23 | actually have in the Motion tab in
Final Cut Pro, but this works just like the
| | 04:26 | flicker filter found in Final Cut Pro,
which you can find in the Video category
| | 04:30 | in Final Cut Pro's effects.
| | 04:32 | This filter is very useful when you
have strong flicker, for things like fine
| | 04:35 | lines and things like that.
| | 04:37 | Now, the one thing you have probably
noticed is that we missed Crop. In Final Cut
| | 04:40 | Pro, you have crop controls.
| | 04:42 | But just like the Corner Pin effect
that we used earlier, Premiere Pro uses an
| | 04:46 | effect that is not fixed,
or intrinsic, to the clip.
| | 04:50 | So let me go ahead and reset
Motion category for this clip
| | 04:53 | and then come back over here to the
zoom level and change this to Fit.
| | 04:56 | And then down here in the Effects panel,
let's go ahead and do a search for Crop.
| | 05:01 | Here is the effect I was looking for.
| | 05:03 | I will just drag it right on to the clip.
And if scroll down here a little bit in
| | 05:07 | my Effects panel, I can see the Crop
effect. And just like the Corner Pin effect,
| | 05:11 | I can adjust things numerically, but I
can also come over here to the Program
| | 05:15 | Monitor and when I have the clip
selected, I can make some cropping changes.
| | 05:18 | But just make sure that you have the
actual effect selected, just like that.
| | 05:23 | Form here you can drag to crop the clip.
| | 05:26 | Now the really cool thing about the Crop
effect is this parameter right here, labeled Zoom.
| | 05:31 | When you click on Zoom, the image
automatically goes back to full frame.
| | 05:35 | This is insanely useful for those
times where you might have something like
| | 05:38 | a boom mic in a shot.
| | 05:40 | You can simply crop it and then click
Zoom, and the clip will become full
| | 05:43 | frame and the mic will be gone.
| | 05:45 | In Final Cut Pro, you have to do this
by first cropping and then scaling the clip.
| | 05:49 | All right, let's go ahead and remove
this effect by simply selecting it and then
| | 05:52 | pressing Delete in the keyboard.
| | 05:54 | And then next, we have the Opacity category.
| | 05:56 | If I open this up, I can adjust
the overall opacity for a clip.
| | 06:01 | But it come down to the sequence, on
top of the video clip right now you will
| | 06:04 | see this yellow line,
| | 06:05 | and I can adjust the Opacity of the clip
here as well, just like I can in Final Cut Pro.
| | 06:10 | And the reason I am seeing this
yellow line is because over here with this
| | 06:13 | button labeled Show Keyframes,
I am choosing to show keyframes.
| | 06:16 | You can also choose to show just
opacity handles; the choice is yours.
| | 06:19 | Now the one thing that we have here in
the Opacity category that you have to
| | 06:23 | right-click in Final Cut
Pro to have is Blend mode.
| | 06:26 | Now if click into this menu, you can
see that I have a lot of different blend
| | 06:30 | modes; in fact I have way more than I
have in Final Cut Pro. And these blend
| | 06:34 | modes are the exact same thing that
you will find in, say, Photoshop. And they
| | 06:37 | offer you a lot of different choices
when you need to composite clips together.
| | 06:42 | And finally, we have Time Remapping category.
| | 06:44 | But we have already talked
extensively about time remapping, so we can skip
| | 06:47 | over it for right now.
| | 06:48 | Finally, the last thing I want to talk
about is other effects in their order on a clip.
| | 06:52 | Let me come down here to the Effects
panel and reset the search I did, and let's
| | 06:57 | go ahead and search for Blur.
| | 07:00 | Let's scroll down a little bit here, and this
is effect I am looking for, Gaussian Blur.
| | 07:04 | Let me go ahead and drag it onto this
clip. And here in the Effects panel, you
| | 07:08 | can see its controls.
| | 07:10 | Let's make it really
blurry, something like that.
| | 07:12 | At anytime you can toggle an effect on or
off by clicking this little button right here
| | 07:17 | that's labeled fx. Turn the effect off or back on.
| | 07:21 | Let's come back down to Effects panel,
| | 07:23 | and let's search for Noise. And here
is effect I was looking for, and let me
| | 07:27 | drag it over to the clip.
| | 07:29 | And then let's make this
really noisy, something like that.
| | 07:34 | Just like in Final Cut Pro, effect
order matters. In this clip we are first
| | 07:39 | blurring in the clip,
and then we are adding some noise.
| | 07:41 | But if I reposition these effects like this,
you can see that now the noise is less visible.
| | 07:47 | That's because I first added the
noise, and then I blurred the image.
| | 07:51 | So again, just like in Final Cut Pro, the
stacking, or the order of effects, matters.
| | 07:56 | Okay, so that's a little bit more on
working with intrinsic effects and other
| | 07:59 | effect controls in Premiere Pro.
| | 08:01 | in many ways, it's just like Final
Cut Pro, but with some things being
| | 08:05 | in different places.
| | 08:06 | Later in this chapter, we will
explore things like keyframing effects and
| | 08:09 | creating presets and
copying effects from clip to clip.
| | Collapse this transcript |
| Keyframing effects| 00:00 | Let's face it: the world is not static.
| | 00:02 | As editors, we are often called upon to
put things in motion, or do things like
| | 00:06 | have a video or audio effect change over time.
| | 00:09 | This process, of course, is known as
keyframing, and no doubt you've keyframed
| | 00:12 | things in Final Cut Pro,
| | 00:14 | things such as motion properties
or other parameters on a filter.
| | 00:17 | And this process is very similar in
Premiere Pro, and that's what we are going to
| | 00:20 | talk about in this movie.
| | 00:21 | But before we do, let's go ahead
and start here in Final Cut Pro.
| | 00:25 | I have already gone ahead and
keyframes some motion properties for this first
| | 00:28 | clip on the sequence.
| | 00:29 | Let's go ahead and play it back.
| | 00:30 | (video playing)
Beautiful, wasn't it?
| | 00:36 | Okay, of course, I'm just joking,
but the point is is that you can easily
| | 00:40 | keyframe motion properties as well as other
parameters for filters here in Final Cut Pro.
| | 00:45 | Let's go ahead and switch over to
Premiere Pro and take a look at how we can do
| | 00:48 | those things over there.
| | 00:50 | Here in Premiere Pro, let's go
ahead and select this first clip in the
| | 00:53 | sequence, and then come up here and click on
the Effect Controls panel, this guy right here.
| | 00:58 | Unlike Final Cut Pro, you don't
actually have to double-click on a clip to
| | 01:01 | load it into the Source Monitor to
be able to view its motion properties.
| | 01:05 | You can, of course, double-click
on a clip if it makes you feel more
| | 01:07 | comfortable, but you don't need to.
| | 01:09 | Simply double-clicking on a clip just
loads it into the Source Monitor, but
| | 01:11 | with the clip selected in the sequence already,
its effect controls are already available.
| | 01:16 | Here in the Effect Controls panel, I can
see several effects already on this clip,
| | 01:19 | things like motion, opacity, and time remapping.
| | 01:22 | These are known as fixed, or
intrinsic, effects, and every single clip in
| | 01:26 | Premiere Pro has them.
| | 01:28 | Okay, let's go ahead and open
up this first category labeled Motion.
| | 01:31 | I will do that by clicking on this
little triangle. And of course, here inside
| | 01:34 | the motion category, I can see
motion properties like Position, Scale,
| | 01:38 | Rotation, and so on.
| | 01:39 | And the thing I want you to notice is
next to some of these properties, there is
| | 01:42 | a little clock icon, this guy right here.
| | 01:45 | When a property has a clock icon next
to it, it means that it can be keyframed.
| | 01:48 | So let's go ahead and click the clock
icon for Position, Scale, and Rotation.
| | 01:54 | And when I do that, over here in this
little mini-timeline, or keyframe graph, you
| | 01:58 | can see that a keyframe has
been added, these guys right here.
| | 02:01 | With our playhead on the first keyframe,
let's come over to the program monitor
| | 02:04 | and actually click on the clip itself.
| | 02:06 | And when I do that, I get a bounding
box, or a wireframe, around the clip.
| | 02:10 | Unlike in Final Cut Pro where you
actually had to enable a separate
| | 02:13 | wireframe mode, you can just click
on a clip in Premiere Pro to get its
| | 02:16 | wireframe, or bounding box.
| | 02:18 | Once we have that bounding box from the
clip, let's come up here to one of the
| | 02:21 | corners and scale down just
a touch, something like that.
| | 02:24 | And then I am going to drag and
position this clip off the edge of the
| | 02:28 | screen, right about there.
| | 02:30 | Next, let's come down a little bit
later in time in the Effect Controls mini-
| | 02:33 | timeline here, or keyframe graph.
| | 02:34 | Right about there. And then what I am
going to do is simply drag this clip to the
| | 02:40 | other side of the screen, just like this.
| | 02:43 | And you can see, when I drag that clip,
automatically a new keyframe was added.
| | 02:50 | Just like in Final Cut Pro, once you
set an initial keyframe, a new keyframe is
| | 02:54 | automatically added when you
adjust a particular parameter.
| | 02:58 | Let's go head and adjust the
Scale at this new point in time.
| | 03:01 | I'll drag up a little bit, make it a
little bigger, something like that.
| | 03:05 | Let's go back over here and
position it offscreen again, about there.
| | 03:09 | And then let's go ahead and click
into the Rotation property right here,
| | 03:12 | and type in 360 degrees.
| | 03:13 | And you can see new keyframes were
added for both the Scale parameter and
| | 03:19 | the Rotation parameter.
| | 03:20 | You can easily navigate back and
forth between keyframes by clicking these
| | 03:23 | buttons right here to go to the
previous and the next keyframes.
| | 03:26 | All right, let's come down to the
sequence and play this clip back.
| | 03:29 | (video playing)
| | 03:34 | Okay. Beautiful, right?
| | 03:36 | Again, I'm just kidding, but the point
is, just like in Final Cut Pro, you can
| | 03:39 | easily keyframe motion
properties here in Premiere Pro.
| | 03:43 | Let's go back up to the middle of
this clip, right about here, in the
| | 03:46 | Effect Controls panel.
| | 03:48 | Just like in Final Cut Pro, if you
position your playhead between two keyframes
| | 03:51 | and make a change, a new
keyframe will automatically be added.
| | 03:56 | And just like in Final Cut Pro, for
this position keyframe right here, I
| | 03:59 | have some Bezier handles that I can click
and drag on to change the shape of the curve.
| | 04:05 | If you come over to a particular
keyframe over here in the Effect Controls panel
| | 04:08 | and right-click on it, you can
choose from different interpolation modes.
| | 04:11 | Now, depending on the particular
parameter that you are adjusting, you will
| | 04:14 | either have Temporal interpolation
or Spatial interpolation. And in the
| | 04:18 | interpolation menus, you can choose
from different types of interpolation.
| | 04:22 | While you can easily keyframe things up
here in the Effect Controls panel, you
| | 04:27 | can of course keyframe
things down on the sequence itself.
| | 04:31 | And to do that, what you need to do is
click on this button right here called
| | 04:34 | Show Keyframes and then just make
sure that you're showing your keyframes.
| | 04:38 | On top of each clip, you will
notice this little menu right here.
| | 04:41 | Right now it says Opacity, but if I
click into that, I can then come down
| | 04:45 | to motion and you can see that I have all
of my various motion parameters available.
| | 04:49 | So, for example, if I choose Scale, I
can see my Scale keyframes right here.
| | 04:54 | I can click on one and drag it up or
drag it down or position it left and right,
| | 05:00 | earlier or later in time.
| | 05:02 | And just like you can in the Effect
Controls panel, if you right-click on the
| | 05:04 | clip, you can choose from
different interpolation modes.
| | 05:08 | Okay, so that's the basics of
keyframing motion properties, but we can also
| | 05:12 | animate, or keyframe, other effects.
| | 05:15 | Let's go over here to the Effects
panel, and then let's do a quick search for
| | 05:19 | blur. And then if I scroll down just
a touch, here is the effect that I am
| | 05:24 | looking for, called Gaussian Blur.
| | 05:26 | Let me go ahead and take that Gaussian
Blur and drag it onto the second clip.
| | 05:30 | With the second clip selected, let me
come up here to my Effect Controls panel,
| | 05:34 | and here I can see the
controls for the Gaussian Blur.
| | 05:37 | Notice that the blurriness parameter
here has a little clock icon next to it,
| | 05:41 | meaning that we can keyframe it.
| | 05:43 | Let me go back to the beginning
of this clip, right about there,
| | 05:48 | and then I am going to add a new
keyframe for the blurriness parameter. And we
| | 05:51 | will drag way up, make it really, really blurry.
| | 05:53 | Then we will come down a little later in
time, right about there, and I will drag
| | 06:00 | that blurriness back down to 0.
| | 06:02 | So, now if I play this back on my sequence--
| | 06:05 | (video playing)
| | 06:10 | you can see that the shot went from
really blurry to no blur, mimicking a rack
| | 06:14 | focus type of effect.
| | 06:16 | Just like motion parameters, we can also
keyframe effects on the sequence as well.
| | 06:20 | To do that, let me simply click right
here in this menu where it says Opacity
| | 06:23 | right now, and now you will see that I
have my Gaussian blur controls available.
| | 06:27 | So if I come into Blurriness right here,
I can see the keyframes that I have
| | 06:31 | set and change those to whatever I would
like, just like I did with motion keyframes.
| | 06:35 | Of course, just like with motion
properties that we were animating earlier,
| | 06:39 | you can apply different
interpolations between keyframes on an effect, by
| | 06:43 | right-clicking on the keyframe and then
choosing from different interpolation modes.
| | 06:47 | Okay, so you can see, while it's
slightly different, keyframing effects in
| | 06:51 | Premiere Pro in many ways is very,
very similar to Final Cut Pro and once you
| | 06:55 | practice it a bit, it will become
second nature, just like in Final Cut Pro.
| | 07:00 | If you're wondering about
keyframing audio, we will talk about that in
| | 07:03 | the chapter on audio.
| | Collapse this transcript |
| Saving effects presets| 00:00 | In this movie we are going to talk
about accessing effect presets and saving
| | 00:03 | our own inside of Premiere Pro.
| | 00:05 | We'll also talk about copying
effects from one clip to another.
| | 00:08 | Here in Final Cut Pro you've probably
utilized the Favorites bin, and that can be
| | 00:11 | found up here in the Effects tab of the browser.
| | 00:14 | This bin can store individual favorite
filters for both audio and video, as well
| | 00:18 | as what are called filter packs,
which are combinations of filters.
| | 00:22 | You've probably also taken advantage of
copying and pasting attributes from one
| | 00:26 | clip to another, or even multiple clips.
| | 00:28 | For example, down here on the
sequence I have a clip that has had some
| | 00:31 | scaling applied to it.
| | 00:33 | If I select the clip and then press
Command+C on my keyboard and then come down
| | 00:36 | to another clip, or clips, and select
those, I can then press Option+V to paste
| | 00:41 | the attributes. And I can paste a lot of
different things here, including basic motion.
| | 00:46 | When I choose that option you can see that
the scaling has been applied to that clip.
| | 00:50 | You're probably also pretty used to copying
effects from one clip to another by dragging them.
| | 00:55 | So for example, if I take a look at
this shot, you can see that it has a
| | 00:58 | sepia-type effect on it.
| | 01:00 | So, if I double-click on the clip to
load it up into my viewer and then come to
| | 01:03 | the Filters tab, I can drag this
filter down here to the last clip in the
| | 01:07 | sequence and now it also
has that sepia-type effect.
| | 01:11 | All right, let's go ahead and switch
over to Premiere Pro and see how we can do
| | 01:14 | most of the same things over there.
| | 01:16 | The first I want to do here in Premiere Pro
is actually apply an effect to this first clip.
| | 01:21 | So let me come over here to the
Effects panel and then let me go ahead
| | 01:24 | and do a search for "fast,"
| | 01:26 | and here is the effect that I am
looking for, the Fast Color Corrector.
| | 01:29 | I am going to take that guy and drag it
right onto this first clip. And then with
| | 01:33 | the first clip selected, I'm going to come
up here to the Effect Controls panel.
| | 01:37 | You can also activate the Effect Controls
panel by pressing Shift+5 on the keyboard.
| | 01:41 | Firstly, let me go ahead and close
this many-timeline, or keyframe graph.
| | 01:45 | I'll do that by clicking this button right here.
| | 01:48 | Next, let's scroll down to where we can
see this color balance control, this big
| | 01:51 | color wheel right here.
| | 01:52 | What I want to do on this clip is make
it warmer and slightly more saturated,
| | 01:56 | so I am going to drag this control
right here towards yellow and sort of an
| | 02:00 | orange color. Something like that works.
| | 02:03 | Then let's scroll down just a little
bit, and we'll adjust the saturation up
| | 02:08 | just a bit, something like that.
| | 02:10 | Okay, so now I have a
warmer and more saturated clip.
| | 02:13 | Wouldn't it be nice to see this effect
as a preset? Chances are with different
| | 02:17 | types of effects that you'll use, you'll use
the same general settings over and over again.
| | 02:22 | So what I am going to do is scroll back
up here and select the actual Fast Color
| | 02:26 | Corrector effect, just by clicking on it,
and then I am going to come up to this
| | 02:30 | panel menu and choose this
option right here, called Save Preset.
| | 02:34 | Here in the Save Preset dialog
box, we can name the preset.
| | 02:38 | So let's go ahead and call those
Warmer & More Sat Fast Color Corrector.
| | 02:47 | Down here of course I can type in a
description for this effect, but we don't
| | 02:50 | need to do that right now.
| | 02:52 | Then right here in the middle of the
Save Preset dialog, I have three options.
| | 02:56 | For right now these options don't
matter, as they govern how keyframes work when
| | 03:00 | a preset is applied to a new clip,
and we'll come back to that in just a moment.
| | 03:03 | Let's go ahead and click OK.
| | 03:06 | Then let's come back down here to the
Effects panel and clear our last search.
| | 03:10 | And then let's go ahead and open up
this folder right here labeled Presets.
| | 03:14 | And what do you know? There is
the preset that we just created.
