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Premiere Pro CS6 Essential Training
Illustration by John Hersey

Locating and working with different versions of a clip using Match Frame


From:

Premiere Pro CS6 Essential Training

with Abba Shapiro

Video: Locating and working with different versions of a clip using Match Frame

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.
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  1. 56s
    1. What is Premiere Pro?
      56s
  2. 2m 49s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 42s
  3. 27m 52s
    1. Launching the application for the first time
      3m 27s
    2. A tour of the interface
      4m 55s
    3. Customizing the window layout and the interface
      7m 0s
    4. Exploring the different ways to drive Premiere Pro CS6
      4m 33s
    5. Understanding system configuration and the Mercury Playback Engine
      3m 17s
    6. Adjusting essential preferences
      4m 40s
  4. 40m 7s
    1. Importing files and folders
      11m 2s
    2. Importing card-based media
      6m 1s
    3. Capturing from tape
      4m 10s
    4. Organizing media
      12m 3s
    5. Reconnecting offline media
      6m 51s
  5. 21m 0s
    1. Basic editing overview
      4m 44s
    2. Previewing and marking media in the Project panel
      7m 11s
    3. Previewing and marking clips in the Source panel
      9m 5s
  6. 33m 37s
    1. Editing clips into the Timeline
      7m 56s
    2. Marking and targeting destinations in the Timeline
      2m 53s
    3. Moving clips in the Timeline and performing a swap edit
      4m 11s
    4. Adjusting edit points in the Timeline
      2m 6s
    5. Splitting clips using the Razor tool
      2m 16s
    6. Deleting clips
      2m 38s
    7. Performing an insert edit
      4m 14s
    8. Performing an overwrite edit
      3m 9s
    9. Dragging to a second layer to edit cutaways
      4m 14s
  7. 43m 16s
    1. Performing a three-point edit
      7m 23s
    2. Performing a replace edit
      3m 48s
    3. Targeting specific tracks in the Timeline
      3m 1s
    4. Linking and unlinking audio and video tracks
      3m 51s
    5. Performing roll and ripple edits
      6m 51s
    6. Performing slip and slide edits
      6m 42s
    7. Creating subclips
      4m 29s
    8. Locating and working with different versions of a clip using Match Frame
      7m 11s
  8. 42m 51s
    1. Taking control of your Timeline
      7m 57s
    2. Adding video and audio tracks
      5m 32s
    3. Performing audio-only and video-only edits
      4m 49s
    4. Changing track visibility and locking tracks
      5m 41s
    5. Rendering
      7m 43s
    6. Using the History panel to undo multiple actions
      2m 31s
    7. Creating keyboard shortcuts
      5m 35s
    8. Creating buttons
      3m 3s
  9. 23m 28s
    1. Working with audio
      5m 22s
    2. Adjusting audio levels in the Source Monitor
      3m 0s
    3. Adjusting audio levels in the Timeline
      10m 10s
    4. Adjusting the audio mix on the fly
      4m 56s
  10. 9m 4s
    1. Inserting markers
      4m 8s
    2. Snapping markers to each other
      4m 56s
  11. 29m 52s
    1. Working with stills
      10m 57s
    2. Moving on stills
      5m 54s
    3. Exporting and re-importing stills
      3m 47s
    4. Working with still and animated graphics with transparency
      2m 39s
    5. Working with layered Photoshop files
      6m 35s
  12. 20m 58s
    1. Changing speed and reversing a clip
      6m 22s
    2. Changing speed at a variable rate
      9m 10s
    3. Creating and using freeze frames
      5m 26s
  13. 28m 21s
    1. Using transitions
      9m 36s
    2. Understanding the nuances of transitions
      6m 23s
    3. Modifying transitions
      8m 37s
    4. Setting default transitions and applying multiple transitions
      3m 45s
  14. 36m 36s
    1. Applying and modifying effects
      4m 51s
    2. Applying presets and motion effects
      5m 42s
    3. Saving favorites
      3m 50s
    4. Understanding color correction
      4m 4s
    5. Using adjustment layers
      3m 23s
    6. Working with green screen and chroma key footage
      6m 36s
    7. Using the Warp Stabilizer to stabilize clips
      6m 27s
    8. Applying filters to audio
      1m 43s
  15. 27m 45s
    1. Creating static titles
      7m 8s
    2. Creating lower thirds
      10m 2s
    3. Creating a credit roll and crawls
      6m 41s
    4. Using Photoshop for titles
      3m 54s
  16. 20m 0s
    1. Introducing multicam editing
      1m 46s
    2. Creating a multicam clip with timecode
      3m 25s
    3. Creating a multicam clip using sync points
      4m 1s
    4. Editing a multicam clip in a Timeline
      4m 26s
    5. Refining a multicam edit
      6m 22s
  17. 9m 51s
    1. Exporting a movie
      4m 12s
    2. Sending to Adobe Media Encoder
      3m 44s
    3. Printing to video
      1m 55s
  18. 1m 22s
    1. Next steps
      1m 22s

