IntroductionWelcome| 00:05 | Hi! I am David Basulto.
| | 00:06 | Welcome to Premiere Pro CS5.5 New Features.
| | 00:09 | In this course, we'll start by
looking at the changes and additions Adobe
| | 00:13 | has made to the preproduction workflow,
including the improved control over red footage.
| | 00:19 | We'll explore new editing tools like
setting and adjusting keyframes for the
| | 00:24 | Video Flex directly in the Timeline,
and the new integration with Adobe
| | 00:28 | Audition which lets you easily send a
sequence from Premiere to Audition and
| | 00:33 | then back into Premiere.
| | 00:35 | Finally, we'll see improved Export
and delivery options, including the
| | 00:39 | redesigned Media Encoder and
support for closed captioning.
| | 00:44 | The new features of Premiere Pro should
give you some nice tools for improving
| | 00:48 | and speeding up your workflow.
| | 00:50 | This course will give you what you need
to put these new features to work quickly.
| | 00:54 | Now let's get started with Adobe
Premiere Pro CS5.5 New Features.
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| Using the exercise files| 00:01 | If you are a premium member of the
lynda.com Online Training Library or if
| | 00:05 | you're watching this tutorial on a DVD-ROM,
you have access to the exercise
| | 00:10 | files used throughout this title.
| | 00:12 | I've downloaded the
Exercise Files to my Desktop.
| | 00:15 | Simply click on them, inside of the
chapters, our Premiere Pro project files,
| | 00:20 | and in some chapters there are extra
files such as the Travel_Podcast.scc file
| | 00:26 | which is a closed captioning file.
| | 00:28 | We also have the Video Assets files,
which contain the files that are referenced
| | 00:32 | by the Premiere Pro projects.
| | 00:34 | If you are a monthly subscriber or
annual subscriber to lynda.com, you don't
| | 00:38 | have access to the exercise files,
but you can follow along from scratch
| | 00:42 | with your own assets. Ready?
| | 00:43 | Let's get started!
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1. Setup and PreproductionPicking the right keyboard layout| 00:01 | Using another nonlinear editors
keyboard shortcuts for years can really make
| | 00:05 | someone unhappy when asked to use a
new product where they're all different.
| | 00:09 | Luckily for Final Cut Pro and Avid users,
Premiere Pro CS5.5 has presets for both.
| | 00:14 | Now on a Mac, choose
Premiere Pro>Keyboard Shortcuts.
| | 00:19 | Alternatively on a PC, choose Edit and
Keyboard Shortcuts, and this will open up
| | 00:24 | the Keyboard Shortcuts dialog.
| | 00:26 | Now from the dropdown, you can see
they already have presets for Avid Media
| | 00:30 | Composer 5 and Final Cut Pro 7.0.
| | 00:32 | So let's choose Avid Media Composer 5.
| | 00:36 | A longtime Avid user can now see all
the shortcuts that they're used to.
| | 00:41 | But let's just say for example, you
wanted to change the Go to Next Edit Point,
| | 00:47 | choose Edit, and then let's choose Shift+5.
| | 00:52 | As you can see now, I've changed it to
Shift+5, and that will get me to go to
| | 00:56 | my Next Edit Point.
| | 00:58 | Now we're going to Save As My New
Avid Layout, and we'll choose Save, and
| | 01:07 | we've saved a Preset now.
| | 01:10 | As you can see this dropdown menu, here
it is, My New Avid Layout, and one thing
| | 01:15 | to remember before you click OK,
this New Avid Layout is going to be your
| | 01:19 | default layout for your
Keyboard Shortcuts from here on out.
| | 01:22 | If you want to go back to Premiere Pro
CS5.5 or Final Cut Pro 7.0 or even the
| | 01:28 | Avid Media Composer 5 layout, you
must go back in and change that here, and
| | 01:33 | we're going to click OK.
| | 01:35 | Avid and Final Cut Pro users can easily
switch to their own Keyboard Shortcuts
| | 01:39 | in Premiere Pro CS5.5.