| | 03:17 | To apply a preset to a new clip, all
you need to do is simply drag it to a clip
| | 03:21 | just like you would any other effect.
| | 03:23 | So let me go ahead and select this effect,
or preset, and drag it onto this second clip.
| | 03:28 | Now with the second clip selected, if
I come back up to the Effect Controls
| | 03:31 | panel, you can see that I have the Fast
Color Corrector effect applied. And in
| | 03:35 | fact, all the same settings, or
adjustments, that we made are saved in that preset
| | 03:39 | and thus applied to this new clip.
| | 03:41 | Okay, on this second clip, let's go
ahead and add an additional filter.
| | 03:45 | We come back down here to the Effects panel.
| | 03:47 | Let's go ahead and type in the word "sharpen."
| | 03:50 | If I scroll down a bit here,
I can see a sharpen effect.
| | 03:54 | A little bit of sharpening goes a long
way, especially when you have clips that
| | 03:58 | are ever so slightly soft.
| | 04:00 | So let me go ahead and drag this
sharpen effect on to the second clip.
| | 04:04 | And I'll scroll back up
here in my Effect controls.
| | 04:07 | Let's close the Fast Color Collector
effect by clicking on this triangle right
| | 04:10 | here, and here I can see the Sharpen effect.
| | 04:13 | Let's go ahead and add a
slight amount of sharpening.
| | 04:15 | I'll drag up to a value of, say, seven, or eight.
| | 04:18 | That looks pretty good.
| | 04:20 | In Final Cut Pro, you might have saved
filters as a Filter Pack, and a Filter
| | 04:24 | Pack allows you to apply multiple
filters and the order that those filters were
| | 04:28 | in on the original clip to a new clip, and we
can do the same thing here in Premiere Pro.
| | 04:34 | So to do this, I am simply going to
select the Fast Color Corrector and
| | 04:37 | the Sharpen effect.
| | 04:38 | Then I am going to come up to the panel
menu right here and down to Save Preset.
| | 04:43 | Let's go ahead and call this Warmer & More
Sat Fast Color Corrector w Sharpen.
| | 04:55 | Again, for right now I can ignore these
options here in the middle of the Save
| | 04:58 | Preset dialog, and I don't
need to put in a description.
| | 05:00 | Let me just click OK.
| | 05:03 | Let's come back over to our Effects
panel and clear our last search, and then
| | 05:07 | let's go ahead and open up
the Presets folder once again.
| | 05:10 | If I scroll over her a little bit,
making this window a little wider, here you
| | 05:14 | can see the preset that we just
created, Warmer & More Sat Fast Color Corrector w Sharpen.
| | 05:18 | Let me go ahead and take this guy
and drag it onto the third clip.
| | 05:23 | If I select the third clip and come up
to the Effect Controls, you can see that
| | 05:26 | both the Fast Color Corrector and the
Sharpen effect were applied to this clip.
| | 05:31 | In fact, not only were they applied to
the clip, but they were applied in the
| | 05:34 | same order that they were
applied on the original clip.
| | 05:37 | Now course that was with an effect,
but what about with motion parameters, like
| | 05:40 | scale and rotation and so on?
| | 05:42 | Well remember, in Final Cut Pro,
those items are found on the Motion tab,
| | 05:46 | so to save them you need to create a
motion favorite, which is different than a
| | 05:50 | filter favorite or filter pack.
| | 05:52 | But in Premiere Pro, things like scale,
opacity, and so on are just effects,
| | 05:56 | intrinsic ones, but nonetheless effects.
| | 05:59 | So the process of saving those is just
like saving other effects as presets.
| | 06:04 | Got to love simplicity.
| | 06:05 | Okay, the next thing I want to talk
about is what happens when you have keyframed
| | 06:08 | an effect and you want
to apply it to another clip?
| | 06:11 | So on this clip let's go
ahead and do something wacky.
| | 06:14 | What I am going to do is open up the
Fast Color Corrector again, and then I am
| | 06:17 | going to click on this button right here to
reveal my mini-timeline, or keyframe graph.
| | 06:21 | Let's scroll down a little bit right here.
| | 06:24 | Then let's back our playhead
up to the beginning of the clip.
| | 06:28 | Notice that some of these parameters
have a little clock icon next to them.
| | 06:31 | When a parameter has a clock icon next
to it, it means that it can be keyframed.
| | 06:36 | So let me go ahead and click the
little clock icon all these parameters right
| | 06:40 | here, Hue Angle, and all the Balance options.
| | 06:43 | Then I am going to come down a little
further in time, say right here, and what I
| | 06:47 | am going to do is drag the Color
Balance Control right here all the way over to
| | 06:52 | something like a neon blue. Maybe I'll
adjust the hue just slightly as well.
| | 06:58 | Okay, so now you can see here in the
little mini-timeline, or keyframe graphs,
| | 07:02 | I have two keyframes for
each one of these parameters.
| | 07:04 | I've animated a change of color.
| | 07:06 | Let me drag through, so that you can see.
| | 07:08 | Okay, so that's a little wacky,
but I think that you get the point.
| | 07:15 | So what I want to do now is come back up
here and select the Fast Color Corrector.
| | 07:19 | I don't need to worry about this
Sharpen effect for what I am about to do.
| | 07:23 | So with the Fast Color Corrector
selected, let me come back up to the panel menu
| | 07:27 | here and once again choose Save Preset.
| | 07:29 | Let's call this Wacky Color Shift.
| | 07:34 | Because I've keyframed this clip now,
these options here in the middle of the
| | 07:37 | Save Preset dialog come into play.
| | 07:40 | The first option labeled Scale will,
when this preset is applied to another clip,
| | 07:44 | scale the timing of the
keyframes based on the clip's length.
| | 07:47 | The other two options--Anchor to In
Point and Anchor to Out Point--will keep
| | 07:52 | either of the first or last keyframe's
position relative to the in point or out point;
| | 07:56 | it doesn't scale the other
keyframes when you apply the preset.
| | 08:00 | So which options do you choose?
| | 08:01 | Well, that's up to you.
| | 08:03 | If you need to be very exact about
timing--for example, let's say you want the
| | 08:06 | animation to happen in the exact same
amount of time on each clip--then you
| | 08:10 | might want to use one of the Anchor options.
| | 08:12 | But if you just want the same effect
on all the clips and don't care so much
| | 08:15 | about timing, the Scale option is a good choice.
| | 08:18 | I am just going to click Scale here and
then go ahead and click OK to save this preset.
| | 08:23 | Down here in my Effects panel and my
Presets folder of course you can see the
| | 08:26 | saved preset called Wacky Color Shift.
| | 08:29 | Let's go ahead and apply that to
this clip down here on the sequence.
| | 08:33 | With the fourth clip selected, let me
come back up here to my Effect Controls
| | 08:36 | and open up the Fast Color Corrector and
| | 08:39 | then scroll down a little bit. And you
can see that those keyframes were saved
| | 08:42 | as part of the preset, and when we
applied the preset those keyframes were
| | 08:46 | applied to the new clip.
| | 08:47 | Okay, lastly, let's take a look at
copying effects from one clip to another.
| | 08:51 | in Final Cut Pro, you might be used to
dragging a particular filter from clip to
| | 08:54 | clip, or to a group of clips,
| | 08:56 | or by using the Copy and
Paste Attributes commands.
| | 08:58 | Well, you can essentially do the
same thing here in Premiere Pro.
| | 09:02 | Let me navigate down to this fifth clip.
| | 09:05 | And then with it selected, let's come
up to the Effect Controls panel, and then
| | 09:08 | open up the Motion category.
| | 09:09 | What I want to do is simply scale
this clip down to, say, 60% or so.
| | 09:14 | then I am going to select the Motion
category, or Motion effect, and press
| | 09:18 | Command+C on my keyboard.
| | 09:19 | Then we'll come down to
the last clip and select it.
| | 09:22 | Then I am simply going to press
Command+V to paste, and you can see that that
| | 09:26 | scaling was applied.
| | 09:28 | While I pasted the scaling of this clip
onto only one other clip, I could have
| | 09:32 | just as easily selected a number of
clips here in my sequence and then pasted
| | 09:36 | to have the scale applied to all clips.
| | 09:39 | I could have also selected another
effect, like the Fast Color Corrector effect
| | 09:42 | we were working with, copied it from
one clip, and pasted onto another clip.
| | 09:47 | Okay, so that's a bit more
about saving effect presets.
| | 09:50 | I think you'll find presets in Premiere
Pro to be similar to favorites in Final
| | 09:54 | Cut Pro, and really useful.
| | 09:56 | Furthermore, I think that you can
see that copying effects, including
| | 09:59 | motion adjustments, is just as simple
as copying and pasting attributes in
| | 10:03 | Final Cut Pro.
| | Collapse this transcript |
|
|
7. Working with AudioViewing audio waveforms| 00:00 | Audio waveforms--while they might seem
a little utilitarian, as an editor, you
| | 00:04 | know that being able to see waveforms
allows you to quickly find things like a
| | 00:07 | word, or maybe a noise in a clip.
| | 00:09 | When trimming, audio waveforms allow
you to take out things like breaths and lip
| | 00:12 | smacks and the list goes on and on.
| | 00:14 | In this movie, I want to talk about the
various ways to view audio waveforms in
| | 00:18 | Premiere Pro, but first, let's start
out here in the Final Cut Pro. And in the
| | 00:21 | Final Cut Pro, there are few different
ways that you can view audio waveforms.
| | 00:24 | First, you can come into the browser
here and open up a bin, then double-click
| | 00:27 | on a clip to load it into the viewer.
And from here, you can click on the audio
| | 00:31 | tab, or tabs, for that clip.
| | 00:32 | Now, I say tabs because depending on how
the audio channels are configured for a
| | 00:36 | clip, you might have multiple tabs of audio.
| | 00:39 | You can, of course, view audio
waveforms from a clip on a sequence.
| | 00:42 | To do that, simply double-click on a
clip in the sequence to load it into the
| | 00:45 | viewer and here you can
view its audio waveforms.
| | 00:48 | You can, of course, view audio
waveforms on the sequence itself.
| | 00:51 | To do that, come down and click on
this button right here in the sequence and
| | 00:54 | then choose Show Audio Waveforms.
| | 00:56 | You can also use the keyboard
shortcut Option+Command+W to toggle audio
| | 01:01 | waveforms on and off in a sequence.
| | 01:02 | Once you've chose to display audio
waveforms on the sequence, you can of
| | 01:06 | course resize a track or tracks by
placing your cursor between two audio tracks
| | 01:10 | and then clicking and dragging like this,
thus making the audio waveform bigger
| | 01:14 | for that particular track.
| | 01:16 | Back up here in the viewer, if I
activate the Zoom tool, which is just Z on
| | 01:20 | the keyboard, I can click and zoom
into the audio waveforms. And I can zoom
| | 01:25 | all the way down to the frame level, and a
frame is represented by this black bar right here.
| | 01:30 | Okay, let's go ahead and
switch over to Premiere Pro.
| | 01:33 | Just like in Final Cut Pro, you can easily
view audio waveforms in the Source monitor.
| | 01:38 | So let me go ahead and open up one of
these bins and double-click on a clip to
| | 01:41 | load the clip into the Source monitor.
| | 01:43 | Okay, so there is the clip, but I
don't see any of the audio tabs.
| | 01:46 | maybe it has something to do with
the way that I am actually viewing the
| | 01:49 | Source monitor right now.
| | 01:50 | So if I click on this little gray bar here, I
can scroll over, but no--still no audio tabs.
| | 01:55 | Well, maybe they are in the Audio Mixer.
| | 01:57 | If I click that--nope, that's just the Audio Mixer.
| | 02:00 | The thing about the Source monitor and
viewing audio waveforms is that the way
| | 02:03 | that you access them is a little bit hidden.
| | 02:05 | So access audio waveforms, what you need
to do is come down to this button right
| | 02:09 | here, labeled output and click, and one
of the options that you have is to show
| | 02:14 | an audio waveform in the source monitor.
| | 02:15 | So let me go ahead and click on that.
| | 02:18 | Once here, you can use this Track menu
to quickly toggle back and forth between
| | 02:22 | different tracks of audio
for that particular clip.
| | 02:25 | You can also zoom into the waveform in
two different ways to make it easier to
| | 02:29 | see a waveform, but before we do that,
let me go ahead and press the grave, or
| | 02:33 | tilde, key on the keyboard to make this
panel full screen so it's easier to see.
| | 02:37 | All right, that's a little bit better.
| | 02:39 | The first way to zoom is by dragging
this horizontal gray bar, this guy right
| | 02:43 | here. And on either end of the bar,
you'll notice that I've these little
| | 02:47 | silver or white handles.
| | 02:48 | So if I click on one of these and
drag like this, I can essentially zoom in
| | 02:53 | to the audio waveform.
| | 02:54 | Once I am zoomed in like this, if I
click in the middle of this horizontal gray
| | 02:58 | bar, I can pan the audio
waveform left and right.
| | 03:02 | The other way to zoom is by
using this thin vertical gray bar.
| | 03:06 | It operates just like the horizontal one.
| | 03:08 | If I click the handles here at the end,
I can zoom in, thus making the waveform
| | 03:13 | height bigger, just like that.
| | 03:15 | Now I know what you might be thinking:
| | 03:17 | Am I making this audio louder?
| | 03:18 | After all, waveform height, or
amplitude, determines how loud a clip is.
| | 03:23 | The answer: no, you're not;
| | 03:25 | you are simply zooming
the height of the waveform.
| | 03:28 | Just like the horizontal bar, grabbing
the middle of this bar will allow you to
| | 03:31 | pan up and down the
height of the audio waveform.
| | 03:34 | Let's drag this handle back out so we are
viewing the height of the waveform at a normal level.
| | 03:40 | I think, combined, these two ways of
zooming allow you to get a much more
| | 03:43 | detailed view of the waveform,
| | 03:45 | and more detail, in my opinion, than Final Cut Pro.
| | 03:48 | Now just like Final Cut Pro, by default,
Premiere is looking at the waveform and
| | 03:52 | frames, and you can see that here by
looking at the playhead in this green bar.
| | 03:56 | The green bar represents one frame,
but there's something pretty cool that we can do here.
| | 04:01 | If we come up to panel menu, which is
this little guy right here, and click, one
| | 04:05 | of the options I have is
to Show Audio Time Units.
| | 04:08 | Let me go ahead and select that option.
| | 04:10 | Now back here in the waveform, you'll
notice that the green bar representing one
| | 04:14 | frame is gone. And then down here on
both of these time code values, they change
| | 04:18 | from time code to audio time units.
| | 04:21 | So what's the big deal?
| | 04:22 | Well, instead of being limited to
navigation of the playhead by frames, you can
| | 04:27 | actually now navigate by the sample
level, which when you're trying to be super
| | 04:31 | precise about editing or trimming, or
even keyframing--which we'll do a little
| | 04:35 | bit in this chapter--you can, because
you're navigating at the sample level.
| | 04:39 | So I am going to move the playhead
around here, and you'll notice that I can
| | 04:42 | move at the sample level.
| | 04:43 | So if I drag here, I can also use the left
and right arrow keys to go sample by sample.
| | 04:55 | I think this is pretty cool, and I think
it's a really big improvement over Final
| | 04:58 | Cut Pro when working with audio waveforms.
| | 05:01 | Okay, let's go ahead and press the
grave, or tilde, key to put this panel back
| | 05:04 | to its original size.
| | 05:05 | Of course, in a sequence in Premiere
Pro you can also view audio waveforms.
| | 05:10 | To do this though, you need to open up
the track, and to do that I'm simply going
| | 05:13 | to click of this little triangle that
says Collapse-Expand Track next to the
| | 05:17 | actual name of the audio track.
| | 05:19 | And when I do that, I can now see the
audio waveforms for the clips on this track.
| | 05:23 | Now while audio waveforms are on by
default, sometimes they can take a while to
| | 05:27 | draw. Or like in Final
Cut Pro, in my experience,
| | 05:30 | they can sometimes act a little weird.
| | 05:32 | So if you come over here and click on
this button labeled Set Display Style,
| | 05:36 | you can choose to show the waveform, or
you can choose to show the clip as name only.
| | 05:43 | Also, just like in Final Cut Pro, you
can drag to make the track bigger. And to do
| | 05:47 | this, you simply place your cursor
between two audio tracks and click and drag,
| | 05:52 | thus making the audio waveform for
that particular track that much bigger.
| | 05:56 | Lastly, just like we were doing a
minute ago with a clip loaded into the
| | 05:59 | Source monitor, if I come over to the
Panel menu here for the sequence, I can
| | 06:03 | also choose to Show Audio Time Units.
