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This course introduces Adobe Premiere Pro CS6, using a project-based approach that introduces video editors to all the skills necessary to cut their own program. Using a short commercial project as an example, author Abba Shapiro walks viewers through a complete and logical workflow that begins with importing media, creating a basic rough edit, and then refining the cut with music and sound effects, transitions, visual effects, and titles. The course also includes troubleshooting advice, such as reconnecting offline media and using the History panel to undo multiple actions.
When you're editing, it's really important to be able to sometimes isolate a clip or turn entire tracks on and off so can see what's happening underneath. To explore this, I'm going to go ahead and change my workspace a little bit, so you can actually see what I'm doing here, and I have very basic edit, as matter of fact, this is an early Rough Cut, where I have three types of tracks. I have my Narration Track, which has, actually, both my narrator and my interviews. A B-roll Track and then a Title Track with some overlays such as a Temp Title on my speaker as well as a logo.
Let me go ahead and bring that down a little bit so you can see, so I just wrote in Bill Smith for the time being just as a placeholder, and we have the kinetECO logo. So we're good to go, and I have music, but the music isn't even balanced, as a matter fact if you take a listen it's really fighting with the narrator as well as the ambient sound on the B-roll. (video playing) So, I'm not ready to do my audio mix, but I might want to be able to play something for my producer, and I don't want them to have to fight the music, so it's very easy to turn off the Visibility of tracks, and by Visibility that can also work with audio.
So, think of visibility as seeing and think of visibility as muting audio tracks. And to do that I have the little eyeballs here, and so if I want to, say, Turn off all of my Titles because I just put them in as placeholders for me, I can simply go ahead and click on the eyeball, and as you see, it disappears from the viewer. It still is here in the timeline, so I don't have to worry about if I want to replace that with something else, but it's not distracting. Perhaps I also want to see what's happening underneath my B-roll, I can go ahead and turn off that track, too, so now that's not visible. So being able to turn the visibility off on a track is great as well as being able to Turn off the Audio. And this is great. I can turn this off temporarily, and now when I play it...
(video playing) I can actually hear what my narrator is saying and more critically in my case, I can hear the ambience to see if the ambience is good ambience that I want in my show, and in this case it was just the director and the cinematographer talking about the shot. So toggling these on and off is very easy. Just like we learned in the last move, if I hold down the Shift key and I just want to hear the narrator, I can turn off all my tracks at once and then click to turn the narrator on again.
So, remember the Shift key allows you to deactivate and reactivate all of your audio tracks and all of your video tracks when it comes to visibility. There are also situations where you don't want to turn off the entire track, you may just want to turn off the visibility of a single clip with the sound of a single audio file. I can do that by right-clicking on any clip and unchecking the word Enable. Now this whole track is still live, but as you see Bill Smith is grayed out, so it's not distracting my producer, but it still is there, and I can easily re-enable it when I'm ready.
And we can do the same thing in audio. I can right-click on the audio track, and I can check or uncheck Enable. And there we go, I've muted just this music, maybe there was something else on this track that I didn't want to hear. So as you can see, having complete control of what you see and what you hear-- and what you don't see and what you don't hear--is important while editing. Now another control that's very useful is locking tracks. Now you actually don't see a lock here, and that's because it goes into this empty space.
So, if I click on that empty space, you see a little Lock icon, and you see crosshatching here, this indicates that this track is locked and can't be changed. This is great if, say, you are cutting a music video and you don't want to accidentally slice and dice the audio because you know it's fixed. There's a lot of situations where you know you don't want to change the audio, or maybe you don't want to change the video. Maybe you definitely have a background video track that you're keying over, you don't want to accidentally modify that, and that's were Track Locking comes in, and it's really very useful.
But there is a gotcha. A lot of people would think, oh, I don't want to bring in my audio on track 1, because I don't need it, but I want to bring in the video, so I'll just lock that track and perform my edit. Well, the way Premiere Pro works, it thinks that you still want to use your audio, because you didn't deactivate it, and it tries to work smarter than you. So look what happens when I drag in this light bulb--and I can drag it over here or just drag it straight to the timeline. Take a look. It doesn't put it on audio track 1, because it's locked, it puts it on the next available unlocked track and that's an important thing to keep in mind.
It's great if you want to be able to control where things go by locking your track, but if you're using track locking because you don't want to bring your audio in, you have to do something a little more complex, so before we even drop that on, I'm going to go back to my track locking, and instead of locking them one at a time, I'm going to use that same trick of holding down the Shift key, now all of my audio tracks are locked, and I can go ahead and bring it over, and wait a second, I thought I locked all my tracks. Well, again, Premiere Pro is trying to help you, so it actually created a brand-new track for that audio.
So keep in mind, if you don't want the audio or the video to come in, locking a track is not the solution. It's track targeting, which we covered in an earlier movie.
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