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Premiere Pro CS6 Essential Training
6h 59m Beginner May 07, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Customizing the window layout and the interface
  • Importing card-based media
  • Capturing media from tape
  • Marking and selecting the best takes from clips
  • Editing clips into the Timeline
  • Performing insert and overwrite edits
  • Performing more advanced editing tasks, such as 3-point editing, replace edits, and trimming using ripple and roll edits
  • Mixing audio
  • Editing more efficiently using markers
  • Working with stills and graphics
  • Creating speed changes on clips
  • Adding transitions and effects
  • Creating titles, credit rolls, and lower thirds
  • Demonstrating multicamera editing techniques
  • Stabilizing shaky footage
  • Exporting your final project to the web, mobile devices, and tape
Subjects:
Video Video Editing
Software:
Premiere Pro
Author:
Abba Shapiro

Locating and working with different versions of a clip using Match Frame

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.

Find answers to the most frequently asked questions about Premiere Pro CS6 Essential Training.


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Q: The exercise files don't work for me. I get an error message stating the sequence(s) could not be loaded and it returns me to the Welcome screen. I am using the trial version of Premiere Pro and the correct codecs do not seem to be included.
A: All the required codecs are included in the trial version of Premiere. You just need to activate the trial with your Adobe ID. If you don't sign into Adobe, anything with MPEG compression will be unavailable. Signing resolves that issue and restores all MPEG-based support.
Q: I'm receiving the following error message from Premiere Pro. "This project contained a sequence that could not be opened. No sequence preview preset file or codec could be associated with this sequence type." How do I resolve it?
 
Additionally, when I try to create a project, I only have DV sequence presets available.
A: Solution 1: Deactivate, and then reactivate Adobe Premiere Pro.
 
Launch Adobe Premiere Pro by clicking the application icon. Do not attempt to load a project file. Choose New Project, then create a project. The settings you choose in this step are not important.
 
Launch Premiere Pro so that the Help menu is available. Choose Help > Deactivate. Then on the Deactivate, screen click the Deactivate button. On Premiere Pro CC Choose Help > Sign out ...Then sign back in. Launch Adobe Premiere Pro as you did in Step 1. On the Sign In Required screen, click the Sign in button. If prompted, sign in with your Adobe ID. The full list of sequence presets is reinitialized. Open the project the generated the error to ensure that it opens correctly. If you are still unable to open your project, contact Adobe Technical Support.
 
Solution 2: Re-create the Adobe Premiere Pro preferences and plug-in cache.
 
Get ready to press the Alt (Option) + Shift keys simultaneously. Launch Adobe Premiere Pro by clicking the application icon, and immediately press and hold the Alt (Option) + Shift keys. Continue to hold the Alt (Option) + Shift keys down until you see the Welcome Screen. Note: If the preferences have been reset successfully, the Recent Projects area of the welcome screen will be blank. (Holding Alt (Option) alone on launch will reset the preferences. Holding Shift alone will delete the plugin cache.)
Q: When I tried to open the exercise files for this course, the following message popped up.
 
"This project was last used with Mercury Playback Engine GPU Acceleration (CUDA), which is not available on this system. Mercury Playback Engine Software only will be used?"
 
What do I have to do to solve the issue?
Luckily, there is no issue. This is how Premiere Pro operates. "Mercury Playback Engine Software only will be used" is an indication that the machine that is being used does not have an approved/fast enough graphics card. However, all the files and media for this course will work just fine.
 
You can read more about the system requirements for Premiere Pro here and here


 
 
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