And just like we saw before, this will
| | 06:08 | allow you to navigate at a much more precise
level, since you're navigating at the sample level.
| | 06:13 | So that's viewing and navigating
audio waveforms in Premiere Pro.
| | 06:16 | While not all that different, some of
the zooming options, as well as the ability
| | 06:20 | to work in audio time units, makes
navigating waveforms and viewing them that
| | 06:25 | much more precise and just that much easier.
| | Collapse this transcript |
| Adjusting clip and track levels| 00:00 | I get it. You are an editor and not an
audio engineer, but let's face it:
| | 00:03 | sound is half the ballgame when
it comes to editing great content,
| | 00:06 | so as an editor, you'll have to do a
minimal amount of mixing and sound work.
| | 00:11 | On the other hand, some editors
thrive when working with audio.
| | 00:14 | Either way, the first step when it comes
to mixing audio is adjusting audio levels.
| | 00:19 | In this movie, I want to show you how
to adjust audio levels in Premiere Pro,
| | 00:22 | not just on a clip-by-clip basis, as
you can Final Cut Pro, but also how to
| | 00:26 | adjust audio levels at the track level,
which gives you even more flexibility
| | 00:31 | when working with audio.
| | 00:32 | Let's start out here in Final Cut Pro.
| | 00:35 | I have a sequence that I've watched
back a few times, and I can tell you
| | 00:37 | that these shots right here that belong to
these machine shots are really, really loud.
| | 00:43 | And s, there's quite a few different
ways to adjust audio levels in Final Cut
| | 00:46 | Pro, and we are not going
to talk about all of them;
| | 00:48 | I just want to show you a
few of the most common ways.
| | 00:51 | So the first way is to simply double-
click on a clip to load it up here into
| | 00:54 | the viewer, and when I load the clip
up into the viewer here, I can see two
| | 00:58 | separate Mono audio tabs.
| | 00:59 | That's because this particular clip
has two separate mono audio channels.
| | 01:03 | Once the clip is loaded into the
viewer, I can use this Level slider here.
| | 01:07 | I can also come in to this box right
here and type in an actual decibel value
| | 01:11 | like that. But because these are two
separate mono channels, I need to make that
| | 01:15 | same adjustment over
here on the another channel.
| | 01:17 | So, another way that I have to
adjust audio level is by simply placing my
| | 01:20 | cursor over this pink line and
dragging down. And I am going to make the same
| | 01:24 | adjustment right there.
| | 01:25 | Of course, I can adjust
audio levels on the sequence.
| | 01:29 | To do that, I'll select the sequence
here and then come down and click on this
| | 01:32 | button right here called Toggle Clip
Overlays, and when I do that, over my audio
| | 01:36 | tracks I now have this pink line.
| | 01:38 | If I place my cursor over that pink line,
just like I can in the viewer, I can
| | 01:42 | drag down to adjust audio levels.
| | 01:45 | Now, if I hold down the Command key, I
can also gear down so I can make more
| | 01:50 | precise adjustments, just like that.
| | 01:52 | Of course, I need to make the same adjustment
on this other mono channel, just like that.
| | 01:56 | My other favorite way of making audio
level adjustments in Final Cut Pro is to
| | 02:01 | come up here to the Tools menu
and then open up the Audio Mixer.
| | 02:04 | Now while it might appear that the
Audio Mixer adjusts audio levels on the
| | 02:07 | track level, it doesn't.
| | 02:09 | It actually adjusts audio
levels on a clip-by-clip basis.
| | 02:13 | So if I place my playhead down here on
this last machine shot, this one right
| | 02:17 | here, I can come up to the Audio Mixer
and then for channels A3 and A4, I can
| | 02:21 | drag the volume faders down, just like this.
| | 02:24 | When I drag them down, notice here on
the sequence the pink line over top of
| | 02:30 | the clip adjusted as well.
| | 02:31 | I'll make another adjustment right here.
| | 02:34 | Okay, so that's just a few ways that you
can adjust audio levels inside of Final
| | 02:39 | Cut Pro, but let's go ahead and switch
over to Premiere Pro and take a look at
| | 02:42 | how we can adjust audio levels there.
| | 02:45 | Here in Premiere Pro, I have exactly
the same sequence. And remember, I told you
| | 02:49 | that we had some B-roll shots
here that had some audio troubles.
| | 02:52 | Let's go ahead and take a quick listen.
| | 02:53 | Just be warned that the
shots are really, really loud.
| | 02:55 | (video playing)
| | 03:00 | Okay, the first way that we can adjust
audio levels in Premiere Pro is just like
| | 03:04 | how we can do it inside of Final Cut Pro.
| | 03:07 | So I am going to go ahead and double-
click on this audio track right here to
| | 03:10 | load it up into the Source monitor.
| | 03:12 | Of course, I can see the video, but if
I scroll over here, guess what? I can't
| | 03:17 | actually see any audio tabs.
| | 03:19 | That's because there aren't any.
| | 03:21 | I can, of course, come down here to
the output button and then click and show
| | 03:24 | Audio Waveform, but here I
can only see the audio waveform;
| | 03:28 | I can't actually adjust any audio levels.
| | 03:31 | So what I need to do is to scroll back
over and then click on this panel right
| | 03:34 | here called Effect Controls. And here
in the Effect Controls, I can see that I
| | 03:38 | have volume parameters for each one of
my audio tracks: channel 1 and channel 2.
| | 03:43 | Let's click this little triangle on each
one of those channels to open up the controls.
| | 03:48 | Right here, I have a level parameter.
| | 03:50 | Now the thing I want you to notice
is this little clock icon right here,
| | 03:54 | this Toggle animation button.
| | 03:56 | By default, Premiere Pro is trying to
record any changes that you make to levels.
| | 04:01 | So, if you make a change, you can
actually keyframe it. But for right now, I
| | 04:05 | don't want to keyframe values.
| | 04:06 | We'll come back to keyframing
values in a later movie in this chapter.
| | 04:09 | So let me click on this little clock icon.
| | 04:12 | Now that I've turned that off, let me
simply come in here and type in a new value.
| | 04:15 | I'll type in -30 dB for each one
of these channels, just like that.
| | 04:20 | Then let's come back down here onto
the sequence and take a quick listen.
| | 04:23 | (video playing)
| | 04:27 | Much better. I can now hear the
person talking, the music, and so on.
| | 04:30 | Of course, I can make audio
adjustments on the sequence itself.
| | 04:35 | Let me come down here to the sequence
and activate the Zoom tool by pressing
| | 04:38 | Z on the keyboard, and I am going to go ahead
and zoom in to these audio tracks right here.
| | 04:43 | Then what I am going to do is switch
back to my Selection tool, and let's go
| | 04:47 | ahead and open up track 3 and track 4,
and then I'll scroll down a little bit to
| | 04:51 | frame these up just a little bit better.
| | 04:53 | Of course, I can see the audio
waveforms on the track, but also notice that I
| | 04:58 | have this little yellow
line right now on the track.
| | 05:01 | Well, using this yellow line, I can
actually just click and drag just like you do
| | 05:05 | in Final Cut Pro to adjust the audio
levels. And after I start dragging, if I
| | 05:09 | hold down the Command key, I can
gear down to be more precise about my
| | 05:13 | adjustment, something like that.
| | 05:15 | I can do the same thing on this channel.
| | 05:17 | Where this gets a little funny is that
there is different ways of viewing this
| | 05:23 | yellow line, and how I control that is
by coming over to this button on each one
| | 05:27 | of the audio tracks called Show keyframes.
| | 05:30 | And right now, I am viewing both of
these tracks as Show Clip Keyframes.
| | 05:35 | Let me zoom in one more
time here, just like this.
| | 05:40 | Okay, and after I zoomed in here, you will
notice that I have this little menu right here.
| | 05:45 | This menu provides you access to other
effects that you might add to a clip and
| | 05:49 | want to keyframe on a clip.
| | 05:51 | We'll talk about keyframing in a later chapter.
| | 05:54 | If I come back over to the Show
keyframes button here, the other choice that I
| | 05:57 | have is to Show Clip Volume.
| | 05:59 | Let me select that for both of these tracks.
| | 06:02 | You will notice that the yellow line is
exactly the same, but what's disappeared
| | 06:07 | is that little menu.
| | 06:08 | So you can choose to adjust audio levels
with either Show Clip Keyframes or Show
| | 06:12 | Clip Volume; their end
result is exactly the same.
| | 06:16 | Now besides being able to show clip
volume and show clip keyframes, the
| | 06:20 | other thing that we can do here is
switch these tracks over to show track
| | 06:23 | keyframes and track volume.
| | 06:25 | Now the difference between these two
choices is exactly the same as Show Clip
| | 06:28 | Volume and Clip Keyframes.
| | 06:30 | When you Show Track Keyframes, you will
just get that menu. But let me go ahead
| | 06:34 | and choose Show Track Volume first.
| | 06:36 | When I do that, if I zoom out just a
touch, you can now see that I have a
| | 06:42 | yellow line, but this yellow line
extends through all of the clips.
| | 06:47 | That's because this yellow line
allows me to adjust level on the entire
| | 06:52 | track, not just on a clip-by-clip basis.
And this is actually the same thing
| | 06:57 | as if I came up to the Audio Mixer
and I adjusted audio levels here with
| | 07:01 | these fader controls.
| | 07:03 | So for example, if I drag down the
fader control for audio channel 3, like
| | 07:07 | this, you will notice
that the yellow line moved.
| | 07:11 | The Audio Mixer in Premiere Pro is always
working with audio levels on the track level.
| | 07:17 | Now if I come back in here and adjust
each one of these tracks to show, say, Show Track
| | 07:21 | Keyframes, you will notice it's exactly
the same thing that we saw when we chose
| | 07:27 | to show clip keyframes.
| | 07:29 | I just get this menu right here where
I can access audio effects that I have
| | 07:33 | added to the track level.
| | 07:35 | Finally, I just want to point
out the audio meters right here.
| | 07:38 | Let's go ahead and choose Undock panel,
so we'll get this floating into its
| | 07:43 | own separate window.
| | 07:44 | Just like in Final Cut Pro, you have
audio meters and these audio meters work on
| | 07:48 | a scale that's called
dBFS, or decibels full scale.
| | 07:52 | The thing to remember about the
decibel full scale measurement is that when
| | 07:56 | audio levels hit 0 right here,
you have peaked, and peaking is bad.
| | 08:02 | In most cases, you want average audio
levels to be about between -12 to about -6dB.
| | 08:08 | If you're working on
broadcast shows, that's a little lower:
| | 08:11 | you'll probably want your average levels to
be right around -20, with peaks up to about -10.
| | 08:16 | And this audio meter is exactly the same
audio meter that you can see up here in
| | 08:20 | the mixer on the master channel.
| | 08:23 | So that's a little bit more about
adjusting audio levels on the clip and track
| | 08:26 | level in Premiere Pro.
| | 08:28 | Feel free to practice with the
sequence adjusting the levels on both the
| | 08:31 | clip and track Level.
| | 08:33 | I think that you'll quickly find out
that having track- and clip-level control
| | 08:37 | gives you a ton of options.
| | Collapse this transcript |
| Keyframing clip and track levels| 00:00 | Earlier in this chapter, we took a
look at adjusting overall clip level, or
| | 00:03 | volume, in Premiere Pro.
| | 00:04 | We also took a look at the difference
between clip- and track-level adjustments.
| | 00:08 | In this movie, we'll take it a step further
and explore keyframing levels in Premiere Pro.
| | 00:13 | Let's get started here in Final Cut
Pro. And you're probably pretty used to
| | 00:15 | keyframing audio levels on a clip
itself in a sequence, and the way that you do
| | 00:19 | this, of course, is by coming into the
sequence and then clicking on this button
| | 00:22 | right here to toggle clip overlays.
| | 00:24 | And when you click on that button, a
pink line appears over your audio clips.
| | 00:29 | Then if you activate the Pen tool on
the keyboard by pressing P, you can come
| | 00:32 | over to this pink line and click to
add new keyframes just like this.
| | 00:37 | Once you've added some keyframes, you
can position your cursor over one of the
| | 00:41 | keyframes itself and drag down
or drag up to change its level.
| | 00:45 | I am going to drag down right here.
| | 00:47 | You can also position the keyframe earlier
or later in time by dragging left and right.
| | 00:51 | So right here, I've
created a quick audio fade-up.
| | 00:55 | Let's come down to the end of
this clip and do the same thing.
| | 00:57 | I'll activate the Pen tool and make a
couple of keyframes, and then we'll create
| | 01:03 | a quick audio fade-out.
| | 01:04 | Of course, if you double-click on a
clip, you can load it up here into the
| | 01:08 | viewer, and you can make the same
type of adjustments that you made on the
| | 01:11 | sequence here in the viewer.
| | 01:13 | And I like keyframing in the viewer because
you can see the audio waveforms at a larger size.
| | 01:17 | Of course, you can always come up to
the Tools menu here and choose the Audio
| | 01:21 | Mixer. And when you have this button
enabled, you can actually record audio
| | 01:25 | keyframes as you make
adjustments with the volume faders.
| | 01:28 | Let's switch over to Premiere and see how we
can use some of the same things over there.
| | 01:32 | First, let's take a look at
adjusting clip levels on the sequence itself.
| | 01:36 | Down here on the sequence, I have the
same music track, this guy right here, and
| | 01:40 | let me click this little
triangle to expand the track.
| | 01:44 | Notice on the track that I have this
yellow line, and on this yellow line, I can
| | 01:48 | actually make an overall level of
adjustments, as we did in the previous movies,
| | 01:52 | but we can also keyframe clip level.
| | 01:54 | But first, I need to make sure, by
coming over to this button right here
| | 01:57 | called Show Keyframes, that I am this option
labeled Show Clip Keyframes. In just a second,
| | 02:02 | we'll choose this other option,
labeled Show Track Keyframes, but for now, we
| | 02:06 | want Show Clip Keyframes.
| | 02:08 | Okay, if I position my cursor over
the yellow line, you'll notice that the
| | 02:11 | icon changes slightly.
| | 02:12 | Well, if I go ahead and Command+Click
on this line, just like this, I can add a
| | 02:17 | keyframe, just like that.
| | 02:18 | Let me go ahead and add
another keyframe right here.
| | 02:21 | Of course, after you add a keyframe,
if you position your cursor over the
| | 02:24 | keyframe, you can drag up or down to
change the level. And just like in Final
| | 02:28 | Cut Pro, you can position the
keyframe earlier or later in time.
| | 02:32 | So I've created a quick fade-up right here.
| | 02:35 | Let's go to the end of this clip.
| | 02:37 | I am going to do the same thing;
| | 02:38 | I am going to Command+Click on
the yellow line to add a keyframe.
| | 02:41 | Then I'll Command+click again to make a
new one, and then we'll drag this last
| | 02:45 | keyframe down a little bit to create a fade-out.
| | 02:47 | Now one of the really cool things that
we can do inside a Premiere Pro is we
| | 02:51 | can smooth out keyframes, and the way
that you do that is by right-clicking on
| | 02:54 | the keyframe itself. And then in this
little menu, you have various options for
| | 02:58 | how you want to smooth out the keyframe.
| | 03:00 | One of my favorite choices is this one,
labeled Bezier. And when I choose that
| | 03:04 | option, I get handles on either side of
the keyframe that I can drag and adjust
| | 03:08 | to change the shape of the curve.
| | 03:10 | This allows you to not have such
a linear change between keyframes.
| | 03:14 | Okay, so it's pretty simple to keyframe
on the clip level, but in Premiere Pro,
| | 03:18 | we can also keyframe on the track level,
and the way that we do this is by coming
| | 03:23 | over to this button right here, labeled
Show Keyframes and then by choosing this
| | 03:26 | option right here to Show Track Keyframes.
| | 03:29 | And when I choose that option, I
still have a yellow line over the clip,
| | 03:32 | but you'll notice that it actually
extends beyond the clip and is on the
| | 03:36 | entire track itself.
| | 03:38 | In Premiere Pro, clip-level and track-
level adjustments, or keyframes, can exist
| | 03:43 | independently from one another.
| | 03:44 | So what I am going to do is go ahead and
select the Sequence panel here and then
| | 03:47 | press the grave, or tilde, key on
the keyboard to make it bigger.
| | 03:50 | And what I want to do is keyframe the
track level around these audio bites up
| | 03:55 | here on tracks 1 and 2.
| | 03:58 | And just like we did when we keyframed
clip level, I simply need to hover my
| | 04:01 | cursor over this yellow line here
and then hold down the Command key to
| | 04:04 | actually add a new keyframe.
| | 04:06 | So let me add a few keyframes around
this first audio bite on tracks 1 and 2.
| | 04:13 | Then with the middle keyframes, I am
simply going to drag down just a touch so
| | 04:17 | that the music fades out just ever
so slightly as the person is talking,
| | 04:21 | something like that.
| | 04:22 | If you are following along with the
exercise files, feel free to keyframe the
| | 04:26 | rest of this music track
around these audio bites.
| | 04:29 | Now, the last thing that I want to show
you is how track-level keyframing and the
| | 04:33 | audio mixer work in tandem.
| | 04:35 | Let's go ahead and press the grave, or
tilde, key on the keyword again to return
| | 04:39 | the sequence to its original size.
| | 04:41 | And then let's come up here
and select the Audio Mixer panel.
| | 04:45 | The Audio Mixer panel in Premiere Pro
is tied into the open sequence, and you
| | 04:49 | can quickly switch between the open
sequences by clicking this menu right here,
| | 04:53 | but in this project, I
only have one open sequence.
| | 04:56 | All right, let's scroll over
so we can see audio track 6.
| | 04:59 | That's my music track.
| | 05:01 | Then I'll scroll down a little bit
here, so we can see the volume fader.
| | 05:05 | Then on the sequence, let's scroll
down just a touch so we can see the track-
| | 05:08 | level keyframes that we made.
| | 05:10 | Then let me go ahead and start
playback, and what I want you to notice is
| | 05:13 | that the volume fader up here on track 6
will move as the playhead hits these keyframes.
| | 05:18 | (music playing)
(Male speaker: To start our tour here today,
| | 05:26 | (Male speaker: from here we'll go over among the
olive trees, just to the east of where we're standing.)
| | 05:35 | Okay, cool! And what you should have noticed when
I was playing back was that this volume
| | 05:39 | fader for track 6 was moving as the
playhead hit these track-level keyframes.
| | 05:43 | Of course, these track-level keyframes
are existing at the same time that my
| | 05:48 | clip-level keyframes were, and I can
see this by clicking the Show keyframes
| | 05:52 | button again and going back to show
Clip Level Keyframes. And you can see that
| | 05:56 | they're still there.
| | 05:58 | So that's keyframing audio on a clip
and on the track level in Premiere Pro.
| | 06:02 | I think you'll see that it's similar
to Final Cut Pro, at least on the clip
| | 06:05 | level. But Premiere Pro also adds the
ability to keyframe on the track level,
| | 06:10 | which adds another layer of flexibility.
| | 06:13 | With this sequence, feel free to practice
keyframing both on the track and clip level.
| | 06:18 | One thing to keep in mind, though, is
that since many of these tracks are mono,
| | 06:21 | you'll need to keyframe them separately.
| | Collapse this transcript |
| Using the Audio Mixer| 00:00 | In this movie, we're going to
jump right in to Premiere Pro.
| | 00:02 | And you might have used the Audio Mixer
in Final Cut Pro before, but the Audio
| | 00:06 | Mixer in Premiere Pro is a lot
different than the clip-level-only control that
| | 00:09 | the Mixer in Final Cut Pro offers,
| | 00:11 | and therefore there really isn't a
direct comparison between the two mixers.
