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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.
In this movie we are going talk about something called match framing, but before we get into that I want to explain a very important concept for you to get your head wrapped around when it comes to editing in any non-linear editing systems such as Adobe Premiere Pro. And that is when you take a clip and you load it from the Project panel into the Source Monitor and then mark an in and an out point and bring it into your timeline, Premiere Pro actually makes a new pointer or reference to the original media.
So this clip in the timeline, though it has the same name as this clip in my Project panel, they are related but only by blood. They are kind of like two sons from the same parent. So for instance, if I go to this clip here, and I choose to make it longer or shorter, it never affects the clip that's in my Project panel and vice-versa. For instance, in an earlier movie we took the clip that was in the timeline, we double-clicked it to load it back in the viewer--and I am going to go ahead and zoom out so we can see the in and out points that are marked.
This is the clip that came in from our timeline. If I make a change down in the timeline, it's reflected up here in our Source Monitor. If I make a change here in our Source Monitor, it's reflected down here in the timeline. And that's perfect, because that's the clip that I loaded in from the timeline. If I had another instance of this clip, maybe instead of a light turning on, I have the light turning off. So let go ahead and mark an out point and then an in point, and I'll drag this down to later in the timeline. So this is a brand-new instance.
So if I go over here, and I look at this clip--and there is the light turning on-- and I make it shorter, do you notice it didn't affect this clip here? And because this clip was the one I just dragged in, it didn't affect this clip here. So it's something to keep in mind that every time you drag a clip from the Project panel into your timeline, whether you stop in the Source Monitor or not, it's going to make a new reference or a new pointer so I can go ahead and make any modification I want to this clip here, and it won't affect any other time I've used it in my program or in my Project panel.
And that's great, and that's going to take us to the idea of match framing. I am going to go ahead and delete the second clip here, and I'm going to close this folder, and I'm going to pretend this is one of hundreds of folders and thousands of clips. I want to find the original footage so I can get the part of the clip where the light turns off. Well, instead of doing all of this hunting, I can simply park my playhead anywhere over that clip and press the F key to load a copy of that clip from my Project panel into my Source Monitor.
Notice what happens with the timecode when I do this. It loads the clip in, and it looks like the same one because it actually remembers what the in and out points are, and that's kind of nice, but in this case I want to see where the light turns off. So I am going to go ahead and scrub a little bit down the timeline. Here we go! There's it where the light turns off, mark an out point, mark an in point, and drag it down to the end of my program. So there we go! We use match frame to very quickly find the original shot, and not only find it, but load it into the Source Monitor so I can actually grab a different section of it.
And this is great, especially if you have like a 15-minute clip. It's a concert, and you just want to find that, and you don't want to go digging for it, match frame--the keyboard shortcut is F--easy to remember frame. Now there is a couple of other things you need to know if you're going to be using this match frame keyboard shortcut. In an earlier movie we actually stacked some video on track 2, and perhaps you might even have videos stacked on more than two tracks, two, three, or four. I'm going to go ahead and scroll down.
Remember, my monitor is showing much lower resolution than yours. So you may not need to scroll down at all, and then I am going to go ahead and put another clip on top of this bulb. I'm going to go ahead--and we'll just choose the fan clip, load that into the Source Monitor, and it's a good arbitrary in and out point, and I'll go ahead and drag it down into my timeline, and I'll even make it the same length. So what's going to happen now if I hit the F key? Let me go ahead and close this so the fan is not already there.
As a matter of fact, I am going to show you a really cool thing about Premiere Pro. If I click right here on this dropdown menu, I can actually find all the recent shots that I used in editing. This list can actually get quite long, but it's great if you say I want to find that shot that I used just a few minutes ago, it's there. And if you ever want to clear this list just go Close All, and now it's blank. So we're going to pretend that I want to find the fan, and I am going to use the F key for a match frame.
I hit the F key, and I get the light bulb. Why is that? Well, that's because of the information here, the selected track. Premiere Pro will look at the highest selected track--and a selected track is just a track that you've clicked on and there is a gray highlight. So now with the second track highlighted, if I hit the F key it loads the highest visible track that's activated. So that's how you can be very specific about finding the clip anywhere in your timeline and on any vertical track.
Now I am going to show you one last really useful technique to find footage. Let's go ahead and close the B-roll folder one more time. Suppose that I want to find where this original clip lived. I don't want to load the CFL bulb clip in to my Source Monitor because that's not the clip I want to use, but I know that the next shot in my B-roll folder is the one I want to use. So I just want to find that folder and find the shot very quickly. Instead of hitting the F key, I can right-click on any clip in my timeline, scroll down, and there is an option to Reveal in Project.
No matter how deeply buried this clip is when I click on it, it will actually open up the folder and highlight the clip that I'm looking for. And there we go. Next to that CFL bulb was the other shot I was looking for, which was the light switch, and I can load that into the viewer very quickly. So those are two really useful features-- match frame, hitting the F key to load a copy of a clip into your Source Monitor, and then Reveal in Project to find a clip anywhere in your Project panel.
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