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| Expanded RED workflow| 00:01 | Adobe continuously pushes the bar by adding
new native format ability in Premiere Pro.
| | 00:06 | With the growing popularity of
Canon's new XF camera, CS5.5 will now import
| | 00:12 | those file formats natively.
| | 00:13 | Just import them into the
Source Monitor and start cutting.
| | 00:17 | In addition to XF, Adobe has
redesigned its RED R3D Source Settings, change
| | 00:23 | White Balance, Color Correct,
and even change the ISO all nondestructively.
| | 00:28 | So let's look at my Sequence here.
| | 00:30 | I have RED footage here.
| | 00:33 | I also have my RED footage in my Project panel.
| | 00:36 | Now I can have this same RED clip in
a thousand sequences, doesn't matter.
| | 00:42 | If I go into my Project panel,
right-click, and choose Source Settings, it'll
| | 00:47 | bring up the RED R3D Source Settings dialog box.
| | 00:50 | Now in here you can change a plethora
of things from White Auto Balance, you
| | 00:56 | can change the Kelvin.
| | 00:59 | So if I just choose Auto Balance and
then choose my water here, it's going to
| | 01:03 | bring up the White Balance.
| | 01:04 | Now let's say I want to bring the
Exposure down for some reason to make it
| | 01:08 | darker, and then maybe my shadows a little bit.
| | 01:11 | I'm trying to do a night
shot here from some day footage.
| | 01:15 | That was actually underexposed.
| | 01:16 | Maybe I'll bring the
Gains down just a little bit.
| | 01:20 | And before I do anything, I'm going
to go to the top here and go to Save as
| | 01:25 | Preset, and we're going
to call this day_for_night.
| | 01:29 | Click OK, and then I click OK here.
| | 01:33 | Now this automatically updates in the
Timeline my RED footage and any other
| | 01:38 | sequences that contain this clip.
| | 01:40 | Now let's say that my producer
absolutely hates what I did and says I want just
| | 01:45 | to go back to square one.
| | 01:46 | So I can go back into my clip,
right-click once again, choose Source Settings,
| | 01:52 | instead of my Preset day_for_
night, I can go and do As Shot.
| | 01:58 | Now one thing I might want to do before
I'm gone is change my ISO, because I do
| | 02:04 | believe this is a little under exposed.
| | 02:05 | So let's choose 640 and click OK and
it automatically updates once again.
| | 02:13 | The ability to nondestructively change
the Source Settings and RED R3D files
| | 02:18 | will allow you the editor to make
some fantastic creative decisions when
| | 02:22 | working with RED.
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2. Enhanced Editing WorkflowsSetting up a custom sequence and a sequence from a clip| 00:01 | Adobe has made it even easier than
ever to create custom sequence settings in
| | 00:04 | Premiere Pro CS5.5, but wait, what if
you don't know what the setting should be?
| | 00:09 | Well they have recovered there
too, let's take a look inside.
| | 00:12 | In Premiere Pro let's choose File>New>
Sequence, you can also go, click on the
| | 00:18 | New Item icon located right here.
| | 00:21 | In the New Sequence box, let's
choose Settings, in the Editing mode let's
| | 00:25 | dropdown and choose Custom.
| | 00:27 | Now I can change my timeframes, let's
say 24 frames/second, let's say I want to
| | 00:34 | do 720x480, Square Pixels, in my
Fields I don't want anything, I am going to do
| | 00:42 | Progressive, my Audio sample I'm going
to change it to 44100, and I'm going to
| | 00:48 | go here and choose Save Preset, I'm
going to call this My_Preset and I'm going
| | 00:56 | to do a description of 'for new
job' for example and click OK.
| | 01:04 | Now in my Sequence Presets there will
be a Custom folder with my preset in it,
| | 01:10 | and it says 'for new job' I click OK,
I have a new sequence ready to go.
| | 01:16 | One huge time saver is the new sequence
from clip-ability in Premiere Pro CS5.5,
| | 01:20 | I can go directly to a new clip, right-click
and choose New Sequence from Clip.
| | 01:29 | The new sequence now has 960x540 and
if I go back to my footage its 960x540.
| | 01:38 | A new sequence with the exact
specifications from the footage is now created.
| | 01:42 | With the ability to make presets and
right-click to create a new sequence from
| | 01:46 | that particular file Adobe gets you
editing quicker and time is money, right?