| | 00:15 | So the first thing I want to
talk about is how sequences can have
| | 00:18 | different output types.
| | 00:19 | Let's come over here to the Project
panel and then click on this button
| | 00:22 | right here labeled New Item, and then let's
go ahead and choose this option, New Sequence.
| | 00:26 | Here in the New Sequence dialog, you can
choose any preset that you want, because
| | 00:30 | we're not going to
actually create a new sequence.
| | 00:32 | What I really want to show you
is over here on this Tracks tab.
| | 00:35 | When creating a new sequence, you can
audio and video tracks of your choosing,
| | 00:40 | and when it comes to audio tracks, you
can add them as mono, stereo, and even
| | 00:44 | 5.1 surround tracks.
| | 00:46 | You can add them when you initially set
up a sequence, like I'm doing here, but
| | 00:49 | you can also right-click on the header
area of a track on a sequence and you can
| | 00:53 | add additional tracks if needed.
| | 00:55 | You can also of course add what are
called submix tracks, but we'll talk more
| | 00:58 | about those specialized
types of tracks in a later movie.
| | 01:00 | The thing I really want to mention
though is this Master menu right here.
| | 01:05 | This option determines the master
output of your sequence, and you can choose
| | 01:09 | from Mono, Stereo, 5.1,
and then this option for 16 Channel.
| | 01:14 | The thing is, once you create a
sequence with a selected master output type
| | 01:18 | you can't change it.
| | 01:19 | If you find yourself working on
sequence and then realize that you need, say, a
| | 01:23 | 5.1 master output, but you're working on
a stereo sequence, you need to create a
| | 01:27 | new sequence with a 5.1 master track
and then copy and paste content of the
| | 01:33 | original sequence into that new sequence.
| | 01:35 | In this project, I've already gone
ahead and created a few different sequences
| | 01:39 | to show you different track in master output
types, so let's go ahead and click Cancel here.
| | 01:44 | Let's make sure that we're on the
sequence labeled Stereo Master, and then let's
| | 01:48 | come up to the Audio Mixer panel right
here. And then I'm going to press the
| | 01:51 | grave, or tilde, key on the
keyboard to make it go full screen.
| | 01:55 | In Premiere Pro this panel, the Audio
Mixer panel, is tied to the selected sequence.
| | 02:00 | So let's go ahead and
quickly tour the Audio Mixer.
| | 02:03 | Now the big thing to point out about
the mixer is that it works on the track
| | 02:06 | level and not on the clip level
like the mixer in Final Cut Pro does.
| | 02:11 | Earlier in this chapter, we talked
about the difference between clip- and track-
| | 02:14 | level control in Premiere.
| | 02:16 | Okay, up here above each track you
can actually see the name of the track
| | 02:20 | and if you click in here, you can
actually rename the track to whatever you want,
| | 02:24 | just like this. And I find this insanely useful,
as when you're working on a big project and you
| | 02:31 | have a ton of different tracks, naming
them allows you to quickly find the tracks
| | 02:35 | that you're looking for.
| | 02:37 | Next, below the name of the track
we have a menu, and this is called the
| | 02:39 | Automation mode menu.
| | 02:41 | Put simply, the options in here allow
you to keep frame audio in different ways,
| | 02:45 | and we'll talk about this
menu more in a later movie.
| | 02:47 | Next, if you click on this little
triangle right here, you can open up your
| | 02:51 | Effects and Send area.
| | 02:54 | Up here in this little LCD section is
where you can insert effects on a track,
| | 02:58 | and then down here is
where you can set up sends.
| | 03:00 | You can send a track to a submix,
but again, we'll talk about submixes a little
| | 03:05 | later in this chapter.
| | 03:07 | Down here you have panning controls,
which should be pretty self-explanatory.
| | 03:11 | In a second, I'll show you one more
type of panning control that we're not
| | 03:14 | currently seeing on this sequence.
| | 03:16 | And then down here with these controls
you can choose to mute, solo, or enable
| | 03:20 | recording of a track.
| | 03:22 | By enabling this button and then
coming down here and clicking on this Record
| | 03:25 | button at the bottom of the Audio
Mixer panel, you can record any live audio
| | 03:30 | through a mic, such as Scratch VO.
| | 03:32 | Down here is the actual volume fader.
| | 03:35 | You also have meters for a track.
| | 03:37 | Obviously, with a mono track like this,
you only have one meter, but for stereo
| | 03:41 | track like this, you have two.
| | 03:43 | And while I don't have one here
with a 5.1 track, you'd have six meters.
| | 03:48 | Underneath the Volume faders, you have a
numerical control of the fader level and
| | 03:52 | like other controls in Premiere, you can
drag this value, just like this, or you
| | 03:57 | can click into it to set an exact value.
| | 04:00 | Over here, you have the master track,
which shows you your overall output levels,
| | 04:05 | and this audio meter actually matches
this audio meter down here in the main
| | 04:09 | part of the interface.
| | 04:10 | Finally, on the Audio Mixer down here
in the lower left-hand corner, there's a
| | 04:15 | number of buttons for controlling and
looping playback, which often come in
| | 04:19 | handy when you do things
such as record VO to a track.
| | 04:23 | Let's go over and click on this
sequence right here, labeled 5.1 Master,
| | 04:27 | and then I'll come back up to the Audio
Mixer panel and make it big once again.
| | 04:32 | Notice that this sequence has as its
master a 5.1 track, so there are six
| | 04:37 | meters for the Master output.
| | 04:39 | Also notice, even though I have mono
and stereo tracks, here the panners look a
| | 04:43 | ,
whole lot different.
| | 04:45 | These are surround panners.
| | 04:47 | By dragging the black dot in the
middle of the panner, you can position audio
| | 04:50 | for a track within the Surround Sound field.
| | 04:53 | With these two dials right here, you
can control the amount of audio that's
| | 04:57 | going to the center channel and then
with this dial right here, you can control
| | 05:01 | how much of the channel will be sent to the LFE, or
low-frequency effects channel, AKA the subwoofer.
| | 05:06 | I'm going to minimize the Audio
Mixer panel again one more time.
| | 05:10 | Let's go ahead and click over on
this sequence labeled 16 Channel.
| | 05:13 | Now I'll come back up to the Audio Mixer
panel, and we'll make it big once again.
| | 05:18 | So here for this sequence, you can
see that the Master output is up to 16
| | 05:21 | channels. Why 16 channels? Well, that's what
the SDI interconnect standard will support.
| | 05:27 | Just keep in mind that most professional
decks will only record between 4 and 12 channels.
| | 05:32 | Now while a lot of the time working
with a stereo master sequence is just
| | 05:36 | fine. When you need to be very
specific about track assignments, when going
| | 05:39 | back to professional videotape format
for broadcast, the 16-channel master
| | 05:43 | option is your friend.
| | 05:45 | And the reason that it's your friend is
because these Direct output Assignment
| | 05:48 | menus, you can actually assign a
track back to a specific track on tape.
| | 05:52 | Okay, so that's an overview of the
Audio Mixer. In later movies in this
| | 05:55 | chapter we'll dive into some more
specific situations using the mixer.
| | 05:59 | For now, feel free to use the media on
these sequences to experiment with the
| | 06:03 | controls in the mixer.
| | Collapse this transcript |
| Using automation modes in the Audio Mixer| 00:00 | I've got to hand it to Adobe. With all the
great things that they've done in Premiere
| | 00:02 | Pro, one of the things that I
just love is the Audio Mixer.
| | 00:06 | It's full-featured and mimics a real
professional audio mixing board more than
| | 00:10 | any other NLE that I've used.
| | 00:12 | One of the things that I love about the
mixer in Premiere Pro is automation modes.
| | 00:16 | I guess I should probably define
what I mean by automation mode.
| | 00:19 | Put simply, automation modes allow you
to write and update keyframes that you've
| | 00:23 | created using the Audio Mixer.
| | 00:24 | And that's what I want
to show you in this movie,
| | 00:26 | as I think they'll really help you
mix audio quickly and efficiently.
| | 00:29 | Let's go ahead and jump right into
Premiere Pro here and then come up to the
| | 00:33 | Audio Mixer panel here and
then to the Stereo music track.
| | 00:36 | Right below the name of the track you
can see a little menu, and this is the
| | 00:39 | Automation Mode menu.
| | 00:40 | Now if I click in here, there are
quite a few different options. Let's
| | 00:43 | quickly define each one.
| | 00:45 | The first one labeled off, as you'd
expect, turns off automation for any keyframes.
| | 00:49 | You can still adjust the volume,
panning, and even effects on a track, but no
| | 00:53 | changes will be recorded.
| | 00:55 | Read reads any existing
keyframe data that has been applied
| | 00:58 | and automates accordingly during the playback.
| | 01:00 | If you don't have any keyframes, the
result of adjusting the volume fader on a
| | 01:04 | track is a general volume
change across the entire track.
| | 01:08 | Read is a good mode to be in when
you don't want to make any changes to
| | 01:11 | existing keyframes.
| | 01:12 | Latch is identical to write, which
we'll talk about in a second, but respects
| | 01:16 | existing automation until you
actually make a change in the Audio Mixer.
| | 01:21 | And when you make a change in the
Audio Mixer, the change will continue to
| | 01:23 | overwrite or "latch," or stick, to the last value
until you stop playback. And after stopping
| | 01:30 | playback, the value will
return to the original value.
| | 01:33 | Touch is also identical to write and
like latch until you start making a
| | 01:37 | change, but thing to remember is that
the automation is only updated when
| | 01:41 | "touch," or change a parameter.
| | 01:44 | After touching a value, it
will return to the previous value.
| | 01:47 | Then finally, Write, as its name
implies, writes new or overwrites existing
| | 01:52 | keyframes on a track during playback.
| | 01:54 | Write starts writing
automation as soon as playback begins.
| | 01:58 | Okay, to view the changes that we're
about to make, let's come down here to the
| | 02:01 | sequence, and to this Stereo music
track, and let's open it up to view its
| | 02:04 | waveforms. And then I'll
frame it up, just like that.
| | 02:09 | And then let's come over to this button
right here labeled Show Keyframes. And
| | 02:12 | what I want to do is choose this
option right here, Show Track Keyframes.
| | 02:16 | Remember, unlike Final Cut Pro,
adjustments in the Mixer affect the
| | 02:20 | entire track, not just clips.
In fact, the two levels of adjustment can
| | 02:24 | live independently.
| | 02:25 | Let's come back up to the music track
here in the Audio Mixer, and let's first
| | 02:29 | try out this mode labeled Latch.
| | 02:31 | What I want to do is make a change to
the fader as we play it back, and when I
| | 02:36 | stop playback, you'll see the
result of the Latch Automation mode.
| | 02:39 | (audio playing)
(Male speaker: To start our tour today, from here we'll go over--)
| | 02:51 | Okay, so down here on the track,
you can actually see the automation.
| | 02:54 | Here I began at unity, or no change.
| | 02:57 | Then I did a fade-up and then a fade-down.
| | 03:00 | And right here I was holding the fader
and that change continued, or latched on,
| | 03:06 | until I stop playback right here.
And after stopping playback, the original value
| | 03:11 | took over. That's the same
value that I started with right here.
| | 03:14 | Let's go ahead and undo that, and then
let's go back to the beginning of the sequence.
| | 03:20 | Next, let's try out this mode, labeled Touch.
| | 03:23 | When I begin playback, I won't initially
make any changes, but then I'll start
| | 03:27 | to make some changes to the Volume
fader, and then I'll start playback.
| | 03:30 | (audio playing)
(Male speaker: To start our tour--)
| | 03:39 | Okay, so here, you can see that it
started out with no changes, and then I made
| | 03:43 | a change. I faded up and then I
fade it back down. And when I stop the
| | 03:47 | playback the original value continued on.
| | 03:49 | Let's back to playhead up
to beginning of the sequence.
| | 03:55 | Next, let's choose this option labeled Write.
| | 03:58 | Write will overwrite any existing automation.
| | 04:01 | So when I begin playback, I'm just
going to make one simple change.
| | 04:04 | (audio playing)
(Male speaker: To start our tour today--)
| | 04:13 | And when I stop playback you can see
that I made a simple change, and then that
| | 04:17 | change continued and overwrote the
existing automation until I stopped playback.
| | 04:22 | Of course, you can use these
different automation modes in tandem with each
| | 04:25 | other to update existing
automations or keyframes in various ways.
| | 04:30 | And although, we've written keyframes
with the Audio Mixer, we can always update
| | 04:33 | a keyframe manually.
| | 04:34 | Remember, the Audio Mixer writes
keyframes on the track level, so you just
| | 04:38 | need to make sure, over here on the Show
Keyframes button, that you're viewing Track Keyframes.
| | 04:43 | And then you can come in with a
Selection tool and click on a keyframe, just
| | 04:46 | like this, and move it anywhere that you want.
| | 04:50 | You can even right-click on a
keyframe and choose to smooth it out.
| | 04:53 | Finally, although we only automated
volume in this movie, any parameter in the
| | 04:58 | Mixer, including panning and any
effects you've applied, can also be automated.
| | 05:02 | In the last movie in this chapter,
we'll take a look at adding track-level
| | 05:05 | and clip-level effects.
| | 05:07 | So hopefully you can see that
Automation modes in Premiere Pro are pretty
| | 05:10 | powerful and unique compared to Final Cut Pro.
| | 05:13 | Feel free to continue to adjust this
music track, as well as the other tracks in
| | 05:16 | this sequence, while
playing with Automation modes.
| | Collapse this transcript |
| Using submixes and creating mixdowns| 00:00 | In this movie I want to show you a
very useful and unique feature of Premiere Pro,
| | 00:03 | and one that you can't
really find in Final Cut Pro.
| | 00:06 | This feature is called submixes.
| | 00:08 | I also want to show you can easily use
mixdowns, or combinations of tracks,
| | 00:12 | for use in a broadcast workflow.
| | 00:13 | And along the way, I want to show you how
we can add effects to audio tracks and clips.
| | 00:18 | Let's go ahead and jump right into
Premiere Pro and start looking at submixes.
| | 00:22 | Here in this project I have a
sequence with several audio tracks on it.
| | 00:25 | There are some mono
camera audio tracks right here;
| | 00:28 | there are some mono interview, or VO,
tracks right here; and then down below, if
| | 00:32 | I scroll down just to touch, here you
can see a stereo sound effects track and
| | 00:36 | a stereo music track.
| | 00:38 | And I've already gone ahead and renamed
these tracks so we can identify what is
| | 00:42 | what. And what I want to do is use
submixes to funnel some of these tracks to a
| | 00:46 | submix, and then I want to apply
an audio effect to that submix.
| | 00:51 | Okay, but first we actually need to
create the submix, and to do that let's come
| | 00:54 | over to track header area and
right-click and choose Add Tracks.
| | 00:58 | Here in the Add Tracks dialog I don't
actually need to add any new video tracks
| | 01:02 | and I also don't need to add any new
audio tracks, but what I want to do is add
| | 01:06 | one new stereo submix track.
| | 01:09 | So let me go ahead and click OK here.
| | 01:12 | Then let's come up here to Audio Mixer
panel and then press the grave, or tilde,
| | 01:15 | key to make it go full screen.
| | 01:17 | And here you can see my new submix track.
| | 01:19 | Let's go ahead and rename this by clicking in
here and labeling it Effects for SFX & Music.
| | 01:28 | Next, what I want to do is come over
to the left-hand side of the Audio Mixer
| | 01:33 | and click on this little triangle right here.
| | 01:35 | This will show or hide my effects and sends.
| | 01:39 | SO here in Premiere Pro, in this top
area, we can actually insert up to five
| | 01:43 | different effects on a track. And then
down here in the Sends area we can send
| | 01:48 | this track to five different places.
| | 01:50 | So what I am going to do on the Sound
Effects and Music track here is click into
| | 01:53 | this first Send area, and in this menu I
can choose to create a new submix, but I
| | 01:58 | can also choose to select an existing submix.
| | 02:01 | So let's go ahead and choose the one
that we previously created and renamed.
| | 02:04 | I am going to do that for both the
Sound Effects (SFX) and Music Track.
| | 02:08 | Now down here in the Controls
section, the first thing we can do is adjust
| | 02:11 | the level, or amount of this track,
that we are going to send to this submix,
| | 02:14 | by using this dial.
| | 02:16 | You can also just click right in here
and type in a value of your choosing.
| | 02:20 | I want to go ahead and
send 0dB for both of these tracks.
| | 02:25 | Now 0 DB doesn't mean that we will send
0 DB, but what it means is that we'll be
| | 02:30 | sending the current level
of the track to the submix.
| | 02:34 | Also down here in the Controls area,
if I click on this little menu, I can
| | 02:37 | toggle back and forth between
volume and balance of that send.
| | 02:41 | Balance is just another way of saying pan.
| | 02:43 | Let's click back to volume.
| | 02:45 | Let me go ahead and press the grave,
or tilde, key on the keyboard again to
| | 02:49 | minimize the Audio Mixer panel. And then
what I am going to do is just frame up
| | 02:54 | the sound effects and music track as
well as the submix track right here, so we
| | 02:59 | can see the audio meters for those tracks.
| | 03:01 | When I begin playback here, what I want
you to notice is that audio is actually
| | 03:04 | being sent over to submix track here,
| | 03:06 | this guy right here.
| | 03:07 | All right, let me begin playback.
(music playing)
| | 03:14 | Okay, so what you should have seen as
I was paying back was that the meters on
| | 03:18 | the submix track were also moving.
| | 03:20 | That's because I was sending audio from the
sound effects and music tracks to that submix.
| | 03:25 | Okay, so you are thinking, "That's great Rob,
but what do I need the submix track for?"
| | 03:29 | Well, you can use submixes for a lot
of different things, but one of the most
| | 03:33 | useful, I feel, is for
blending effects into a mix.
| | 03:37 | Instead of having to insert effects
on the music and sound effects tracks
| | 03:40 | separately, you can add some effects
to the submix. And then using the send
| | 03:45 | volume controls and the fader for this
submix you can blend, or sort of layer in,
| | 03:49 | the effects that you will add.
| | 03:50 | All right, let's come back up to the
Audio Mixer panel here and press the grave,
| | 03:54 | or tilde, key again, and let me scroll
back up just to touch. And here on the
| | 03:59 | submix track, what I want to do is come
into the insert section or the effects
| | 04:02 | section right here and click on the
first effect or insert. And here I can see a
| | 04:07 | long list of different effects
that I can use on this submix track.
| | 04:11 | Let's come down and choose this
option right here, labeled Reverb.
| | 04:14 | Now the thing to remember is that adding
effects here, whether on a regular track
| | 04:18 | or a submix, is not the same thing as
applying an effect to an individual clip, as
| | 04:23 | the mixer effects tracks on the
whole, whereas in the case of a submix,
| | 04:27 | combinations of tracks, and not clips.
