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Adobe Premiere Pro CS5.5 is primarily a nonlinear editing system designed for fast cutting of multiple media types, but it is also an advanced special effects and compositing tool. In this course, master editor Maxim Jago describes the tools and options available to create complex compositions using just Premiere Pro, without involving After Effects or Photoshop. Learn how to adjust opacity, use garbage mattes and track mattes, and create nested sequences, as well as how to work with chroma keys, luma keys, and the Ultra Keyer. Maxim shares all the techniques necessary to layer multiple media elements and produce advanced sequences as compositions.
Creating a nested sequence in Premiere Pro couldn't be simpler. And in fact, with the latest versions of Premiere Pro, there's now a way of nesting inside of your timeline. I've got some clips right here, I've got my four baseball clips. And if I want to put these inside another sequence, all I need to do is take the sequence itself from inside of my Project panel and drag and drop it into the sequence I want it to be embedded inside of. Now, the way that Premiere Pro treats sequence, clips as it were, is like any other piece of media. So, you can see that on the top of the Project panel, I've got the dimensions 1920 by 1080 for this sequence.
I can see that the video is being used already because I've already nested this in other sequences, and I've got the frame rate and so on. Because Premiere Pro will treat the, if you like, the conforming settings, the settings for the sequence itself, as the media interpretation, I can use exactly the same shortcut to generate a new sequence from this as I might do with any clip. So, if I don't have a sequence to put it inside of, I can just drag and drop, and there's my sequence ready for me to work on as a single segment.
Another way I can do this is to simply select the clips inside my sequence just so you mean a little bit. Right-click or Ctrl+click on them, and choose Nest. And if I do this, I'm going to get a new sequence. Now, the name of the sequence isn't super helpful. It's called Nested Sequence Number 1, and this is not based on the original name of my sequence. And if you look, of course, when I dragged and dropped to create a new sequence by dragging onto the New Item button, I got my nested sequence there from the bin.
But this now means I've got two sequences called Baseball Clips, and one called Nested Sequence Number 1. Not very helpful for staying organized. So what I will probably do is call this new nest two, just so we know what it is. And if we look at the original sequence that had those four clips in it, those four clips have been replaced by that Nested sequence number one. You can see here, that's now new nest two, and there's a bit of a break here between the names of these items. I've just renamed the item in the bin but it's not updated the segment in the timeline.
However, if I go into that sequence, as I've done by just opening it now. And maybe, I'll just drag one of these items out so you can see there's a gap. Right away, you can see that gap has appeared. So, this definitely is the sequence. It's named in the bin, it's named in the tab on the Timeline panel, but it's not updated in the nest. Moving on, of course, I've got a second Baseball Clips sequence which is the one I created by dragging and dropping my original sequence into the New Item button.
I'll call this New Nest 1, because it's the first one that I made. It makes it easy to work out what's going on. Now again, if you look at the New Nest 2, I've introduced a gap between the second and third clips. If you look in our Baseball Clip's original sequence where a nest now appears, there's the gap. If we look in our New Nest 1, I'll just zoom in a little bit here. This is the one I created from this Baseball Clip sequence.
Again, as I drag through, there's the gap. And the reason the gap is appearing is that nests that are inside nests that are inside sequences all update automatically, it's like a cascading fountain. What's happening is this New Nest 2 as it's called is filled with four clips with gaps between them. This sequence is inside the Baseball Clip sequence. Here's the gap, and the Baseball Clip sequence is inside New Nest 1.
So, ah-ha, perhaps you're wondering what would happen if I made changes to the Baseball sequence which contains the New Nest 2 sequence. Well, let's go to our effects and let's just do something really obvious. I'll grab the Fast Color Corrector and I'll go to my Effect controls, and I'll make this super green. If I know go to my New Nest 1 sequence, lo and behold, it's super green. So, I've got New Nest 2 which is clean, original media but with gaps, nested inside of Baseball Clips.
Which means that it appears as a single segment and that has an affect on it. If I now go to my New Nest 1, there's the results of the effect. But if I click on this segment, there's no effect. And the reason there's no effect is that this item is the output of this Baseball Clip sequence. It's a segment inside that sequence that has the Fast Color Correction effect. So, I'm getting the culminating output of this sequence. In fact, let me drag these around a little bit so you can see these more clearly.
New Nest 2 with the original clips is inside of Baseball Clips as a single segment. That segment has an effect on it. The Baseball Clip sequence is inside New Nest 1, and that appears as a single segment but it does not yet have an effect. If I put an effect on it, let's have let's have a Fast Color Corrector again. I can, for example apply maybe a Hue Adjustment, bring this around to the blue, and I'm now applying that to this single segment.
Now, there's just one thing you need to know about working with sequences in this way. And that is, that the settings for any sequence that's nested will be based on the original sequence settings. And therefore, if you have a low resolution sequence and you put it inside of a high resolution sequence, scaling it up will look blocky, and I'll show you what I mean. This is NTSC 23.976 media. So, I'm going to make a new sequence manually, and I'm going to make this DV, maybe DV NTSC.
In fact, why don't we go for DVC Pro 50 for AT24P Widescreen? So, it's 23.976 frames per second. It's the right frame size and let's call this Standard Def sequence. Okay. So, there's my Standard Def sequence. I'm going to take New Nest 2, there it is. And I'm going to drag and drop that inside my Standard Def sequence.
Right away, you can see it's way too big. So, I'm going to right-click, or Ctrl+click. I'm going to Choose Scale to Frame Size and it looks fine, although I'm getting a little bit of black edging. I'll probably need to scale that up to get rid of it because the Pixel Aspect Ratio don't 100% mix. So, let's fit that in there. Now, I'm going to make a new HD sequence. And let's do this by nesting again in a super cunning way. I'm going to drag this full HD sequence onto the New Item button.
And I'm going to call this High Def sequence. So, my High Def sequence contains a full copy of New Nest 2 and a full 1920 by 1080 resolution. My Standard Def sequence actually contains the same thing, but scaled down to standard definition. This one is just 720 by 480 pixels. If I put my Standard Def sequence inside my High Def sequence, which is fine, I can do that look what happens.
It's massively tiny. Now, this is because in my User Preferences, there we go, General. I have default Scale to Frame Size turned off, which simply means that if I right-click and choose Scale to Frame Size, I'm going to get the same result again. You can see now I've got very, very fine letter boxing because the pic's last pic ratio doesn't quite match between the Standard Def MTFC and widescreen.
Now, take a look at this. Even though Premiere Pro conforms at the point of playback or at the point of export, because I've put this high definition media inside a Standard Definition sequence. What I'm getting inside this New High Definition sequence is actually a Conformed Standard Definition output. What does that mean? Well, if I go to a section of the video, just here's a good example. And I set my media to 100% resolution instead of scaling it down, and you just take a look at these railings on the side of these steps.
Compare that to the same media earlier on, let me get the same moment, it's actually a lot sharper. If I just try, can you see that? I just get the point, that's the HD, that's the SD. There's the HD, there's the SD. What's happening is that Premiere Pro is having to scale up from Standard Definition media to a High Definition image. You're actually losing image resolution by putting HD media inside a Standard Definition sequence. Now, why am I telling you this? I'm telling you so that you get a clear sense that each time you nest a sequence, what you're nesting, this single segment that you're putting inside another timeline, will have the specification that you give that sequence.
In this case, it's going to be 1920 by 1080, and so on, and so on. But the Standard Definition sequence, no matter what media you put into it, it's going to output Standard Definition. For this reason, it's usually better if you're working on a mixed resolution project to start with the highest resolution. And then, put that into a low resolution sequence and not the other way around.
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