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| Unlinking audio and video in multiple clips| 00:01 | Another new feature in Premiere Pro CS5.5
is the ability to unlink audio from video.
| | 00:07 | Prior to CS5.5 I would have to go
in and select each clip individually,
| | 00:13 | right-click and choose Unlink.
| | 00:15 | This would unlink that particular
clip's audio from the video, but with CS5.5 I
| | 00:22 | can select multiple clips.
| | 00:24 | Right-click, choose Unlink, and now
both the video and the audio are separate.
| | 00:30 | For example, I want to go in and choose
all my audio, may be I want to put some
| | 00:35 | music there or something, I can just
choose it all, right-click and choose Clear
| | 00:40 | and we are good to go.
| | 00:42 | The new Unlink feature in Adobe
Premiere Pro CS5.5 is just another way Adobe is
| | 00:48 | helping editors work more efficiently.
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| Working with keyframes directly in the Timeline| 00:01 | One of the coolest and most useful new
features in Premiere Pro CS5.5 is the
| | 00:05 | ability to do keyframes directly on your clips.
| | 00:09 | So I added a clip and the old way of
working I would go up to Effects Controls,
| | 00:15 | and let's say I wanted to change the
scale so I'd choose Motion, then I'd set a
| | 00:19 | keyframe for scale at a 100, go ahead a
few frames, and let's say I change this
| | 00:27 | to 150, and if I will play
my clip now it scales up.
| | 00:35 | Simple, but that was painful.
| | 00:37 | Now I can go directly onto my clip,
right-click and choose Show Clip Keyframes,
| | 00:43 | I can choose Motion and then Scale.
| | 00:46 | If I press the P or choose the Pen tool
in the toolbox, I can continuously add
| | 00:54 | keyframes and change their amount,
and there you go, scaling in and out,
| | 01:03 | pretty cool, right?
| | 01:06 | Now let's say I wanted to add a
video effect and I want to add a blur.
| | 01:09 | I'll add Gaussian Blur, drag it
onto my clip, right-click, Show Clip
| | 01:16 | Keyframes>Gaussian Blur>Blurriness.
| | 01:19 | So now if I add a keyframe here and I
go ahead a few frames, and drag it up.
| | 01:28 | As you can see I'm at 23,076 on a level
of blurriness, if I press the Play key
| | 01:35 | from here, it's going to go to black.
| | 01:40 | So although this is really a
cool feature, you've really got to
| | 01:43 | fine-tune yourself to use it.
| | 01:45 | What I like to do drag my video file
so I can have more real estate here, and
| | 01:51 | let's get rid of this keyframe, so
I'm going to right-click and delete.
| | 01:56 | And if I hold the Option key on the Mac
or the Ctrl key on the PC and drag, my
| | 02:04 | values will drag at small increments,
and there you see I've got 15, 16, 17, if
| | 02:08 | I let go play my Timeline,
the blur is still there.
| | 02:16 | Now if I right-click on my keyframes I
can change it from Linear to Bezier, Auto
| | 02:24 | Bezier, I can do a Hold
keyframe and Ease In and Out.
| | 02:28 | As you can see being able to keyframe
in the Timeline is a tremendously useful
| | 02:32 | new feature in Premiere Pro CS5.5.
| | 02:33 | It will save you a lot of time
and it's much more intuitive.