We'll add a clip-based effect momentarily.
| | 04:32 | Okay, let's go ahead and choose this
option labeled Reverb, and now I can see
| | 04:36 | that Reverb is listed here. And then down
here in the Controls section, if I click
| | 04:40 | on this little menu, I can go back and
forth between the different parameters
| | 04:44 | for the Reverb control.
| | 04:46 | However, it's kind of a pain to have
to switch back and forth between these
| | 04:49 | different parameters.
| | 04:50 | So what I can do is actually double-
click on the name of effect right here and
| | 04:55 | in just a second, a new window will pop
open. And this is called a VST editor, and
| | 04:59 | here I can see all the
controls for this effect in one place.
| | 05:02 | The neat thing about adjusting audio
effects on the mixer here is that you can
| | 05:06 | do it in real time as you are
listening back to the audio.
| | 05:09 | So what I am going to do when I begin
playback in just a second is adjust the
| | 05:12 | size of the room and the amount of Pre
Delay and some of the other parameters to
| | 05:16 | give us a slightly more airy feeling
to the music and sound effects tracks.
| | 05:20 | But before we do that, let me come back
over here to the Audio Mixer panel and
| | 05:24 | press the grave, or tilde, key again to
make it a little smaller, and then what I am
| | 05:28 | going to do is come over to the music
and sound effects tracks, as well as my
| | 05:32 | submix track, and I am going to click
on this button right here to solo them.
| | 05:36 | So I'll solo the sound effects, I'll solo the
music, then I am going to solo the submix track.
| | 05:41 | Then let me back my playhead up to the
beginning of the sequence, and as it's
| | 05:46 | playing back, I am going to
adjust some of these parameters.
| | 05:49 | (music playing)
| | 06:03 | Okay, that sounds pretty good to me.
And we can hear the difference before and
| | 06:07 | after, and the way that I am going to
do that is by clicking on this little
| | 06:10 | button right here that has a little F on it.
| | 06:12 | So let me back the playhead up one more
time, and I'll begin playback first with
| | 06:16 | the effect on and then with it off.
(music playing)
| | 06:27 | Okay and it's subtle, but you can
definitely hear the change. The music and
| | 06:31 | sound effects tracks sound a little
more airy now. And of course you can always
| | 06:35 | adjust how that blending, or the mix if
you will, of the original tracks and the
| | 06:39 | effect is going to work by using the
Send Volume controls here as well as
| | 06:44 | adjusting the submix
volume on the main fader here.
| | 06:47 | So if I drag that up a little bit,
let's begin playback one more time.
| | 06:51 | (music playing)
| | 06:56 | Okay, and it definitely sounds more airy.
It's a pretty big difference.
| | 06:58 | Let me go ahead and close the VST editor here.
| | 07:02 | So of course you can insert effects
directly into a track or a submix, but you
| | 07:06 | can also add effects on the clip
level. And to do this, I am first going to
| | 07:10 | unsolo these tracks here in my Audio
Mixer, and then let's take a listen to this
| | 07:15 | first sound bite, or this
first piece of VO right here.
| | 07:18 | (music playing)
| | 07:24 | Okay, I didn't hear it too well, so let
me go ahead and solo those tracks right
| | 07:28 | here and begin playback one more time.
| | 07:32 | (Male speaker: To start our tour
today, from here we'll go--)
| | 07:36 | Okay this guy sounds little boomy to me,
maybe a little bit too much bass in his voice.
| | 07:40 | So what I am going to do is come over
to the Effects panel right here and then
| | 07:44 | into Audio Effects category, this guy
right here. And then let's choose this
| | 07:49 | effect right here, labeled Bass, and I am
simply going to drag it onto this clip.
| | 07:53 | Again, I am only affecting this
clip, not the track on a whole.
| | 07:58 | So now that I have added that effect,
let me simply select the clip here and
| | 08:02 | then come back up to the Effects
Controls panel right here, and now you can see
| | 08:07 | for each channel I have the Bass
effect. And let's cut this a little bit.
| | 08:11 | Let's do a value of, say, -8 dB, and I
am going to do that for each channel of
| | 08:17 | course, because these are
separate mono tracks, just like that.
| | 08:20 | Now if I play this back, he sounds a little less boomy.
(Male speaker: To start our tour today, from here--)
| | 08:29 | Okay, the last thing I want to talk
about is that sometimes you are going to be
| | 08:32 | doing, say, a tape output for broadcast
work and you may be required to be very
| | 08:36 | specific about your track
assignments for audio on that tape.
| | 08:39 | For example, you might need to have a
stereo mix of the entire show on channels
| | 08:43 | 1 and 2, VO and primary audio on
channels 3, and music and effects on channel 4.
| | 08:49 | In Premiere there are two different
ways of handling this, by using a 16-channel
| | 08:52 | master audio setup and using submixes,
or secondly, by using a 16-channel master
| | 08:57 | setup for a sequence and using mixdowns.
| | 09:00 | While you can use submixes for this
type of work, it's a little complicated, so
| | 09:04 | let's just talk about using mixdowns
and what I mean by a mixdown is creating a
| | 09:08 | self-contained audio export of the
tracks that you need, and then re-importing
| | 09:13 | those back into Premiere for output.
| | 09:15 | You may have done this before in Final
Cut Pro. And notice on the sequence, if I
| | 09:19 | click back over to the audio mixer,
it's only a stereo master output. And as we
| | 09:24 | previously discussed, you can't change
an existing sequence to another master
| | 09:28 | type, like 16 channels, to assign audio
tracks to a specific output, and maybe you
| | 09:32 | don't want to have to deal with submixes.
| | 09:34 | So here's the way that we
can accomplish the same thing.
| | 09:37 | By coming down into the sequence
and using these controls right here to
| | 09:40 | toggle track output, you can choose
which tracks are active, or on, and make
| | 09:45 | separate outputs, for say a stereo
mix or just the Music and Sound Effects
| | 09:49 | tracks and so on. And after you've
made those exports, by pressing Command+M
| | 09:54 | to launch the Export Settings dialog
box, you can then reimport those audio
| | 09:59 | files back into Premiere Pro.
| | 10:01 | So let me go ahead and click over to this
sequence right here, labeled Add mixdowns.
| | 10:04 | I've already set up this sequence with
the stereo track and two mono tracks, and
| | 10:09 | then the master track is
actually a 16-channel setup.
| | 10:13 | Also I have deleted all the
original audio off of this sequence.
| | 10:18 | So all O need to do is go ahead and
double-click here in the Project panel and
| | 10:21 | navigate back out to Exercise_Files
here, into CH07, into Chapter Specific Media,
| | 10:27 | and I want to import these three files.
| | 10:28 | These are the three submixes that I
exported from the original sequence.
| | 10:32 | I'll choose Import here, and in just a
second they'll be imported. And what I am
| | 10:37 | going to do is take these clips and
drag them on to the appropriate tracks.
| | 10:40 | So I am going to put the Stereo Mix track on
the Stereo_Mix track that I've labeled here.
| | 10:46 | I can see it up here in the Audio Mix--
Stereo Mix. And then I am going to take
| | 10:49 | the primary Audio Track, put it here,
and then I am going to take the Music and
| | 10:54 | Sound Effects Tracks and put them right here.
| | 10:57 | The last thing you need to do to make
this output work is simply come down here
| | 11:01 | to these direct output controls right
here in the Audio Mixer, and you need to
| | 11:04 | assign the appropriate tracks.
| | 11:06 | So right now we have the stereo mix
going back to tracks 1 and 2, which is fine.
| | 11:09 | But here I want to change the primary
Audio Track to go to track 3 and then the
| | 11:13 | Music and Sounds Effects
track to go back to track 4.
| | 11:17 | Okay, so we've covered a ton in this
movie, but hopefully you can to see how
| | 11:20 | using submixes and adding effects to
those submixes, or adding an effect to
| | 11:24 | a clip and creating and using mixdowns,
can really help facilitate your audio
| | 11:29 | workflow.
| | Collapse this transcript |
|
|
8. Working with TitlesUsing the Title tool| 00:00 | Titles--as editors, we take them for granted.
| | 00:03 | Every edit platform has a title tool, right?
| | 00:05 | Well, as a Final Cut Pro editor,
and especially one who goes back to the good old
| | 00:09 | days of Final Cut Pro 1.0, titling
was never Final Cut Pro's strong suit.
| | 00:14 | Sure, in later versions of the app, the
inclusion of Boris's Title 3D tool made
| | 00:18 | things a lot better,
| | 00:20 | but some still felt that
the application was lacking.
| | 00:22 | And the thing is, Adobe knows text.
| | 00:25 | Think of applications like
Illustrator, Photoshop, or even After Effects.
| | 00:30 | These are all tools that shine when
it comes to creating text elements.
| | 00:34 | So in this movie, I want to jump right
in and show you how to create some basic
| | 00:37 | titles with the Title tool inside of premier.
| | 00:40 | Here in Premiere Pro I have a clip on
the sequence that could use a lower third,
| | 00:43 | and in Final Cut Pro you might choose
to use a little third generator or any
| | 00:47 | number of other text generators.
| | 00:49 | The thing I want you to understand
first off about creating a title in Premiere
| | 00:52 | Pro is whether it be static, a roll,
crawl, outline text, text on a path, et
| | 00:58 | cetera, there is one tool to do it
all, instead of many separate tools.
| | 01:03 | So to create a new title, what I am
going to do is come over here to the Project
| | 01:06 | panel and then down to the New Item
button, and notice that one of the
| | 01:09 | options that I have here
is to create a new Title.
| | 01:12 | We can also use the keyboard
shortcut Command+T to create a new title.
| | 01:15 | All right, let me go
ahead and select this option.
| | 01:18 | In just a second, I get the New Title dialog box.
| | 01:20 | Up here in the Video Settings area, I
can choose various video settings, like
| | 01:24 | Width, and Height, Timebase, and so on.
| | 01:26 | Now these are based off the
sequence that I am currently working on,
| | 01:29 | so I don't need to change anything here.
| | 01:31 | But down here, let's
change the name of this title.
| | 01:34 | Let's call this particular lower 3rd
Sam Collins Lower 3rd and click OK.
| | 01:43 | Okay, in just a second, the Title
tool opens up as a floating panel.
| | 01:47 | Before we tour this window, I want you
to notice over here in the Project panel--
| | 01:51 | move this over here--right here,
| | 01:53 | here is the actual title itself.
| | 01:56 | Now you are thinking, what's the big deal?
| | 01:58 | Well, one of the things that has
driven Final Cut Pro editors nuts for years
| | 02:02 | is that when you create a title on Final Cut
it's not saved automatically in the browser.
| | 02:07 | And if you loaded another clip
into the viewer before you finished
| | 02:10 | designing your title, and before you
edited the title into a sequence, your
| | 02:14 | title would simply vanish.
| | 02:17 | So from a media management standpoint,
the fact that the title is automatically
| | 02:21 | created as an asset here in the
Project panel is definitely a plus.
| | 02:25 | Okay the Title tool is pretty full-
featured, so let's spend a minute taking a
| | 02:29 | quick tour before we create a simple lower 3rd.
| | 02:33 | Starting over here in the left-hand
corner, we have a ton of tools for creating
| | 02:37 | text, creating shapes,
and then manipulating those items.
| | 02:42 | Down here, we have title actions,
and this is where you can control things like
| | 02:45 | alignment, centering, distribution, and so on.
| | 02:49 | Up here at the top of the Title
tool, we have quite a few things.
| | 02:52 | First, this menu right here allows you
to quickly switch to other titles you've
| | 02:56 | created in your project.
| | 02:58 | With this button right here, you can
create a new title based off the current
| | 03:02 | one that you are working on, which is
great for consistency with things like
| | 03:05 | lower 3rds and other show graphics.
| | 03:08 | With this button right here, you can
choose to create a roll or a crawl and if
| | 03:12 | you click on that, you can
adjust the Roll/Crawl options.
| | 03:16 | Next, Adobe ships Premiere with a ton
of templates, and you can access those by
| | 03:19 | clicking this button right here.
And these templates are things like DVD menus or
| | 03:24 | lower thirds and other items that
you can use to help you build titles.
| | 03:28 | Also on this toolbar up here, we
have things for traditional text control,
| | 03:31 | things like making a font bold, italic,
adjusting its kerning, and so on.
| | 03:36 | But right here is the single biggest
advantage of the Title tool Premiere Pro,
| | 03:41 | and that is that you can turn video
on and off, and you can show background
| | 03:46 | video in the Title tool.
| | 03:47 | So if I click this button, you
can see that I have no video.
| | 03:50 | If I click it on, ah! There is video.
| | 03:53 | I can even scrub to a different point
in the sequence to show me a particular
| | 03:58 | piece of video, which is really, really handy
when you are trying to design text elements.
| | 04:03 | Okay, obviously here in the middle of
the title tool is where you can actually
| | 04:06 | design your title and see your
background video, as well as keep an eye on things
| | 04:10 | like title and action safe zones.
| | 04:12 | And down below here, Adobe ships Premiere Pro
with a ton of text presets that you can use.
| | 04:18 | Then finally over here on the right, in
the Title Properties panel is where the
| | 04:21 | proverbial magic happens.
| | 04:23 | Depending on what you have selected,
this panel will dynamically change to show
| | 04:26 | you controls that are
germane to what you are working on.
| | 04:29 | All right, let's go ahead and
create a simple lower 3rd for this clip.
| | 04:32 | First of all, I want to make sure that I
have the Type tool selected, and you can
| | 04:35 | also activate it by pressing T on the keyboard.
| | 04:38 | So let's click in here, and I am
just going to type in "Sam Collins."
| | 04:45 | After I typed the text, of course I can
come up to this toolbar and I can change
| | 04:48 | the font that I am using.
| | 04:49 | Let's just choose something basic like Arial.
| | 04:52 | And I am going to go ahead and make it bold.
| | 04:55 | Let's go ahead and change the color of
this text, and I am going to do that by
| | 04:58 | coming over to the Title Properties
panel and then scroll down here to where it
| | 05:01 | says Fill and click on the color swatch.
| | 05:04 | Let's change this color to something a
little brighter, like 235, 235, and 235,
| | 05:13 | okay, just like that.
| | 05:15 | Next, let's go ahead and a little
bit of a drop shadow to this text.
| | 05:18 | I'll click the Shadow button right here.
| | 05:19 | I am fine with a black drop shadow,
but let's change the distance a little bit
| | 05:24 | so it's easier to see.
| | 05:25 | I'll just click and drag out here to
maybe a value of about 17, something like
| | 05:29 | that. That looks good.
| | 05:31 | Okay, with the Text tool still selected,
let's click again to create a new piece of text.
| | 05:36 | And let's call this Hansel and Petal customer.
| | 05:41 | Okay, so obviously that's pretty big, so
let's come up here to this toolbar and
| | 05:46 | adjust the text size down to
something like, maybe 40 looks good.
| | 05:51 | Now the thing you notice is that all of
my other options that I chose before, in
| | 05:55 | terms of the text color and the shadow,
they actually come up on this new piece
| | 05:59 | of text, which is pretty handy.
| | 06:01 | So you don't have to choose the same
options over and over again; they default
| | 06:05 | to the last options that you used.
| | 06:07 | Okay, let's go ahead and switch back to
the Selection tool, and you can do that
| | 06:09 | by pressing the Selection tool up
here or pressing V on the keyboard.
| | 06:13 | Then what I am going to do is
position this text in the relative area of a
| | 06:17 | lower third, something like that.
And you know what? I think Sam Collins' name
| | 06:21 | here is a little too big, so I am just
going to click in and then change the size
| | 06:25 | of text just a little bit, something like
that. And we'll go back to the Selection tool.
| | 06:31 | Okay, that's about right,
but let's make it perfect by using the
| | 06:34 | alignment controls over here.
| | 06:36 | So what I am going to do is select both
pieces of text, and then I will go ahead
| | 06:39 | and align the left edges.
| | 06:41 | Okay, they didn't move too much.
| | 06:42 | I guess I was a little too
accurate about how I placed them.
| | 06:45 | Okay, let's help this lower
third to stand out a bit by adding up
| | 06:48 | background element.
| | 06:49 | Let's go ahead and click on this tool
right here called the Rectangle tool.
| | 06:52 | You can also activate it
on keyboard by pressing R.
| | 06:55 | With the Rectangle tool active, let me
just simply come out and draw out a
| | 06:59 | rectangle, something like that.
| | 07:02 | Okay, with the rectangle active, let's
come over to the Title Properties panel
| | 07:05 | again, and then down here in the Fill
section let's change this fill from a solid
| | 07:11 | to a linear gradient.
| | 07:12 | If you use Photoshop, these control for the
Linear Gradient will seem pretty familiar.
| | 07:17 | Using these color stop boxes right
here, you can choose a color for each
| | 07:21 | part of the gradient.
| | 07:22 | And then by sliding them left and right
you can adjust where that split happens.
| | 07:26 | Let's click on the first stop here
and then come down here and click on the
| | 07:29 | Color Stop swatch right here.
| | 07:31 | Let's go ahead and make this
black, something like that.
| | 07:34 | All right, and then let's click on the
second Color Stop, and let's make that one
| | 07:40 | a little bit more of a gray color.
