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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.
It's inevitable that when you're cutting together a program, you're going to come across a need to work with still images. So, let's take a look at how we can bring still images in, and a couple Preferences that you might want to adjust. The footage that we're going to be working with is in the exercise files and I've placed them in a very specific folder for you to work with. Let's go to the Media browser and I'm going to press the tilde key so it's full screen so you can actually see where this is located.
It's inside your Media folder and there's a separate folder called Stills variety. Now, these are just a repeat of a lot of the footage that's already in the General Media folder. But I wanted to point out a couple of very interesting things when importing this media. Before we actually go about importing it, I want to jump over to the Preferences and how you a couple of key things that will help you out in the long run. Now, the Preferences can be found under the File menu, if you're on a Windows machine, and on a Macintosh, it's under Premiere Pro.
We're going to go to the General Preferences, and I want to point out the third Preference down from the top which is Still Image Default Duration. And by default, when you bring a still image into Premiere Pro, it's 150 frames long. So, basically at 30 frames a second, all your stills will be five seconds. Now, don't panic because you can always stretch them to make them longer, or you can pull them back to make them shorter. This is just a starting point, and the default is a good number. But if you know, for instance, that you want all your images up for ten seconds, then you may want to change this to 300 so you don't have to do the work twice. The other thing I want to point out is a button here called Default scale to frame size.
Now, we're going to talk about this through the next several videos and how it affects your editing. But by default it's turned off. And in almost all cases you want to leave that off. Because if you turn it on, Premiere is going to actually take what could be a very nice large image that gives you a lot of flexibility and will scale it down to match the size of your sequence's frame. And then, if you want to blow it up you're going to actually lose resolution. With that in mind I'm going to go ahead and press OK and we're going to start importing some images.
Now, the list is really a nice way of looking at your images if you know their name and their alphabetized and you want to find something very quickly. But it doesn't allow you that flexibility of seeing exactly what the image looks like. So, for the most part, I generally use the Icon view when looking at any of my still pictures. And when importing images, Premiere can import almost anything. It can import JPEGs and PIC files and TIF files Bitmaps and PNGs and Photoshop documents, pretty much anything that can be read can be brought in.
The only exception is camera RAW files. These are very large files that are shot by professional DSLRs, and you don't want to work with these because unless they've been run through any kind of a processor, they're very flat and very large. I personally find that for still images JPEGs are great. TIFFs are great and Photoshop documents work really, really well. We can see the different images that we're working with and if I wanted to refine this because it's a mix of TIFF files and Photoshop documents and JPEGs, I could go up to this little filter drop down area and say, you know something.
I just want to look at my JPEGs. And I can filter it and show just my JPEG files. And that is great if instead of having maybe a dozen images, like we have here, versus the hundreds of images you might have inside a folder. I can select the clips I want just like we learned before, and I'm going to go ahead and just select them all. Right-click, and I'm going to import them. They're already in my project file, but I do want to point out one last thing.
I did sort by only JPEGs, but you can check several boxes here if you want to refine it, but not refine it down to one type of media. So, if in my folder I had video and audio and images, I may say, show me the JPEGs, show me Photoshop documents and perhaps show me TIFFs. Now, I see all my still images and I don't have to worry about dragging and moving these if I don't need them. Let's just quickly step over to the project area. You can see all the clips that I dragged in.
We're looking at it in a list form. But if we switch over to Icon view, here are all the images that you have to work with.
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