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| Creating a merged clip | 00:01 | For years high-end film production
has been capturing dual system sound
| | 00:04 | for their projects.
| | 00:06 | With the ability to shoot amazing
footage using DSLR and RED cameras more and
| | 00:10 | more shooters are adding dual
system sound to their workflows.
| | 00:14 | But what is dual system sound?
| | 00:16 | Well, being the shooter of the Canon
7D myself, I often find the audio that I
| | 00:21 | get from it is really poor quality.
| | 00:23 | So I use a Zoom Recorder to
record just the audio separately.
| | 00:27 | It's kind of like the old days where
they were using the film production cameras
| | 00:31 | and had a boom mic captured into an audio deck.
| | 00:35 | Since both DSLR and RED cameras don't
capture sound that great, this is a huge necessity.
| | 00:40 | Adobe Premiere Pro CS5 realizes this
and allows you to sync these tracks and
| | 00:45 | create one merged track with all the metadata.
| | 00:49 | So if you look at the Timeline I
created I've got A-roll PlanA_07 which is a
| | 00:55 | 7D movie that we shot.
| | 00:58 | Underneath it is cyclist_interview.aiff,
which is my separate audio track that I
| | 01:04 | recorded using the Zoom Recorder.
| | 01:06 | I can also include up to 16 audio tracks.
| | 01:09 | Now if I highlight them all,
right-click and choose Merge Clips.
| | 01:16 | I can rename it here;
| | 01:17 | I'm just going to call this Merged.
| | 01:19 | Since we only have this one, this
creates a new file for me containing the audio
| | 01:26 | and the video, and if I go create a new
sequence from it, as you can see I have
| | 01:34 | my video file and four
audio files all in one clip.
| | 01:38 | Using external audio devices is
essential to DSLR and RED shooters wanting to
| | 01:43 | capture great audio.
| | 01:44 | Syncing them and merging them into
a single clip makes your workflow
| | 01:48 | much smoother.
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| Sending a sequence to Audition for audio sweetening| 00:00 | For the first time Adobe's audio tool
Audition is now available on the Mac and
| | 00:05 | PC, and is included in production premium.
| | 00:08 | With the release of CS5.5 Premiere Pro
users can now send audio-tracks directly
| | 00:14 | from Premiere Pro into Audition to
address audio sweetening and editing.
| | 00:19 | So in Premiere Pro I've got three clips
on my Timeline, the old way to work in
| | 00:23 | Premier was clicking on an audio file,
and send it over to Adobe Soundbooth for
| | 00:28 | render and replacing.
| | 00:29 | Well we no longer have to do that,
instead of sending just one file you can send
| | 00:34 | your entire sequence.
| | 00:36 | Go up to Edit>Edit in Adobe
Audition and press Sequence.
| | 00:42 | This will bring up the Edit in Adobe
Audition dialog box, you can select your
| | 00:46 | work area or entire sequence, set
handles, export a preview video, render audio
| | 00:53 | clip effects, you can send the
metadata, and it's going to open up in Adobe
| | 00:58 | Audition, let's click OK.
| | 01:03 | So here we are in Adobe Audition, as
you can see we have all of our tracks,
| | 01:07 | including a rendered video, but when I go
over and scroll I don't see the video, why?
| | 01:13 | As you can see the Workspace is set to
Default, but if you down-arrow and click
| | 01:17 | Edit Audio to Video, you'll
see a rendered video file.
| | 01:23 | And if I drag, you can see it's
totally synced with the audio.
| | 01:27 | Now I might want to go into the Presets
of the Clip Effects and choose something
| | 01:31 | like an equalizer and add that, and when
I'm done doing my editing I can go into
| | 01:36 | Multitrack>Export to Adobe Premiere
Pro, this brings up the Export to Adobe
| | 01:42 | Premiere Pro dialog box.
| | 01:44 | I can set the Sample Rate, I can
export them as stems, I can do mixdowns to
| | 01:50 | Mono, Stereo, or 5.1, and the best part
as I can set Open in Adobe Premiere Pro,
| | 01:56 | so let's leave that checked.
| | 01:58 | I click Export, now this dialog box
opens where I'm asked if I want to copy my
| | 02:05 | Adobe Audition tracks.
| | 02:06 | I want to copy it to my Active Sequence,
I'm going to click OK, and here's my
| | 02:13 | new audio file called Audio 1.
| | 02:16 | Audition also imports them into the
assets folders, so by, including audition
| | 02:21 | to your editing workflow Adobe hands
you some awesome audio tools to make your
| | 02:25 | project a success.