All right something like that.
| | 07:44 | Then what I am going to do is adjust the
split by dragging these left and right.
| | 07:48 | So maybe I want a little more black,
drag like that, and then a little more gray,
| | 07:54 | something like that.
| | 07:55 | That works pretty good. And then what I
am going to do is select one of these
| | 07:58 | color stops. And let's come down here
to the Color Stop Opacity and drag down,
| | 08:02 | something like 40-39%. Yeah that looks
pretty good. And then let's adjust the
| | 08:08 | opacity of the other color stop.
We'll drag down to something like 40-39%,
| | 08:15 | something like that.
| | 08:16 | Okay, now the thing about this is that it
looks like we kind of have a problem, right?
| | 08:21 | It looks like the actual
rectangle is on top of the text.
| | 08:25 | Well, it is and to remedy of this,
| | 08:27 | I am simply going to come back to my
selection tool, and then I am going to
| | 08:29 | right-click on the actual box itself
and then come down here to the Arrange
| | 08:34 | option and choose Send to Back. Ah!
| | 08:38 | That's much better now.
| | 08:40 | Okay, so we have a simple lower 3rd.
Again it's not the greatest lower 3rd in
| | 08:44 | the world, but it works.
| | 08:45 | Let's go ahead and close the Title tool.
| | 08:48 | Now you are thinking, hold on, didn't
we need to save that title? Nope, it's
| | 08:53 | automatically saved as you
work, which is a really nice thing.
| | 08:57 | In fact, if you come over to the
Project panel here and simply double-click
| | 09:00 | on the title again, the Title tool will
open back up, and you can make further tweaks.
| | 09:05 | Let's close that again.
| | 09:06 | All right, the last step is to
get this title into the timeline.
| | 09:10 | Since this title is static, it's
treated as a still for its duration, and this
| | 09:15 | is a preference which you can access up
here in the General page of the Preferences.
| | 09:20 | The default is 150 frames, as you can see
right here in this preference for Still
| | 09:24 | Image Default Duration.
| | 09:25 | That's about five seconds, which I am fine with.
| | 09:28 | So let's go ahead and drag this lower
3rd over here above video track one, and a
| | 09:34 | new video track will be created.
| | 09:36 | Of course if I place my playhead over
it, just like Final Cut Pro, the titles
| | 09:39 | that you create will include an
alpha channel, or transparency.
| | 09:43 | The last thing I want to do is come
over here to the Effects panel and then
| | 09:46 | let's come in to this category right
here called Video Transitions and then into
| | 09:50 | Dissolve, and then let's add a cross-
dissolve to the beginning and end of this
| | 09:56 | lower 3rd, so it fades up and down.
| | 09:59 | Let's go ahead and play that back.
| | 10:02 | (Sam Collins: It's actually my anniversary tonight,
and I forgot about until about fifteen minutes ago
| | 10:07 | (Sam Collins: or whenever I was at work. I called over--)
| | 10:10 | Pretty cool! Okay, so obviously I
created a very simple lower 3rd.
| | 10:14 | In your own work, I think that you'll
find that the Title tool in Premiere Pro
| | 10:17 | is a really powerful all-in-one tool
compared to the multiple tools in Final Cut Pro.
| | Collapse this transcript |
| Importing titles| 00:00 | I get it. You are not a designer; you're an editor.
| | 00:02 | While you'll often be called on to
create titles, sometimes, if you're lucky,
| | 00:07 | you'll be able to work with a
designer to create titles and other graphics.
| | 00:10 | These artists probably use other tools,
like Photoshop and even Illustrator, to
| | 00:14 | create titles and graphics.
| | 00:15 | Fortunately in Premiere, it's easy
to work with these types of files.
| | 00:19 | I am starting out here in Premiere Pro
with a project that has a pretty simple
| | 00:22 | sequence on it. It just has one clip on it.
| | 00:24 | So what I want to do first is I want to
go ahead over to the Project panel here
| | 00:27 | and double-click in the
gray area to import a file.
| | 00:30 | Then what I want to do is navigate
back out to the Exercise_Files disk image,
| | 00:34 | then to CH08, then to the Chapter
Specific Media folder for CH08, and what I want
| | 00:39 | to do is select this file right
here called Lower 3rd Photoshop.
| | 00:43 | This is a pretty simple Lower
3rd, but it has multiple layers.
| | 00:46 | So let's go ahead and choose
that and then click Import.
| | 00:49 | In just a second, a new dialog will
appear called Import layered File and then
| | 00:53 | the name of the file.
| | 00:54 | Here in this dialog, I can do a few things.
| | 00:57 | First I can see all the actual
layers that make up this Photoshop file.
| | 01:01 | In this menu right here labeled
Import As, I have a few choices.
| | 01:05 | The first one is to import
this file as Merge All Layers.
| | 01:09 | If I choose this, all the layers will
be brought into Premiere as a flattened
| | 01:13 | Photoshop file, or a flattened PSD.
| | 01:15 | Next, I can choose Merge Layers, which
will let me select the layers that I
| | 01:19 | want, and then when it comes into
Premiere Pro, only those layers will be
| | 01:23 | merged into a flattened PSD.
| | 01:25 | The next option is called Individual Layers.
| | 01:28 | This will let me select the layers I
want, but each layer will be created as a
| | 01:31 | separate clip, and all of the layers
will be put into a new bin. And then finally
| | 01:36 | here I can choose to
import this file as a sequence.
| | 01:39 | With this option, all the layers I
select will be brought in the separate clips
| | 01:43 | and placed in a new bin, but a new
sequence will also be created with those
| | 01:47 | layers stacked in that sequence.
And this is just like how Final Cut Pro handles
| | 01:52 | layered Photoshop files.
| | 01:53 | If you choose the Sequence option,
down here a new menu is available,
| | 01:57 | labeled Footage Dimensions.
| | 01:58 | There are two options here:
Document Size and Layer Size.
| | 02:02 | Choosing Document Size changes the
frame size of imported layers or clips to
| | 02:07 | match your sequence.
| | 02:08 | The other option here, Layer Size,
keeps the layers as they were in the
| | 02:12 | Photoshop document.
| | 02:13 | Which one you choose is up to you,
but if the document, and therefore the layers,
| | 02:17 | were designed to be much bigger than
the frame size of the sequence, choosing
| | 02:21 | Document Size can save you a lot of time
with having to resize layers to fit your sequence.
| | 02:26 | But on the flip side, if you choose
Layer Size, oversize layers will give
| | 02:30 | you more flexibility in manually resizing
when doing things like animating those layers.
| | 02:36 | In this case, it doesn't really matter,
as the lower 3rd I am working with is
| | 02:39 | sized correctly for this project.
| | 02:42 | Let's go back up here to the Import
As and chose Merge All layers and then
| | 02:47 | go ahead and click OK.
| | 02:49 | After importing, you can see the PSD
over here as a single flattened clip.
| | 02:54 | From here, I can use this
clip just like any other;
| | 02:56 | however, I do want to mention a couple things.
| | 02:59 | First, if you wish to use
transparency, that transparency must be in the
| | 03:03 | Photoshop file to begin with.
| | 03:04 | Second, the default duration of an imported
title graphic is determined by a preference.
| | 03:09 | So let me go up here the Premiere
Pro menu, down to Preferences, and then
| | 03:13 | choose General. And right here you can see the
preference for Still Image Default Duration.
| | 03:18 | It defaults to 150 frames.
| | 03:21 | You can of course adjust the length of
the default still frame to anything you
| | 03:24 | want, but you need to adjust it
prior to bringing the clip in.
| | 03:27 | However, just like in Final Cut Pro,
you can always stretch out a graphic or
| | 03:31 | title to best suit your needs.
| | 03:32 | Let's click OK here.
| | 03:35 | Let's go back and double-click on
the Project panel again to import that
| | 03:38 | same clip. So again Exercise_Files > CH08 >
Chapter Specific Media > Lower 3rd Photoshop.psd.
| | 03:45 | Select that and then choose Import.
| | 03:47 | This time let's choose
Sequence in the Import As menu.
| | 03:52 | And then I'll make sure that all the
layers are selected, as denoted by these
| | 03:55 | check marks right here. And then down
here under Footage Dimensions, let's choose
| | 03:59 | Document Size and then click OK.
| | 04:02 | After the file imports, over here in
the Project panel, you can see a new bin
| | 04:06 | called the same thing as the Photoshop
file. And inside of this, if I scroll down
| | 04:10 | a little bit, you can see all the
layers that make up that Photoshop file. But
| | 04:15 | here we also have a sequence.
| | 04:17 | Let me go ahead and double-click on
this. And here in this sequence I can see
| | 04:21 | all the layers stacked on top of one of
another, and this works just like Final Cut Pro,
| | 04:25 | where all the layers of a Photoshop file are
stacked on top of one another in the sequence.
| | 04:30 | Now to use this graphic, you have a few choices.
| | 04:33 | First, you can just come back over to
the bin and edit each layer like it was a
| | 04:37 | separate clip, just like that. Or, as
you've probably done in Final Cut Pro, you
| | 04:43 | can nest sequence into another one
and use it just as a single clip.
| | 04:48 | So if I take this sequence, I can drag
it right into video track 2 here, and you
| | 04:53 | can see that I am using it just as a
clip, even though it's a nested sequence.
| | 04:57 | If you do this and you want to make
changes, like change the layer length or
| | 05:01 | animate those layers, you can simply
double-click on the nested sequence to step
| | 05:05 | back into the original sequence--that's
the one with all the layers stacked on
| | 05:08 | top of each other--and then
you can make some updates.
| | 05:11 | The updates will ripple back to the
nested sequence here on my main timeline,
| | 05:15 | just like in Final Cut Pro.
| | 05:17 | Just like any other file of course, you
could add transitions or effects to this nest.
| | 05:22 | The same thing is true if you
use just the layers by themselves.
| | 05:25 | Okay, a lot of artists like to work in
Adobe Illustrator due to its intuitive
| | 05:29 | drawing tools and support of vector art.
| | 05:32 | Unlike Final Cut Pro, you can actually
import Illustrator artwork directly into Premiere.
| | 05:37 | Let's go ahead and double-click here
on the Project panel again and navigate
| | 05:41 | back out to Exercise_Files > CH08 >
Chapter Specific Media. And let's go ahead
| | 05:46 | and select this file right
here called Olive Oil Map.ai.
| | 05:50 | Now before we import this file, a few
things you should be aware about. First,
| | 05:53 | Illustrator is a vector-
based program, but video is not.
| | 05:57 | When bringing in Illustrator
artwork, files are converted from vector
| | 06:00 | to pixel-based art.
| | 06:01 | In doing so, it does some anti-aliasing and
some smoothing, but it coverts it nonetheless.
| | 06:07 | So you may end up with some
slight stair-stepping on fine edges.
| | 06:11 | Next all empty areas in an
illustrator file are automatically transparent.
| | 06:16 | You can actually import both .ai
files as well as .eps files, which offers
| | 06:20 | a little flexibility.
| | 06:22 | Finally, while beyond the scope of
this title to show you how to do this,
| | 06:25 | if you're working with the artwork that
is oversized, or proportioned differently
| | 06:29 | than the video frames than you are using,
you can use crop marks in Illustrator
| | 06:32 | to effectively frame the
Illustrator file for the video frame size.
| | 06:36 | Okay, let's go ahead and import this file.
| | 06:39 | In just a second, the file show up here
in the Project panel and now it acts
| | 06:42 | just like any other clip. And I can
simply edit it into a sequence, and here is
| | 06:47 | the Illustrator file itself.
| | 06:49 | While I am not going to show you this,
just so you know, you can import layered
| | 06:52 | TIF files into Premiere Pro. And while
the file will come up as a single flattened
| | 06:56 | file, you can always open it up in
Photoshop and edit the layers and save it.
| | 07:01 | And after saving it,
| | 07:02 | it will update back into Premiere Pro,
and this works just like Final Cut Pro.
| | 07:06 | Finally, in this movie, I want
to show you importing photos.
| | 07:09 | Now you are probably saying, what's the big deal?
| | 07:11 | Well, in case you missed the movie in
CH02 where we talked about using the
| | 07:13 | import command and we talked about a
preference called default scale to frame
| | 07:16 | size, this preference will of course
affect video, but it also has a big impact
| | 07:21 | on working with photos.
| | 07:23 | Let's go up to our Premiere Pro menu
here and then down to Preferences and
| | 07:26 | then choose General.
| | 07:27 | Right now, on General page
| | 07:30 | you can see that this preference for
Default scale of frame size is turned on.
| | 07:33 | Let's go ahead and click OK here.
| | 07:36 | Then back out in my Project panel--let me
double-click on the gray area once again--
| | 07:40 | we'll navigate back out to the
Exercise_Files disk image > CH08 > Chapter
| | 07:44 | Specific Media, and then select this
photo called Big Photo.tif, and import.
| | 07:48 | Now let me go ahead and drag
this photo down onto my sequence.
| | 07:53 | Everything looks pretty good, right?
| | 07:55 | Well, if I select this clip and come
up to Effect Controls here and then if I
| | 07:59 | open up the Motion category, you can
see that scale is 100%. And what really
| | 08:04 | happened here is because I have the
preference for Default scare to frame size
| | 08:07 | on, Premiere Pro
automatically downsampled this clip.
| | 08:10 | So if I start scaling this clip, you
will notice that it doesn't really act like
| | 08:14 | a big photo. Because I am scaling it down,
| | 08:17 | I immediately see the edges of the picture.
| | 08:19 | All right, let's go back up to Premiere
Pro > Preferences > General, and let's
| | 08:24 | turn Default scale to frame size off
and click OK. And one more time, we'll
| | 08:29 | double-click on the Project panel here,
go back to CH08 > Chapter Specific Media,
| | 08:34 | and let's import that photo again.
And I'll drag that down here to the end of the
| | 08:39 | sequence, right back here, and now you
can see that the photo is pushed in quite
| | 08:44 | a bit. And if I'd select the photo and come
up to the Motion category here in Effect
| | 08:48 | Controls, I can now adjust its Scale.
| | 08:52 | Just like with video files, this
preference for Default scale to frame size has
| | 08:56 | a really, really big impact on how files
will operate when they are imported in.
| | 09:01 | I especially think this is important for photos.
| | 09:03 | My personal preference when working
with photos is to have this option for
| | 09:07 | Default scale to frame size turned off.
| | 09:09 | That way you can work with the full
amount of image data contained in that photo.
| | 09:15 | Okay, so that's a little bit more
about working with graphics, titles, and
| | 09:18 | photos in Premiere Pro.
| | 09:19 | I think you can see that Premiere Pro
is a really flexible tool for working
| | 09:23 | with these items.
| | Collapse this transcript |
|
|
9. Exporting MediaGetting to know the Export Settings dialog| 00:00 | Okay, it's time to talk about
getting projects out of Premiere Pro and into
| | 00:03 | a deliverable format that you need.
| | 00:05 | Before I show you how to do this in
Premiere Pro, let's start out here in
| | 00:07 | Final Cut Pro, so you can have a better
understanding of the similarities when exporting.
| | 00:11 | In Final Cut Pro 7 when you want to
export something, you have a variety of
| | 00:15 | methods, all of which can be
found up here in the File menu.
| | 00:17 | In the File menu, if you come down
to Export, you can choose export to
| | 00:21 | QuickTime Movie, and from there
you can choose to export either a
| | 00:24 | self-contained or reference movie.
| | 00:26 | You can choose to export using
QuickTime Conversion which people use all the
| | 00:29 | time for things like creating files for the web.
| | 00:32 | You can also choose create audio
files as AIFF(s), create an OMF, an EDL,
| | 00:36 | or even an XML file.
| | 00:38 | Here in the Send To menu you can of
course send a sequence to Compressor
| | 00:42 | for further processing.
| | 00:43 | You can also send it to other
applications, like Color or Soundtrack Pro.
| | 00:47 | And then here with this option labeled
Share you can actually export a batch of
| | 00:52 | files with different settings for each file.
| | 00:55 | This was actually a new
feature found in Final Cut Pro 7.
| | 00:58 | Regardless, there are a lot of ways to get
a clip or sequence out of Final Cut Pro.
| | 01:02 | Let's go ahead and switch over to Premiere Pro.
| | 01:04 | I already have a project opened
| | 01:06 | with a simple rough cut
sequence that I want to export.
| | 01:09 | And Adobe has really tried to make the
exporting process simple. And while you
| | 01:13 | still have a ton of options for
file types, presets, and so on,
| | 01:17 | it consolidated most of your ability to
export files all into one place called
| | 01:21 | the Export Settings dialog.
| | 01:22 | Now I say most because not every file
that you need to export is available from
| | 01:27 | the Export Settings dialog.
| | 01:29 | If we come up to the File menu here and
then down to Export, you'll see in this
| | 01:33 | menu, besides exporting Media
which we'll do in a second,
| | 01:35 | I can also export files like EDLs,
OMFs, AAF files, and check this out.
| | 01:41 | I can also export a Final Cut Pro XML file.
| | 01:45 | That's right, you can actually export a
Premiere Pro project back to Final Cut
| | 01:48 | Pro, just like we exported a Final Cut
Pro project to Premiere back in Chapter 1.
| | 01:53 | You can explore the various options
here for things like EDLs and OMFs on your
| | 01:57 | own, but for right now I want to
choose this option labeled Media.
| | 02:01 | I can also use the keyboard shortcut
Command+M. In just a second, the Export
| | 02:05 | Settings dialog pops up.
| | 02:07 | Now one important thing to note is that
just like in Final Cut Pro what you have
| | 02:10 | selected is what will be exported.
| | 02:13 | If you wanted to export a single clip, just
select it over here in the Project panel.
| | 02:17 | If you wanted to export an entire sequence,
select it, or have the sequence active
| | 02:21 | in the Timeline panel. That's what I did;
| | 02:23 | I had the sequence
active in the Timeline panel.
| | 02:25 | All right, here in the Export Settings
dialog it's pretty straightforward, but
| | 02:28 | let's take a quick tour.
| | 02:30 | Over here I have two panels,
labeled Source and Output.
| | 02:34 | in the Source panel I can obviously see my
source, my actual sequence that I'm exporting.
| | 02:38 | Down here I can scrub
through the sequence itself.
| | 02:41 | I can mark in and out points.
