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In Premiere Pro CS5 Essential Training, author Chad Perkins shows not only how to edit video with Premiere Pro, but he also explains how to use video to tell compelling stories. This course covers the Premiere Pro workflow from a high level, providing a background on how projects go from start to finish before diving into basic clip adjustments, such as color correcting scenes for more dramatic impact, applying transitions effectively, and slowing down and speeding up clip playback. The course includes creative techniques, such as making titles and removing a green screen background from a shot. Exercise files are included with the course.
So now that we've talked about making new projects and sequences, we're ready to talk about getting footage into Premiere. Now if you're going to get footage from your camera, there are two ways to do this really. One is through a process called capturing. This is an outdated way to do things because it means that you have tape-based video. So if you have of a video camera connected via FireWire or what have you. And then we can go to the File menu and select Capture. So with your tape-based video camera connected to your computer via FireWire, Premiere can look at the footage on your tape and capture it, or in other words digitize it and make it become movie files on your computer that you can use in Premiere.
Now the reason why I say this is kind of outdated is not that Premiere's capture capabilities are behind in any way. This is a really great feature in Premiere and it works very well. But the world is very rapidly moving away from tape-based media. Tape wears out and it's not as efficient as it needs to be. And so they're moving more towards solid state methods of capturing video, usually on a hard disc of some kind. If we have a camera captured here, what we could do is click the Record button, once we had a camera hooked up, and it would actually control our camera.
So these settings would light up and we could actually press Play here in Premiere and we would see the footage playing from our camera. So it's this really crazy master- slave relationship that you create where Premiere actually controls your camera. That's fascinating. Now we can add the name of the tape and the clip. We could adjust the timecode. So we could adjust this, the in points and the out points, which we'll talk about in the next chapter a little bit, but we can add these parameters here. I'm going to close this and talk a little bit about another way to get footage to your computer and that is ingesting.
When you have a hard drive-based media, when you bring in that footage to your compute, that is referred to as ingesting. So it's called capturing if Premiere captures it from tape. It's called ingesting if you take those files and put them on your computer. Typically you have a camera that uses a P2 card. It's a Panasonic HPX170 and it captures P2 card and when I ingest that footage using this application here, P2 Contents Management Software. It's something from Panasonic. And so let's say this is the date that I've recorded and maybe this is the shot that I recorded. it creates this Contents folder and tons of other crazy folders with a bunch of junk that I don't really ever look at.
And the video file is actually in the Video folder and Premiere can use this MXF file as video. One of the really great things about having solid-state media like this and being able to ingest footage rather than capture it is it saves the entire process of capturing that. That just saves a lot of time where we have to go in and log clips and this way they are already there.
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