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Performing a three-point edit

From: Premiere Pro CS6 Essential Training

Video: Performing a three-point edit

In the previous movies we've marked an in and out point in our Source panel and an in point in our Timeline before we brought a clip in. And that's a very easy and basic way of editing, but it actually is very limiting. In this movie we are going to talk about something called three-point editing. Let's go ahead and load a clip in from our Project panel into our Source panel and take a look at some of the other options we have other than marking an endpoint and an out point in our source clip.

Performing a three-point edit

In the previous movies we've marked an in and out point in our Source panel and an in point in our Timeline before we brought a clip in. And that's a very easy and basic way of editing, but it actually is very limiting. In this movie we are going to talk about something called three-point editing. Let's go ahead and load a clip in from our Project panel into our Source panel and take a look at some of the other options we have other than marking an endpoint and an out point in our source clip.

I'm going to go ahead and load in the CFL bulb shot. And traditionally we've been marking an endpoint and an out point in our Source Monitor and then, of course, putting an in point on our timeline. And we've done that either at the end of a clip or even leaving a space. Well, I can always back time a clip. So for instance, if I knew that I was making a spot that was exactly 15 seconds long, I could park my playhead right on 15 seconds--and I am going use the Left and Right Arrow key just to move it back to exactly 15.

I know that because I can see that right here in my Program panel, and I can kind of see it down there. So instead of marking an in point, now I am going to go ahead and press O and mark an outpoint. So I have an in and out in my source, and I only have an out in my destination in my Timeline. Well, Premiere Pro is smart enough to be able to figure out that if this clip is only 12 seconds long, it knows where the endpoint is.

It does the math for me. So let's go ahead and I am going to drag this in, and I can either overwrite this way, or I can use the keyboard shortcut, but what you do not want to do with three-point edit is you don't want to drag it to the timeline, because whenever you drag a clip to the timeline it completely ignores the in and out points in your timeline and just puts the clip wherever you let go. It assumes you know where you want to put it. So you either need to drag it over here, use the button or the keyboard shortcut--and in this case it would be the period key.

Now if you noticed, it back timed 12 seconds and actually cut off a little bit of this clip, but that's okay because that's what I intended for it to do. Let me go ahead and undo that, and you can see I cut off part of this clip, but the idea of three-point editing says you need to choose an in and an out in your source and an in or an out in your destination. And in this case, we chose an out instead of an in, and you saw what happened. Now you're not limited to just choosing whether it's an in or an out in your timeline.

As a matter of fact, I could go to my timeline, and instead of just having an out point I could say, you know, I want this to come in right at 10 seconds, so it's going to be a 5-second space, and again I'll use the Left and Right Arrow keys just right to 10 seconds, and now I am going to mark an in point. So I have an in point marked and an out point marked, and in this case I don't care when the shot ends. I just really care when that light turns on. So I'll mark an in point there, and I am going to go ahead and remove the out point.

So I am going to just say Clear Out, and in this case, again, I'm doing a three-point edit. I have an in point in my source and an in and an out in my destination, and it will calculate how long of this clip I need to see. Again, we'll drag it over. I could be using the period key, and as you see down here it filled exactly the space that I wanted. Now this is great if you're cutting to music or if you have a sound bite where you need to have video covering specifically what somebody is saying, you can mark an in and an out in your timeline, and if the source footage is just wallpapers--it's just generic--you can easily just pick a key point and drop it in.

So as you see, three-point editing is pretty straightforward. You choose three of the four choices, two ins and one out or two outs and one in. Now there is one gotcha. What happens if you pick an in and an out in your source and an in and an out in the timeline or your destination? Let's go ahead and mark our timeline with an in point and an out point. I am going to do a pretty short here as a matter of fact. If I look here I can see that it's about 2 seconds long, and I am going to scroll down and pick another shot, something that's a little bit longer.

As a matter of fact, I am going to specifically choose the fan here, and I am going to go ahead and load that into the Source Monitor by double-clicking and stretch out my in and my out point. So here we go. I have an in and an out, I can see what the length of this clip is, it's 12 seconds long. I could even make it a little longer, and I'm putting a 12-second clip here, and I also have an in and out point there. Well, if I go ahead and I drag it across I am going to get a warning dialog box.

It's going to warn me that I put in four points, and maybe I don't want use all of those four points. So four of these pretty are self-evident. I can say, you know something. I made a mistake. I really want to ignore the out point on the fan. So I would say Ignore the Source Out Point. And if I hit OK if it fits in my 2-second hole, and that's perfect. Let me go ahead and undo that. So I still have the same in and out point here and that really long in and out point there. Again, I'll drag it over. I can choose what I want to ignore.

By default, it ignores the out points on the sequence. So don't always just ignore reading this box and hit OK, because you could accidentally overwrite video that you may want to keep, but there's another choice which is at the very top of the list. It says Change Clip Speed or Fit to Fill. What it's going to do, it's going to squeeze a 15-second clip into a 2-second hole, and it's going to do that by speeding the clip up. So a four point edit actually allows you to speed up or slow down a clip.

Let's take a look and see how that works. So it still looks like 2 seconds here, but when we play it back, that fan is moving at a pretty good speed. And I am going to go ahead and zoom in, in my Timeline by hitting the plus key, and you can actually see it says 576% of its original speed. So it automatically sped up the clip. If I had a shorter clip, say 2 seconds long, and I dropped it into a 15-second in and out point in my timeline, that would actually slow-mo the clip.

So Fit to Fill is great, especially if you have say a sound bite that's 6 seconds long, and you have a clip that's only 5 seconds of footage, I could mark an in and out in my source and an in and out in my destination, do Fit to Fill, and then slow it down just enough to cover the voiceover. Three-point editing gives you a lot of control on placing the clip in your timeline exactly where you want it to be.

Show transcript

This video is part of

Image for Premiere Pro CS6 Essential Training
Premiere Pro CS6 Essential Training

81 video lessons · 61558 viewers

Abba Shapiro
Author

 
Expand all | Collapse all
  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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