Using the Source Range menu down here, I can
| | 02:46 | choose to export the entire sequence,
a previously marked work area, or I can
| | 02:50 | choose Custom, if I've
created my own in and out points.
| | 02:53 | Up here with the Crop controls you
can choose to actually crop the image to
| | 02:58 | however you see fit for export.
| | 03:00 | Clicking over to the Output tab you
can see the results of your cropping.
| | 03:04 | Now most of the magic here in the Export
Settings dialog happens over here on the right.
| | 03:08 | First here in the Export Settings
section, we can choose to match our export to
| | 03:12 | our sequence settings.
| | 03:13 | This is just like when in Final Cut
Pro you want to export a self-contained
| | 03:17 | movie that matches your sequence settings.
| | 03:19 | If you uncheck this though, here in
the Format menu, you can choose from a
| | 03:23 | wide variety of formats.
| | 03:25 | And unlike Final Cut Pro, there are
some options here that you won't find in
| | 03:29 | other Apple products, even like Compressor.
| | 03:31 | For example, we can export to
Flash video files, both F4V and FLV.
| | 03:36 | We can also export high-quality DPX
files. We can export P2 Movies, and so on.
| | 03:41 | Now this list grows all the time as
Adobe updates the formats that are
| | 03:46 | supported by Premiere Pro.
| | 03:48 | After you choose a format, let's say
H.264 here, in the Preset menu, you can
| | 03:53 | choose from a wide variety of
Presets that were created by Adobe.
| | 03:57 | We can also choose to create our own
presets, and we'll do that in a later movie.
| | 04:03 | Down here you can actually add some
comments about this preset. And clicking on
| | 04:06 | this yellow text right here, you can
choose a location to save the exported file to.
| | 04:12 | With these options right here, you can choose
to export video and audio, or one or the other.
| | 04:17 | And if you're exporting a file, like
an H.264 file, you might also have this
| | 04:21 | choice right here to open in Device Central.
| | 04:23 | What this will do is open up the
encoded file into Device Central where you can
| | 04:27 | preview and adjust for mobile
devices and things like iPads.
| | 04:31 | Here in the Summary section of course
you can see a summary. And then down
| | 04:35 | here on these various tabs is where you can
control the settings of a particular preset.
| | 04:39 | So even though I chose a present here,
I can still come into these various tabs
| | 04:44 | and adjust settings,
| | 04:45 | things like Frame Width and Height,
Frame Rate, and so on and so forth.
| | 04:49 | These various tabs are just like the
tabs that you'd find in the inspector
| | 04:53 | in Apple Compressor.
| | 04:54 | Down here we have we have some
additional options for Maximum Rendering Quality,
| | 04:58 | Using Existing Previews,
and even Frame Blending.
| | 05:01 | Now there are two additional things
that I want to talk about really quick.
| | 05:04 | Down here at the bottom of the
Export Settings dialog, we have two
| | 05:07 | buttons: Metadata and Queue.
| | 05:09 | Let me go ahead and click Metadata.
| | 05:12 | Here in the Metadata Export
window, you can do a few things.
| | 05:15 | First, you can choose to
embed metadata in the output file.
| | 05:18 | You can create a sidecar file.
| | 05:21 | You can also choose to embed in the
output file and create a sidecar file.
| | 05:25 | Now there are a ton of options here
for how metadata is going to be either
| | 05:29 | embedded or outputted from this export,
and I want you to explore this in more
| | 05:33 | detail on your own, but the thing to
understand is that Adobe is hardcore
| | 05:37 | committed to metadata integrity.
| | 05:40 | The other button that we have
right here is called the Queue button.
| | 05:43 | Just like Final Cut Pro and
Compressor work hand in hand, Premiere Pro is
| | 05:46 | really just using the Adobe Media Encoder
engine to do its encodes, and that's a good thing.
| | 05:51 | Adobe Media Encoder is a 64-bit
application, which greatly speeds up encoding
| | 05:55 | times, and while it's a stand-alone
application that can run at anytime just
| | 05:59 | like Compressor, sometimes you'll want
to access it through Premiere Pro, and
| | 06:03 | that's easy to do here with the Queue button.
| | 06:05 | So let's say I first want to export
this file as an H.264 file, using this
| | 06:09 | preset right here
labeled HDTV 720p High Quality.
| | 06:12 | So what I'm going to do is go
ahead and click the Queue button,
| | 06:16 | and then in just a second Adobe Media
Encoder is going to go ahead and open up.
| | 06:20 | And here at the top of the queue
you can see the file that I added.
| | 06:23 | Let's go back to the Premiere Pro for
one second and once again press Command+M
| | 06:27 | to get back to the Export Settings dialog.
| | 06:29 | This time let's say I want to export
this file as an F4V file, a Flash Video
| | 06:33 | file. And I'll choose a high-
quality preset, this Mobile one right here.
| | 06:38 | Then I'm going to click the Queue button
again, and just like last time, the file
| | 06:42 | is added to the Adobe Media Encoder Queue.
| | 06:45 | This functionality of using the Queue
button from the Export Settings dialog is
| | 06:48 | really, really handy, as you can
set up a batch of files to encode.
| | 06:53 | And the really cool thing is that you
can actually encode in the background and
| | 06:57 | come back to Premiere Pro and continue to work.
| | 07:00 | Back in Premiere Pro if we press
Command+M again to export the media, I don't
| | 07:04 | have to use the Queue button. I can
simply click the Export button right here to
| | 07:08 | export an individual file.
| | 07:11 | Okay, so that's an overview
of the Export Settings dialog.
| | 07:14 | You can see in many ways it's just
like the Export options available in Final
| | 07:17 | Cut Pro, but a just a bit more consolidated.
| | Collapse this transcript |
| Using and saving presets| 00:00 | In the world in which we live in as
editors we are often called on to deliver
| | 00:03 | files into different
formats with different tech specs.
| | 00:06 | As a Final Cut Pro editor making the
move to Premiere Pro, you've probably become
| | 00:09 | used to exporting files using tools
like Compressor, or directly through Final
| | 00:13 | Cut Pro, with features like the Share menu.
| | 00:15 | Well, inside of Premiere Pro, we
can export files just like we can in
| | 00:19 | Compressor in Final Cut Pro into a variety of
formats and by using a ton to pre-built presets.
| | 00:25 | In this movie we will take a look at
using pre-built export presets from Adobe,
| | 00:29 | and we will also take a look at
creating our own export presets.
| | 00:33 | Okay, so here we are in Premiere, and I
want to go ahead and export this sequence.
| | 00:36 | So to do that, I am simply going to
select the Sequence panel right here and
| | 00:40 | come up to the File menu and then down
to Export and then choose this option
| | 00:43 | right here, labeled Media.
| | 00:45 | I can also use the keyboard shortcut Command+M.
| | 00:48 | Here in the Exports Settings dialog,
let's come over to this section right
| | 00:51 | here labeled Export Settings. And from here, we
can choose a format that we want to export to.
| | 00:56 | So if I click into the Format menu
here, you can see that I have a ton of
| | 00:59 | different formats, and some of
these formats are not available in, say,
| | 01:03 | Compressor or Final Cut Pro,
| | 01:04 | things like Flash Video with F4V
and FLV formats, or the DPX format.
| | 01:10 | For right now I want to go
ahead and choose this format, H.264.
| | 01:13 | Of course, people use H.264 all the
time for encoding files that go to the web.
| | 01:18 | So let me go ahead and choose that option.
| | 01:20 | After I have chosen a format, I can
come into the Preset menu here and from the
| | 01:24 | Preset menu, I can choose from a wide
variety of presets--and these presets work
| | 01:29 | just like the ones that you'll
find over in Apple Compressor.
| | 01:32 | For right now, I want to choose
this preset labeled Apple TV 720p.
| | 01:37 | After I have chosen a format and a preset,
I can simply click on the yellow text
| | 01:41 | here for output Name, and then I can
choose a location of where I want this file
| | 01:45 | to be saved to, so I will just
choose the Desktop and click Save.
| | 01:48 | From here, all I have to do is actually
click the Export button right here, and
| | 01:52 | it will be exported as an H.264
file using this Apple TV 720p preset.
| | 01:57 | Of course, other formats have presets as well.
| | 02:00 | If we change your Format to, say, F4V
or Flash Video and then click into the
| | 02:05 | Preset menu here, you can see that
there are also a wide variety of presets.
| | 02:09 | But sometimes using
presets is a little limiting.
| | 02:13 | Sometimes you won't have a little more
control over how you are exporting files.
| | 02:17 | So you can actually
create your own export preset.
| | 02:20 | To do that, let's come back up to the
Format menu here and change your format to
| | 02:24 | this one right here, MPEG2-DVD,
and then in the Preset menu here, we can choose
| | 02:30 | a preset of course, but let's leave it
set to this one, Match Source Attributes.
| | 02:34 | By using Match Source Attributes, most
of the parameters that we will need to
| | 02:38 | adjust are actually set for us and
are based off of the source, which can
| | 02:42 | take a lot of the guess-work
out of creating your own preset.
| | 02:45 | So we will leave this set to Match
Source Attributes (High Quality).
| | 02:48 | Down here, next to output Name, let's
click on the yellow text here and choose to
| | 02:52 | save this file out to the Desktop.
| | 02:55 | Then to actually customize this preset,
let's come down to the tabs here in the
| | 02:59 | middle of the Export Settings dialog.
| | 03:01 | First, let's click on the Filters tab.
| | 03:03 | In Compressor you have a lot of
different filters that you can add to a file as
| | 03:07 | you are encoding it.
| | 03:08 | Well, in the Export Settings dialog
here, I only have one, Gaussian Blur.
| | 03:12 | Now why would you want to blur your image?
| | 03:14 | Well, by adding a slight amount of blur,
you can actually reduce noise in the image.
| | 03:18 | By reducing noise, you can
actually make the encoder more efficient.
| | 03:22 | So let me go ahead and choose add
some Gaussian Blur, and I will just add a
| | 03:25 | slight amount, say 0.25, something like that.
| | 03:28 | Here in the Multiplexer tab, you can choose
how files will be multiplexed or put together.
| | 03:32 | By multiplexing a file, you can combine
audio and video together as a single file.
| | 03:37 | I'm going to go ahead and choose None.
| | 03:39 | Here if I click over to Video,
I have a lot of controls.
| | 03:43 | First I can adjust the overall quality
of this encode, and I will drag this up to,
| | 03:46 | say, a level of 5. And down here, things
like TV Standard, Frame Width, Frame Rate
| | 03:51 | all that kind of stuff has been set
for us automatically based on the preset
| | 03:55 | that we started with.
| | 03:57 | Down here in Bitrate Settings, right
here in this menu Bitrate Encoding, we can
| | 04:00 | of course, just like in Compressor,
change our encoding from Constant Bit Rate,
| | 04:04 | Variable Bit Rate encoding.
| | 04:06 | So let me go ahead and choose Variable Bit
Rate 2 pass to get the best quality.
| | 04:11 | Then I am going to adjust the Minimum
target and Maximum Bitrate sliders here.
| | 04:14 | So we will adjust the Minimum
Bitrate up to, say, something like 6 or so.
| | 04:18 | There we go. And we will adjust the
Maximum Bitrate up to something like 8,
| | 04:23 | something like that.
| | 04:24 | Scrolling down little further, you can of
course adjust GOP, or Group Of Picture, settings.
| | 04:30 | Let's click over onto the Audio tab here.
| | 04:31 | In the Audio tab you can choose your
audio format, either Dolby Digital, or
| | 04:35 | Uncompressed or MPEG.
| | 04:37 | Let's go ahead and choose Dolby
Digital. And then down here under Bitrate
| | 04:40 | Settings, we can choose the bitrate
for encoded audio. 192 kb is fine.
| | 04:45 | And finally here on the FTP tab, I can
choose to actually automatically upload
| | 04:50 | this file to an FTP server.
| | 04:51 | But I don't need to actually do that right now.
| | 04:54 | Now we have gone ahead and adjusted some
of these settings here, but there are a
| | 04:56 | few more options to pay attention to.
| | 04:59 | First is this option right here,
Use Maximum Render Quality.
| | 05:03 | This option governs scaling.
| | 05:05 | So, for example, if you added 720p
material to a 1080 sequence, this option
| | 05:09 | would ensure the best quality scaling.
| | 05:11 | But since I didn't do that for this
sequence, I can leave this turned off.
| | 05:14 | With this option, Use Previews, we can
use existing previews, or render files that
| | 05:19 | we created on a sequence.
| | 05:21 | Generally, this is best left unchecked,
unless you've customized your sequence
| | 05:25 | to use the same codec and
quality settings as your material.
| | 05:28 | As I previously mentioned, for the most
part Premiere uses lower-quality Preview
| | 05:33 | files, and having this checked we will
use those lower-quality previews, rather
| | 05:37 | than creating high-quality ones during export.
| | 05:40 | So I am going to leave this unchecked.
| | 05:42 | And lastly this option here for Use
Frame Blending is useful to check if your
| | 05:46 | output frame rate differs from your sequence,
or your material that you have on your sequence.
| | 05:51 | But in my case, I don't need
to actually check this either,
| | 05:54 | so we will leave all three of these unchecked.
| | 05:56 | Now that I have customized this
preset, what I am going to do is come up and
| | 05:58 | click on this button right here to
save the preset. And here I can choose
| | 06:02 | to name the preset,
| | 06:04 | so we will call this MPEG 2, and then I
will label it 6-8 mbps Dolby D 192k.
| | 06:13 | And then I will click OK here. And then
in the Preset menu now, you can see that
| | 06:19 | I have that preset that I have created.
| | 06:21 | You only have to do this once.
| | 06:23 | At anytime you can come back
and use any of the presets that you
| | 06:26 | previously created.
| | 06:28 | Now I know what you're thinking.
What about other formats?
| | 06:30 | How do they compare to creating
a DVD preset like we just did?
| | 06:34 | Well, for the most part,
the methodology is the same.
| | 06:36 | You can select a preset and then
customize it, and across the various tabs here
| | 06:40 | in the Export Settings dialog,
you can choose different settings.
| | 06:44 | Now depending on the format of course,
you'll have different options on these
| | 06:48 | tabs, but regardless of the format,
the general procedure of customizing and
| | 06:52 | then saving your own present is
exactly the same. And I think you will find
| | 06:55 | this process of creating your own
presets very similar to how you can create
| | 06:59 | presets in Compressor.
| | Collapse this transcript |
| Using the Queue and Adobe Media Encoder| 00:00 | Earlier in this chapter we took a look
at the Export Settings dialog window in
| | 00:03 | Premiere Pro, and we also saw how we can
edit and create our own export presets.
| | 00:08 | And finally I showed you how you can
utilize the Adobe Media Encoder Queue from
| | 00:12 | the Export Settings dialog back in
Premiere Pro to process multiple files.
| | 00:17 | In this movie, I want to show you a
little bit more about Adobe Media Encoder as
| | 00:20 | a stand-alone tool, and I want to show
you how we can use watch folders which are
| | 00:24 | particularly handy, especially if you
become used to using droplets in Compressor
| | 00:28 | in a Final Cut Pro workflow.
So first things first.
| | 00:31 | Let's go ahead and actually
open up Adobe Media Encoder.
| | 00:34 | As I said, it's a separate
application, and I have it down here in my dock.
| | 00:37 | So, in just a second it will open up.
| | 00:40 | Just like with Compressor, you will
often need to do things like transcode files
| | 00:44 | or make compressions for assets that
aren't in Premiere Pro to begin with.
| | 00:48 | With Adobe Media Encoder, you
can make short work of those tasks.
| | 00:52 | Here in Adobe Media Encoder, the
interface is pretty simple, and it's broken down
| | 00:55 | in three main areas.
| | 00:57 | Up here is the queue where you
can add files to be processed.
| | 01:00 | Down here, you can see the Current Encode area;
| | 01:03 | this area will show you
your currently encoding file.
| | 01:06 | And then down here, you have the Watch
Folders area where you can set up a watch
| | 01:10 | folder, and we will do that in just a moment.
| | 01:11 | Now before we actually add some files
here in Adobe Media Encoder, I want to
| | 01:15 | tell you about one preference.
| | 01:16 | So if we come up here to where it says
Adobe Media Encoder CS5.5 and then
| | 01:20 | Preferences, here on the General page,
this preference right here for Start queue
| | 01:25 | automatically when idle for x
amount of minutes is pretty important.
| | 01:29 | When you have this preference selected,
Adobe Media Encoder will automatically
| | 01:33 | start encoding assets that
are in the queue for you.
| | 01:36 | While this option is great in your own
workflow, like when you forget to press
| | 01:39 | Start, for training and learning the
app, it can be a little frustrating if
| | 01:44 | things just start encoding automatically,
| | 01:45 | so let's just make sure this is
disabled, and turned off, and then press OK.
| | 01:50 | Now what I want to do is go ahead and
add a clip up here to the Queue, and one
| | 01:55 | of the ways I can do this is by
simply clicking this plus button right here
| | 01:58 | next to the word Queue.
| | 01:59 | Then what I'm going to do is navigate
back out to the Exercise_Files disk image
| | 02:03 | and then into the CH09 folder and then
into the Chapter Specific Media folder.
| | 02:08 | And right here I have a
clip that I want to work with,
| | 02:10 | this clip is called AME
clip, or Adobe Media Encoder.
| | 02:14 | So let's select that clip and then click Open.
| | 02:16 | So in just a second, the clip is added
to the Queue, and here in the Format menu,
| | 02:21 | I can choose from any number of
formats that Adobe currently supports.
| | 02:25 | Now this list changes from time to
time as Adobe supports more formats.
| | 02:29 | Let's go ahead and choose F4V.
| | 02:32 | Here in the Preset menu, if I click
on this, I can choose from a lot of
| | 02:36 | different presets, either ones that
Adobe created or if I had created my own
| | 02:40 | custom preset for this format,
I could see it here as well.
| | 02:43 | But we will just choose this one right here,
| | 02:45 | Match Source Attributes (High Quality).
| | 02:47 | Then finally here, if I click on this
yellow text, I can actually choose a
| | 02:51 | location to save this file to.
| | 02:54 | So I'm going to choose save it to my
Desktop, and we will just call this AME
| | 02:58 | clip_FLASH, and click Save.
