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Meet Adobe Premiere Pro, and learn the skills necessary to professionally edit video. Abba Shapiro first introduces a "fast track" approach to Premiere that shows the entire import to output process in eight quick steps—ideal as an overview for new editors and a preview of the new features in CC that experienced users will want to see right off the bat. Then transition to the expanded 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 information on exporting and archiving projects, as well as advice for becoming more efficient in Premiere with actions, keyboard shortcuts, and other workflow enhancing tricks.
Before we get into actually mixing our audio and working with different levels I want to talk to you a little bit about dealing with audio that is stereo, audio that is mono and maybe audio that the program thinks is stereo, but is truly mono and vice versa. Now we have three clips, in our project pane, just a plain music clip which is stereo, and a couple of camera clips. Now I'm going to go full screen by hitting the Tilde key, and in the far right side of my screen, I see it says audio info. And for convenience, I'm going to drag that all the way over and put it to the left of label And I want to point out, how these are different. If you notice, our music is normal 441, which is what, like CD audio is, 16 bit, which means it's high quality and it's stereo.
So when we put it in our show, if different instruments are playing out of different speakers, it will continue to maintain being stereo. Camera 2 is a little different. That's split audio. And you see it says 2 Mono, or you might hear is as Duel Mono. And, in this case, both Vanessa and myself have separate microphones and each of our mikes were recorded to a discrete channel. That way, when edited, you could turn Vanessa's volume up without affecting mine, and vice versa.
The third clip was compressed so it would be easier to download. And when it was compressed, it got switched from dual mono to stereo. And Premiere's going to be confused when I use this. Because if I bring down the volume, or try to bring down the volume, of my voice. It's going to bring down the volume of the entire clip. I want to show you how you can use this to your advantage, and how you can modify it if necessary. Let' s go ahead a press the Tilde key and get back to our main editing screen. I do want to point one thing out in our timeline.
Two of the tracks have no icon and two of the tracks have a single speaker. This indicates that this is a standard track, which means anything I put in there, it will adapt, in that if I drop a stereo clip in both channels will fit into one track and it will come out stereo. If I drop a mono clip in, it would also go in and it would come out dead center between the two speakers. A mono track would take the stereo and mix it together so that every thing was equal and it would just come out the same on both speakers.
And that's true whether I drop a mono clip in there Or a stereo clip in there. For the most part you'll want to use standard tracks and that's the default. So, if you are going to make a track you could do that underneath your sequence settings. Choose add tracks and when you add a track, there are options of where you want to put it And the type of track you're making. So, as you see, there's standard, and there's mono.
There's two other types of tracks, 5.1 for surround sound, and adaptive, which is usually used in Broadcast when you need to import or export more channels. As a matter of fact sometimes the standard is eight or 12 channels of audio for one piece of video. But I don't think it's necessary to explore that now. Let's just keep it simple. I'm going to go ahead and drop our music directly into our first track. And when I drop it in, you can see it's in there, but I can't really tell what's going on. If I want to see what's happening inside of one of these tracks, I can use my Scroll key and open up and see more detail.
Now let me press the Plus key, and you can see the waveform of this track and I can also see how the track has been labeled standard. And I did this myself normally it might just say audio one. When I play this take a look at the audio levels meter and you can see that left and right channels are slightly different. (MUSIC). Now let's go ahead and drop. The other clips into this stereo track, and you can see how they work a little bit differently.
I'm going to select and delete this clip, and now bring in the split audio. Now, since this is the first clip that I'm bringing in, Premier notices that there's some differences between this clip and my sequence settings. I don't want to change them, I want to keep the existing settings and I want to scroll up here. And what you see is that, even though this was a standard track which took both sides earlier because this clip is dual mono, it actually put 1 channel of audio on A1 and the other channel, and I'll scroll to get it open. On A2, and now I can work with these independently.
I'm going to go ahead and delete this clip and bring in this 3rd clip, which is Pizza wide shot, and this was a clip that was compressed and if I bring it in. I see that I have both the left and right channel there, but because it thinks it's stereo, I can't work with Vanessa's and my voice individually. I can fix that very easily. All I need to do, is before I bring it in, so let me delete that, is right click on that clip, go up under modify An audio channels.
And here I'm going to tell Premier to use this as Mono instead of interpreting the file. And right there, it says number of audio tracks two, channel format Mono. Watch what happens when I bring this clip in now. They go on separate tracks, and I can bring up one track and it doesn't affect the other. So it's important to understand whether you're working with stereo or mono clips, because down the line when you have to start mixing your music and mixing your sound, you'll need this control.
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