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3. Review and DeliveryCollaborating with others using CS Review | 00:01 | In Adobe Premiere Pro CS5 we
were introduced to CS Review, a
| | 00:04 | powerful collaboration tool.
| | 00:08 | CS5.5 takes it a step further, we have
new export settings to quickly encode
| | 00:12 | sequences or clips, and now we can make
editing choices right in the Timeline.
| | 00:17 | So as you can see down in my sequence,
I have a sequence called CS Review,
| | 00:20 | I've got three clips;
| | 00:21 | we'll just play a couple of seconds.
| | 00:23 | (video playing)
| | 00:28 | And we'll scroll ahead;
| | 00:29 | I need to send this sequence
over to my producer for review.
| | 00:32 | I go up to the right-hand corner,
choose CS Live, I'll open up the CS Live
| | 00:37 | dialog box, it says, Hello David,
but if you are not signed in you're going to
| | 00:42 | need to Sign In right here.
| | 00:43 | You'll need a free account, so will the
person that is doing the reviewing, but
| | 00:47 | that's not a big deal.
| | 00:49 | Go down to the CS Review tab and
we're going to click on Create New Review.
| | 00:55 | This opens up the new CS Review
dialog box, and I'm going to create a new
| | 01:01 | review, I'm going to call this CS Review_001.
| | 01:03 | It's going to save up to my workspace
which is on the Adobe cloud, and I want to
| | 01:09 | definitely add my active sequence
to the review, I'm going to click OK.
| | 01:13 | Now this opens the CS Review Export
Settings dialog box, where I have the choice
| | 01:21 | to change from Source Range of Work
Area, I can go into Entire Sequence, or I
| | 01:26 | can make a Custom range, we're
going to stick with the Work Area.
| | 01:30 | We also want to export the audio.
| | 01:32 | In the Preset Area we have choices
from Low to High, 1 megabits/second up to
| | 01:37 | 2 Megabits/second, we're going to
stick with 1 and keep the file size low,
| | 01:41 | and we'll click Export.
| | 01:44 | And it's going to Encode and then
send our review up to the Adobe cloud.
| | 01:51 | Now this is complete right here, I can see I
have a link that I can click on and see my review.
| | 01:56 | So I'll click on that, which will open up a
Browser at Acrobat.com, and here is my project.
| | 02:08 | So right-away I can play, I can
forward, but I need to have my producer to
| | 02:14 | take a look at that.
| | 02:15 | So I'm going to go down here, click on
Share File>Share it with individuals,
| | 02:18 | I'll type-in his email, I am going to
ask him, Please take a look at this, and
| | 02:27 | I'm going to click Share.
| | 02:29 | Before I do that I also have an
opportunity to make them a co-author or a reviewer.
| | 02:34 | Co-author has more editing features,
we're going to keep him as a Reviewer,
| | 02:40 | and we'll click Share.
| | 02:41 | As you can see I sent him a file and
it's telling me that he's now viewing the
| | 02:44 | review, so let's wait for his comments.
| | 02:48 | Additionally, I can go right
here and add my own comments.
| | 02:52 | So let's say right here I might
write Cool sunglasses, and click Save.
| | 02:59 | I now have a comment called Cool
sunglasses at 11:17 in the time-code, here's
| | 03:07 | one for my producer about
some noise in the audio.
| | 03:10 | If I click the Jump To button right
here I see that it takes me to the exact
| | 03:15 | spot of where the audio problem is.
| | 03:18 | I can also reply back to him,
'We will fix this', and click Save.
| | 03:28 | And here's another nice dissolve down here, if
I click Jump To, it takes me to the dissolve.
| | 03:34 | So with all the reviews done,
I'm ready to do my fixes.
| | 03:37 | I can export this as a PDF file.
| | 03:40 | Now I don't want to go to my
Workspace right now on the Adobe cloud, I just
| | 03:43 | want to save it onto my Desktop, so
I'm going to click My computer and we're
| | 03:48 | just going to export it.
| | 03:49 | I am going this same file name,
save it to my Desktop and click OK.