| | 03:02 | From here, to actually start encoding
this file, all I need to do is actually
| | 03:06 | come up and click this button right here,
this little button that looks like a
| | 03:09 | play button, to start the queue.
| | 03:11 | Let me go ahead and click that.
| | 03:13 | And when I click that, down here in the
Current Encode section you can see the
| | 03:17 | processing has began, and the clip has encoded.
| | 03:20 | It was pretty quick, and I do find
Adobe Media Encoder to be really quick,
| | 03:23 | especially because it's a 64-bit application.
| | 03:26 | All right, back up here in the queue,
let's select this clip and remove it from
| | 03:30 | the queue. And you will get this warning
message saying, "Are you sure you want to
| | 03:33 | remove the selected items?"
| | 03:34 | Yeah, I am sure, so let
me go ahead and click Yes.
| | 03:37 | All right, let's go ahead and click the
plus button here again and navigate back to
| | 03:42 | the Exercise_Files Disk Image and then
down to CH09, and what I want to go ahead
| | 03:47 | and do is select this file right here--
| | 03:49 | let me expand this out just a touch--
this Premiere Pro project file labeled
| | 03:54 | 09_03_WatchFoldersandAME.
| | 03:58 | This is a really cool thing
about Adobe Media Encoder, compared to
| | 04:01 | Apple Compressor, in that you can actually
process project files to make compressions.
| | 04:07 | So let's say you have a project that you
know has a sequence that you need to export.
| | 04:11 | Well, instead of having to open up
Premiere Pro, select that sequence, choose
| | 04:15 | Export Media, and so on, you can simply add
it to the queue here in Adobe Media Encoder.
| | 04:19 | So I'm going to select this
project file and then click Open.
| | 04:23 | In just a second, I will get the
Import Premiere Pro Sequence dialog box, and
| | 04:27 | what's happening right now is that
Adobe Media Encoder is parsing this file
| | 04:31 | looking for sequences.
| | 04:33 | And from here, what I can do is simply
select a sequence that I want to encode.
| | 04:37 | So I'm going to go ahead and select this
sequence called Main Sequence and then click OK.
| | 04:42 | And just like a regular clip, we can
choose a format and a preset for that
| | 04:46 | format, and we can also
choose an output location.
| | 04:49 | Now, the one thing that's pretty cool
about both sequences as well as adding
| | 04:53 | clips to the queue, if you click on
this yellow text here for Format or Preset--
| | 04:57 | click on it for Format--a new window
opens up. And guess what? This is the same
| | 05:02 | Export Settings dialog that we saw
earlier in this chapter. And from here of
| | 05:07 | course, you can tweak a preset or create
a new preset, but the point is, it's the
| | 05:12 | exact same Export Settings dialog
that we saw back in Premiere Pro.
| | 05:16 | All right, let me go ahead and click Cancel.
| | 05:18 | I am not actually going to encode the sequence;
| | 05:20 | I just wanted to show you that we can
actually add a Premiere Pro project file
| | 05:24 | and then select a sequence from the project.
| | 05:27 | Now this functionality also
works with Adobe After Effects files.
| | 05:30 | You can add an Adobe After Effects file
and then choose a composition from that
| | 05:35 | project file that you want to encode.
| | 05:37 | Okay, so let me select this project and
click the minus button here to remove it
| | 05:41 | from the project, and I
will click Yes once again.
| | 05:44 | The last thing I want to talk
about is this idea of watch folders.
| | 05:47 | I have become a big fan over the years
of using droplets in Apple Compressor. and
| | 05:51 | they're a very elegant way to do
common encoding task without having to deal
| | 05:55 | with the pain of choosing a format and so on.
| | 05:57 | Say, for example, a client
hands you a folder of music as MP3s.
| | 06:01 | While those MP3s will play back in
Premiere Pro, you can lighten the processing
| | 06:05 | load by converting them to,
say, uncompressed WAV files.
| | 06:09 | Well, this process is made super
easy by creating a watch folder.
| | 06:13 | Just note: you can do this for any
format, not just for converting audio files.
| | 06:17 | So what I'm going to do is come
down here to the Watch Folders area and
| | 06:21 | click this plus button.
| | 06:22 | Then what I am going to do is navigate
to the Desktop, and let's create a new
| | 06:26 | folder and call it Audio Watch Folder.
And then we'll click Create, and then
| | 06:32 | we will click Choose.
| | 06:34 | Back here in the Watch Folders area
of Adobe Media Encoder, we can choose a
| | 06:38 | format for files that are going to
be placed into this watch folder.
| | 06:41 | So let's go ahead and choose Waveform
audio file and in the Preset folder, I am
| | 06:46 | going to go ahead and choose the only
option that I have available, Windows
| | 06:49 | Waveform 48 kHz 16-bit.
| | 06:52 | You can leave the output to where it
is. As we'll see a second, Adobe Media
| | 06:56 | Encoder is smart and will organize
this folder after encoding the files.
| | 07:00 | Let me go ahead and minimize
Adobe Media Encoder for one second.
| | 07:04 | Then what I am going to do is come
back to the Exercise_Files disk image, and
| | 07:09 | then into the CH09 folder, and then
into the Chapter Specific Media folder, and
| | 07:15 | here I have a couple MP3s that I
want to re-encode as WAV files.
| | 07:19 | What I'm going to do is simply drag them
into this Audio Watch Folder, so I'm going to
| | 07:23 | go ahead and do that. And back here in
Adobe Media Encoder, in just one second
| | 07:30 | you can see that the encoding started
automatically, and this is pretty cool.
| | 07:34 | Because Adobe was aware of this audio watch
folder, when a file hit that folder, wham!
| | 07:40 | They started encoding to the
format and the preset of our choice.
| | 07:44 | So we will let this last one finish.
| | 07:45 | All right, the last thing I want to
do is come out here to the Audio Watch
| | 07:49 | Folder itself and double-click on it
to open it up. And you will notice that
| | 07:52 | Adobe Media Encoder was pretty smart.
| | 07:54 | It actually created two new folders in here:
| | 07:56 | one, our Source folder, which is our
actual MP3 files that we added, and then
| | 08:02 | another folder right here called Output, which
contains the new WAV files that we created.
| | 08:08 | So that's a little bit more about
Adobe Media Encoder and as you saw, we could
| | 08:11 | add individual files, but we could also
add project files to be encoded inside
| | 08:15 | of Adobe Media Encoder.
| | 08:17 | We also saw how we could use watch
folders, and watch folders are particularly
| | 08:21 | handy when you automatically want to
encode something to a format and to a
| | 08:25 | preset of your choice.
| | 08:27 | If you're used to using Compressor
to support Final Cut Pro, I think that
| | 08:31 | you'll find Adobe Media Encoder
equally up to the task of supporting Adobe
| | 08:35 | Premiere Pro.
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| Moving and archiving projects| 00:00 | No doubt you've used the Media
Manager here in Final Cut Pro before.
| | 00:03 | This tool allows you to move, copy,
trim, and create offline files for re-ingest
| | 00:07 | quickly and easily, directly from Final Cut Pro.
| | 00:10 | Probably for most of you watching
this title, the Media Manager has become an
| | 00:12 | integral part of your workflow, to move
projects to another system or to copy
| | 00:16 | them for another user or as
part of an offline-online workflow.
| | 00:19 | Well, almost all of the options we've
here in the Media Manager in Final Cut Pro
| | 00:23 | we have in a tool called the
Project Manager in Premiere Pro.
| | 00:26 | Let's switch over to Premiere and take a look.
| | 00:29 | Now before I begin, if you following
along with the exercise files, I do need to
| | 00:32 | point out one big issue.
| | 00:33 | The Project Manager doesn't, as of
right now, work properly for trimming
| | 00:37 | MPEG-based media, or variants of MPEG-
based media like HDV, H.264, or others.
| | 00:42 | I've been told this is because of the
frame structure of those formats, and I
| | 00:46 | would imagine in the future Adobe will
have a workaround or an answer, but for right
| | 00:49 | now you need to be aware of that limitation.
| | 00:51 | So for this movie all of the media
here on this sequence is actually Apple
| | 00:54 | ProRes proxy. And to have this media
play back, you will need to have Final Cut
| | 00:58 | Studio and the ProRes codecs installed
on the same system that you're running
| | 01:01 | Premium Pro from, which since if you're
watching a movie on migrating from Final
| | 01:04 | Cut Pro 7 to Premium Pro, I'm assuming you do.
| | 01:08 | Also, all of this media lives in the
chapter specific media folder for chapter 9.
| | 01:13 | Let's go ahead and select this sequence
here by clicking on the Sequence panel
| | 01:16 | and then come out to the Project menu
and then down to this option right here,
| | 01:19 | labeled Project Manager.
| | 01:20 | In just a second the Project
Manager dialog opens up, and you can see at
| | 01:24 | first glance it's pretty similar to
the Media Manager in Final Cut Pro.
| | 01:28 | Here at the top, you'll see the
sequences you are going to be processing.
| | 01:31 | You'll notice that I only have one,
since there's only one in this project.
| | 01:35 | If you had more, you'd be able to see them
here and select which ones you want to process.
| | 01:39 | Down here in the Resulting Project
section you've two options: Create New
| | 01:43 | Trimmed Project or Collect
Files and Copy to New Location.
| | 01:46 | The first option of Create New Trimmed
Project is a great way to trim the fat on
| | 01:51 | a project, or for hand-off to another user.
| | 01:53 | So let's go ahead and choose this option.
| | 01:55 | Down below here we have a
couple of different options.
| | 01:57 | First, I can choose to exclude unused clips,
which is usually a good choice to have selected.
| | 02:03 | You can also choose, with the Make
Offline option here, to make media offline,
| | 02:07 | which is great for offline-online workflows.
| | 02:10 | Down here in the Options section, you
can choose to add handles to your footage,
| | 02:14 | just like you can in Final Cut Pro.
| | 02:16 | Also just like in Final Cut Pro, you can
choose to rename media files to match clip names,
| | 02:21 | meaning you can choose to rename the
actual media files to match the name of
| | 02:24 | the clip over here in the Project panel.
| | 02:27 | Next, you need to choose the destination
for this new project and the resulting media,
| | 02:31 | so let's do that by clicking this
Browse button here and then navigating out to
| | 02:34 | the Desktop, and I'll Choose.
| | 02:36 | Finally, down here in the Disk Space
section, you can see how much disk space
| | 02:40 | you've available and what the
original versus resulting project size is.
| | 02:45 | Clicking this Calculate button here
will update the size calculation based
| | 02:48 | on your options above.
| | 02:50 | So, for example, if I changed the
amount of handles that I wanted to 15 frames,
| | 02:54 | and then I came down here and clicked
Calculate, you can see that the Resulting
| | 02:58 | Project Size is a little bigger.
| | 03:00 | Let's go ahead and process
this sequence by clicking OK here.
| | 03:03 | Now you might be prompted to save the
project, like I am right here, and you can
| | 03:06 | just click Yes to continue.
| | 03:08 | Then you can see Premiere Pro
actually processing this project.
| | 03:13 | When it's done the Project Manager
will close, but let's go out to the Finder
| | 03:16 | level here and then out to our
Desktop, and here you can see a folder called
| | 03:21 | Trimmed_09-04ProjectManager.
| | 03:24 | This is our trimmed project.
| | 03:26 | Let's go ahead and open this up.
| | 03:27 | Inside of this, we can actually see all of the
trimmed media, as well as a new project file.
| | 03:33 | Now one thing that drives me crazy
about this process is that the project file
| | 03:36 | is actually named the exact same thing as
the original. And I don't really like this,
| | 03:41 | so what I usually do is come into
the trimmed project and just click and do
| | 03:45 | something like _trimmed, so I can
differentiate this project from the original project.
| | 03:51 | Let's go back into Premiere Pro.
Once again let's go ahead and select the
| | 03:54 | sequence and then come back up to
Project and then Project Manager.
| | 03:58 | This time in the Resulting Project
section, let's go ahead and choose this other
| | 04:01 | option right here, Collect
Files and Copy to New Location.
| | 04:05 | The thing that's kind of confusing,
when you create a new trimmed project, you
| | 04:08 | can of course save it to a new location.
| | 04:11 | But the primary difference between
these two options is that with Collect
| | 04:14 | Files and Copy to New Location, you are
doing a straight copy without trimming anything.
| | 04:19 | So I'll choose this option here,
and then down below I can also choose of
| | 04:22 | course to exclude unused clips, but notice
that the option for Make Offline is grayed out.
| | 04:28 | Also, down here in the Option section you'll
notice that I can't actually add any handles.
| | 04:32 | That's because we are not
actually doing any trimming;
| | 04:34 | we are copying the media wholesale.
| | 04:36 | Now because I chose this option Collect
Files and Copy to New Location, I do have
| | 04:39 | two more options: Include Preview
Files and Include Audio Conform Files.
| | 04:43 | You don't have to include these as you
can always render the previews and the
| | 04:47 | conform files will automatically be
regenerated. But in a big project, this
| | 04:51 | can take some time,
| | 04:52 | so it's often a good choice to include them.
| | 04:55 | Just keep in mind, though, that
included them will make for a bigger copy.
| | 04:58 | I've actually already gone ahead and
previously rendered the work area for this sequence,
| | 05:02 | so I am going to go ahead
and choose to bring them along.
| | 05:04 | Just note if you're following along
with the exercise files and you want to bring
| | 05:07 | this files along, you'll first need to
render the work area before bringing the
| | 05:11 | previews along in this copy operation.
| | 05:14 | Let's come back down here to the
Project Destination section and click Browse,
| | 05:17 | and once again we'll choose the
Desktop, and then let's go ahead and click OK.
| | 05:22 | Once again, the Project Manager or
Premium Pro will process the sequence.
| | 05:25 | When it's done, it closes, and let's
come back out here to the Finder level. And
| | 05:30 | here at you can see a new folder called
Copied and the same name of the project.
| | 05:35 | Inside of that is all my copied media,
but here you'll actually see a folder
| | 05:39 | called Adobe Premiere Pro Preview Files.
| | 05:41 | These are our preview files that were
generated when we rendered the work area.
| | 05:45 | Just like before, the new project file
defaults to the same name as the original project.
| | 05:50 | So I'd just like to change this name
real quick and just call this Copied.
| | 05:55 | So there you have it, a little bit more
about media management in Premiere Pro by
| | 05:58 | using the Project Manager.
| | 05:59 | I think you can see that this
process is very similar to Final Cut Pro.
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ConclusionAdditional resources| 00:00 | Well, we are at the end of this title,
and I hope you've had fun learning more
| | 00:03 | about Adobe Premiere Pro, and that
you'll continue to learn more about this
| | 00:07 | powerful tool, but also about how it
integrates nicely with other applications
| | 00:11 | in the Adobe Creative Suite.
| | 00:13 | To help you in the pursuit of learning
more about Premiere Pro and the rest of
| | 00:16 | the Creative Suite, I thought I'd give
you some additional resources that can
| | 00:19 | help you in your explorations.
| | 00:22 | The first is the Adobe Help, and that's
available inside of Premiere Pro by going
| | 00:26 | up to the Help menu and then
choosing Adobe Premiere Pro Help.
| | 00:29 | Clicking on this option will launch
the Adobe Help application, where you can
| | 00:33 | search the documentation.
| | 00:35 | But the really cool thing about this
application is that the help is also
| | 00:37 | populated with the articles, blogs,
and videos that Adobe thinks are useful,
| | 00:42 | so be sure to check it out.
| | 00:44 | Back here in Premiere Pro if I come
back up to the Help menu, there's also an
| | 00:47 | option for Adobe Premiere Pro Support Center.
| | 00:50 | Clicking on this will bring you back to
the Adobe Help application, but switch
| | 00:54 | you to the Support Center page.
| | 00:56 | Here you can find out more info about
text packs, installation issues, and even
| | 01:00 | some basic tutorials on getting started.
| | 01:02 | Of course no application is perfect,
and Adobe actively encourages feedback.
| | 01:08 | So once again back in the Help menu
here in Premiere Pro there is an option for
| | 01:12 | the Adobe Product Improvement Program.
| | 01:14 | If you click on this, a window will
pop up allowing you to participate in
| | 01:19 | product improvement.
| | 01:20 | You then can click through the various
pages here and give Adobe feedback about
| | 01:24 | Premiere and other Adobe products.
| | 01:26 | If you're thinking, are they really listening?
| | 01:28 | Well, yes, they are.
| | 01:30 | Adobe takes product feedback very
seriously. I've actually seen request that
| | 01:34 | I've made make their way into future releases.
| | 01:37 | Also, don't forget, on the lynda.com
Online Trading Library there are some
| | 01:41 | amazing titles available.
| | 01:43 | Be sure to check out Chad Perkins' excellent
Premiere Pro CS5 Essential Training title.
| | 01:47 | 99% of the content in that course is
germane to CS5.5, and then after watching
| | 01:53 | that title, you can then get up to speed
with a new features in CS5.5 with David
| | 01:57 | Basulto's Premiere Pro CS5.5 New Feature Style.
| | 02:01 | Of course, lynda.com also has tons of
training courses on other apps in the
| | 02:05 | Creative Suite, such as After
Effects, Photoshop, and so on.
| | 02:09 | Now for a shameless plug. Be sure to
check out my new book written with fellow
| | 02:12 | lynda.com authors Rich Harrington and
Jeff Greenberg called An Editor's Guide
| | 02:16 | to Adobe Premiere Pro.
| | 02:17 | You can find the book on Amazon and
directly from the publisher Peachpit press.
| | 02:21 | Finally, if you're on Facebook, be
sure to join the Moving to Adobe Premiere
| | 02:25 | group, started by my co-author Rich Harrington.
| | 02:27 | This group is really thriving, and there
are lots of really top-notch editors and
| | 02:31 | technically-oriented people
visiting every single day and sharing their
| | 02:35 | experiences with Adobe Premiere Pro.
| | 02:37 | I've had a lot of fun in this title,
| | 02:39 | so thanks again for joining me for
lynda.com's Migrating from Final Cut Pro 7 to
| | 02:43 | Adobe Premiere Pro CS5.5.
| | 02:44 | I am Robbie Carman.
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