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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.
Up until this point in the course you have had the opportunity to get exposed to Adobe Premiere Pro 6, how to import files, how to organize both your Project panel as well as your Source panel and even marks some Ins and Out Points, but we really haven't delved deep into editing into the Timeline, and that's what we're going to do in this chapter. So the first thing we are going to do is load a clip from the Project panel into the Source panel, and one of the ways to do that is to simply double-click, and we are going to choose the Bulb clip, because I find that's very interesting, it's something we can mark an In and an Out Point.
On this clip here I don't have any In and Out Point marked, but you may already have In and Out Points if you've played with this clip earlier on before watching this movie. So I want to show you how to remove that before we get started. So let me go ahead and quickly put an in point in, and move my playhead and put an out point in. As you see, this is what it would look like if you had an in and an out point already marked on your clip, something we did in an earlier movie. To remove that, you can simply right-click on it and choose Clear In and Out.
Now, once again, we have a fresh clip. So I want to select the best part of this clip to start my program, and I can of course use the Transport Controls down in the lower part of this screen, but what I really want to do is I want to use keyboard shortcuts, because that's much more efficient. Since we are working exclusively in the Source panel, let me go ahead and press the Tilde key in the upper left-hand corner of my keyboard and that will bring the Source Monitor to full screen. So if I wanted to navigate to this clip using keyboard shortcuts, the three that I need to know are the letters J, K, and L.
If I press the J key, it will play the clip in reverse. If I press the L key, it plays the clip forward. And while it's playing, if I hit the K key it will actually pause playback. Of course you can also pause and play with the Spacebar. So that's a very quick way to navigate to the area that I want. So I can hit the J key to go backwards, right before the light turns on, and by pressing the I key I can mark my In Point.
Now, if I wanted to be very precise, instead of just pressing J and L by themselves, I can hold down the K key and then, for instance, if I tap L, I can literally move forward one frame at a time, and that way I can be very precise in choosing where my clip starts. I am going to press the I key again, and that will relocate the In Point a few frames later. Multiple taps on the J key will fast rewind, and multiple taps on the L key will fast forward.
But in this case it's a pretty short clip. I want to go forward, but I want to kind of go forward in slow motion, I don't want to just keep tapping L, L, L, L, so here's a great trick. Hold down the K and the L key at the same time, and I can move forward in slow motion and get precisely to the part of the clip that I want to mark to be my Out Point. Once I am in the proper position, I press O, and I am all set. Now, you can use these buttons down here to Mark In and Mark Out, but that's not very efficient, so I highly recommend sticking with the keyboard shortcuts I and O and the Transport Controls of J, K, and L.
With the clip properly marked, we are going to go ahead and bring it into the Timeline. Now, I am going to press the Tilde key so we can see the entire interface again, and I'm going to show you several ways that you can bring the clip into the Timeline. We've seen that you can drag a clip by just dragging and dropping and letting go, and one of the things you may discover when you first drag a clip into a brand spanking new Timeline is you may get a pop-up dialog box that informs you that the clip doesn't match the sequence's settings.
And this is actually a pretty good thing, because if at the beginning you just skipped the selection of what type of sequence or you selected the wrong one, Adobe is smart enough to say, hey, if your clip is a certain frame rate and size, you probably want your sequence to match. So in general, I would select Change sequence settings to match my clip. Now, as you see when I drag the clip into the Timeline, wherever I let go is where it ended up, and that's not really where I want it to be. I want it to be at the beginning.
So let's take a look at a couple of other ways that we can bring a clip into our Timeline. I am going to go ahead and undo this by hitting Command+Z, on a Windows machine that would be Ctrl+Z, and instead of dragging the clip into the Timeline, I can drag it from the source window into the program monitor. And then if I let go, it's going to place the clip at the very beginning of my Timeline. And as you see, it moves the playhead to the end of the clip. Now, the playhead--once again--is that yellow triangle with the red line dropping down.
And the nice thing about this is it's preparing me for my next edit. Let's go ahead and bring another clip in, and we are going to bring it in, in a slightly different way. Let's go ahead and choose the Plug clip. I am going to grab the clip, and I can just drag it and drop it into the source monitor. And as you see, the effect is the same as if I had double-clicked it. As you see, there is already an In Point and an Out Point marked in this clip, and they are not the ones that I want. I don't necessarily have to remove the in and the out point before I put new ones in. As a matter of fact, if I scrub over to any part of the clip where I want it to start, and maybe I want it to be right before his hand comes into frame. When I press the I key, it relocates the in point to that frame.
And then I can scrub through either using J, K, L, or just drag the playhead to the end of the part of the shot that I want and press O, and that will create a new Out Point. So we saw we could grab the clip and drag it from left to right as one way to bring a clip into the Timeline. Let's take a look at another way. There are two buttons here, one says Insert and one says Overwrite, and at this point their effect is exactly the same. We'll explore the difference between Insert and Overwrite edits in a later movie.
But if I go ahead and I click on the Overwrite button, it will be the same effect as if I dragged it from the Source panel to the Program panel. So this is actually a little easier, because I don't have to move my mouse this far, but the next way of doing things is the best way of doing things. And instead of using a button or dragging, we are going to use a keyboard shortcut. So once again, we'll select another clip in our Project panel, and let's pick something interesting. We have the plug going in, so maybe we have the fan turning on.
So I am going to go ahead and double-click and load the fan into my source monitor, and I'll scrub back to a nice part of the clip where it starts blowing, Mark an In Point, Mark an Out Point, and now instead of dragging or clicking a button, I am going to use a keyboard shortcut, and that is the Period key. Anytime I want to bring a clip into my Timeline, I can press the Period key, and that creates what's called an Overwrite edit. And as you see, my mouse didn't move and the clip appeared directly on the Timeline because I pressed Period.
So there are a few ways to bring clips from your source monitor into your Timeline. There's no right or wrong. Do whatever works best for you. If you like dragging, drag, if you like buttons, buttons, but me personally, I like the simplicity of J, K, L, I, and O, followed by the Period key.
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