| | 03:55 | The PDF is now exported, I'm going to
click OK, and I'm going to minimize my
| | 04:00 | Browser and the Premier Pro.
| | 04:02 | Here on the Desktop is my review, let me
double-click on the PDF, as you can see
| | 04:07 | I've got a screenshot of the clip, I
scroll down, it tells me the date and time,
| | 04:13 | the first comment for my producer about
the noise, it tells me exactly where the
| | 04:17 | time-code is, it shows my reply.
| | 04:20 | I scroll down a little bit further,
here is my other comment I made on his Cool
| | 04:23 | sunglasses with a screenshot and the
time-code, I'll scroll down a little bit
| | 04:28 | more, here's my producer's comment about
the dissolve with the time-code, pretty
| | 04:32 | cool stuff but not as cool as
this, let's go back into Premiere.
| | 04:37 | In my CS Review dialog box, I'm going
to click on this panel to open my review.
| | 04:43 | Here are all my comments and let's take
a look at where there was noise, and let
| | 04:49 | me just move my Playhead a little bit.
| | 04:51 | Let me click on this brings up a
screenshot of where there was noise.
| | 04:56 | Now if I go to Go to Comment, it's
going to take me to the exact time-code of
| | 05:01 | where my producer had a comment.
| | 05:04 | I can make fixes right there on the spot.
| | 05:06 | If I go down to the other comment he
made, shows me the dissolve, and when I
| | 05:11 | click on Go to Comment I'm back at the dissolve.
| | 05:13 | So he could have said, I don't like
this dissolve or let's make it more opaque,
| | 05:18 | et cetera, and I'm right there to change it.
| | 05:21 | So as you can see CS Review is a
powerful collaboration tool, you need to make
| | 05:25 | fixes, send notes to producers, or
your clients, you're able to do that
| | 05:29 | on-the-fly and it's free.
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| Adding closed captions to your work| 00:01 | As Closed Captioning can become such a
huge benefit to viewers, Adobe Premiere
| | 00:05 | Pro CS5.5 allows editors to
include them into their videos.
| | 00:11 | First, let's make sure we
can view our Closed Captioning.
| | 00:14 | On the Program Monitor click on the
panel dropdown, then go to Closed Captioning
| | 00:20 | Display and choose to Enable.
| | 00:23 | Now this is going to be off by default.
| | 00:25 | So make sure you go in there and choose Enable,
or you will not see your closed captioning.
| | 00:29 | Let's get out of there.
| | 00:31 | Now we're ready to add our files.
| | 00:33 | Premiere Pro CS5.5 supports 608 and 708
closed captions through SCC and MCC file formats.
| | 00:41 | When you're ready to add closed
captioning to your video, you'll have to have
| | 00:45 | your video transcribed by a closed
captioning transcription service.
| | 00:49 | You'll need them to deliver you a
transcription in the SCC or MCC format.
| | 00:53 | They will also need a lower
limit of at least ten frames.
| | 00:57 | Now that might not make much
sense to you, but it's okay.
| | 01:00 | The transcription service will
know what the lower limit means.
| | 01:04 | I had this movie transcribed to
the SCC format so I'll use that here.
| | 01:08 | We're going to select our sequence,
then go up to Sequence, go down to Closed
| | 01:13 | Captioning and Attach File.
| | 01:16 | We'll search for our Exercise
Files and in Chapter 03, you'll
| | 01:20 | see Travel_Podcast.scc; we'll click Open.
| | 01:25 | As you can see already the
closed captions are there.
| | 01:28 | Let's scroll back a little bit.
| | 01:29 | And if I highlight the Program Monitor and then
press the Tilde key, we can go full frame.
| | 01:36 | Let's press Play.
| | 01:38 | (video playing)
| | 02:01 | As you can see by adding Closed
Captioning support in Premiere Pro CS5.5, Adobe
| | 02:06 | gives editors more tools to
make videos more accessible.
