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Premiere Pro CS4 Beyond the Basics

Contrasting targeting and selecting


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Premiere Pro CS4 Beyond the Basics

with Chad Perkins

Video: Contrasting targeting and selecting

Though not technically editing techniques, in the next couple of movies, we are going to be looking at a couple aspects of Premiere that will really help you while you're editing. First, we are going to look at selecting clips contrasted to targeting tracks. Now, of course, we know that by clicking on a clip to select it, we can move it around and a few other things as well. But really it's important to take a look at the left side of our timeline and realize which tracks are selected when we are making our edits, so that we have the most consistent and predictable results.
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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Premiere Pro CS4 Beyond the Basics
5h 38m Intermediate Dec 03, 2009

Viewers: in countries Watching now:

In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.

Topics include:
  • Working with P2 media
  • Keying compositions using garbage mattes and green screen
  • Using transition effects, lens flares, and 3D reflections
  • Compositing with blend modes
  • Understanding spatial versus temporal compression
  • Recording, mixing, normalizing, and fixing audio
Subject:
Video
Software:
Premiere Pro
Author:
Chad Perkins

Contrasting targeting and selecting

Though not technically editing techniques, in the next couple of movies, we are going to be looking at a couple aspects of Premiere that will really help you while you're editing. First, we are going to look at selecting clips contrasted to targeting tracks. Now, of course, we know that by clicking on a clip to select it, we can move it around and a few other things as well. But really it's important to take a look at the left side of our timeline and realize which tracks are selected when we are making our edits, so that we have the most consistent and predictable results.

Let's say, for example, we want to split a clip. I am going to move over here and rather than selecting the Razor tool, in the tools panel, on the right-hand side here, I am just going to use the keyboard shortcut, Command+K or Ctrl+K on the PC. Now, notice that I have this ducks by the lake 01 clip on the top selected and the duck dive clip is deselected. But the Video 1 track is selected. And when I hit Command+K to split this clip, you'll notice that the selected clip was not split and the deselected clip, but the targeted track was split.

Now I am going to undo that. I am going to do this again, except this time I am going to click the Video 2 track to target that one as well. Then when I hit Command+K or Ctrl+K to split it, you'll notice that the layers, or the clips that were on targeted tracks, they were split. Notice, also, that this same works with audio. I did not target the Audio 2 track and so this second ducks by the lake audio was not split. I am just going to undo that again. Now another big point here. I am going to deselect the Video 2 track for the time being.

We know that the Page Up and Page Down keys are some of the best navigation tools. Page Up jumps us back to the previous cut point. Page Down jumps us to the next cut point. However, you might have noticed that as I was jumping the Current Time Indicator around, we missed the cut points on this ducks by the lake clip completely. It basically went to the beginning and the end, or the in and out points, of this duck dive clip on Video track 1. But, if I target Video track 2, you'll notice that I hit Page Up and I also go, or navigate between the In points and the Out points of the targeted track clips as well.

Now one final example, here. I'm going to deselect Video track 2, move in time to about here, somewhere we have some blank space and I am going to double-click the babbling brook clip to open that into my Source Monitor here. And you'll notice that when I perform, let's say, an Overlay Edit and I click here and I'll just hit the Backslash key, so I could see my whole timeline, we overlaid the babbling brook clip over the end of our timeline here, the video track and the audio track. However, if I undo that and then I deselect the audio track and then do the same exact thing with the Overlay edit, you will notice that only the video comes in because we only have the video track targeted.

So oftentimes, while you're working in Premiere, be aware that targeting and selecting are two of the concepts you need to be aware of when you are working. so you make sure you have a predictable experience in Premiere and you don't think Premiere is just kind of freaking out on you. Next, we will look at another example of this with copying and pasting.

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