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| Exporting using the redesigned Media Encoder| 00:01 | iPads, YouTube, Smartphones, owners
of these gadgets want video on their
| | 00:05 | products for viewing on-demand.
| | 00:08 | Adobe's newly designed Media Encoder
CS5.5 empowers you, the editor, to make
| | 00:12 | multiple formats quickly.
| | 00:15 | So with your sequence selected in
Premiere Pro, go to File>Export>Media.
| | 00:21 |
| | 00:24 | This opens up the Export Settings
box for the Adobe Media Encoder.
| | 00:27 | Now we're going to choose from the
dropdown menu, H.264, and then we're going
| | 00:33 | to choose YouTube Widescreen
HD for playback on YouTube.
| | 00:37 | We're going to choose Queue which
will bring up the Media Encoder and your
| | 00:42 | project is ready to be encoded.
| | 00:43 | But let's say our client wants us
to have a Blu-ray version as well.
| | 00:48 | Click on Duplicate;
| | 00:49 | it's going to make a duplicate of the
sequence, from Presets, I can go in,
| | 00:55 | change this to MPEG2 Blu-ray, click OK,
and now I am ready to encode not only my
| | 01:02 | YouTube Widescreen HD but a Blu-ray DVD.
| | 01:06 | Next, I simply have to click the
Encode button to start the Queue and the
| | 01:10 | Encoder starts going.
| | 01:16 | So now we're done encoding but
let's we want to encode on the fly.
| | 01:19 | Well, Watch Folders let you do that.
| | 01:22 | Watch Folders allow you to drag media
into them and they automatically are
| | 01:25 | included into the Adobe Media Encoder.
| | 01:29 | To add a Watch Folder, click Add Folder,
on my Desktop I created My_watchfolder;
| | 01:37 | I click on that and choose.
| | 01:40 | Now anything I drag into that is
going to be an H.264 YouTube Widescreen
| | 01:47 | video, and I click OK.
| | 01:50 | Let's go to our Watch Folder.
| | 01:51 | I'll go into my Exercise Files,
choose B-roll_Fromjeep_01, drag it into the
| | 01:59 | Watch Folder, go back to the Media
Encoder, and there it is getting it encoded.
| | 02:07 | Now let's say I want to
have more than one format.
| | 02:10 | If I choose Add Folder, go back to my
Desktop, choose my Watch Folder, and
| | 02:19 | change the format to let's say
a QuickTime movie, choose OK.
| | 02:24 | My Watch Folder is ready to encode
that same video, and there it is.
| | 02:32 | The newly enhanced Adobe Media
Encoder is extremely efficient for creating
| | 02:36 | multiple formats for your videos.
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ConclusionGoodbye| 00:01 | As you can see, Adobe Premiere Pro CS5.5
is a powerful nonlinear editing tool
| | 00:06 | perfect for films, broadcasts, and more.
| | 00:08 | The ability to nondestructively enhance
RED footage, create merge-clips of files
| | 00:13 | from upto 16 audio files, create
keyframe effects in the Timeline, send entire
| | 00:18 | sequences to Audition for sound
sweetening, and get notes with time-code in CS
| | 00:22 | Review, then export your content to
multiple formats with the new Media Encoder,
| | 00:27 | make this the go-to
application for content creators.
| | 00:30 | If you want to learn more about the
Video Suite, lynda.com has it covered.
| | 00:34 | The Premiere Pro CS5 Essential
Training will teach you how to get working
| | 00:38 | quickly in Premiere Pro CS5.5, as many of the
techniques from CS5 will work fine with 5.5.
| | 00:45 | And when you're done with Premiere Pro,
let's go over to the After Effects Training.
| | 00:49 | The After Effects CS5 Training will
teach you how to create transparencies,
| | 00:53 | motion graphics, advanced animation, and more.
| | 00:56 | You can really beef up your videos.
| | 01:00 | When you're all done with that, the
last place to go is Encore, where we can
| | 01:04 | export over to Blu-ray.
| | 01:06 | As you can see, Adobe CS Video Line has
all the tools to make you a one-person shop.
| | 01:11 | And remember, lynda.com is here to
help you if you ever run into problems.
| | 01:15 | Thank you for watching, I
am Dave Basulto signing off.
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