Adobe Premiere ProWhat is Premiere Pro?| 00:00 | Adobe Premiere Pro is an application
used by videographers to edit, manipulate,
| | 00:05 | and export their video projects.
| | 00:07 | Video professionals use Premiere Pro
for editing multiple camera tracks and
| | 00:11 | syncing them via the timecode,
correcting video exposure and color, using
| | 00:15 | a variety of different tools.
| | 00:17 | Adding a variety of lighting and
camera effects to their projects, adding
| | 00:21 | sophisticated title sequences with built-in
templates and styles, and exporting
| | 00:26 | their video projects in various high
definition and Web-friendly formats.
| | 00:30 | Premiere Pro also integrates seamlessly
with other creative suite applications
| | 00:34 | like Photoshop, with
native PSD file type support;
| | 00:37 | After Effects, for complex video
animations and copy and paste support,
| | 00:41 | as well as Adobe Story, for importing scripts
which helps to improve video search.
| | 00:47 | For video professionals, Premiere Pro
offers a sophisticated editing
| | 00:50 | platform with several different
tools and effects that will help you
| | 00:53 | achieve your creative vision.
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IntroductionWelcome| 00:04 | Hi! I am Abba Shapiro, and I'd like to welcome
you to Adobe Premiere Pro CS6 Essential Training.
| | 00:11 | In this course I'll take you through
the entire process, creating a complete
| | 00:14 | video program using Adobe's most advanced
video editing software, Premiere Pro CS6.
| | 00:21 | I'll not only show you editing basics,
but you'll see how to use Premiere's
| | 00:25 | completely redefined
trimming tools to make precise cuts.
| | 00:29 | You'll also see how to use the
audio mixing tool to create a perfectly
| | 00:33 | balanced sound track.
| | 00:35 | I'll show you some of the best
practices when importing pictures, graphics and
| | 00:38 | Photoshop files into Premiere Pro,
and then I'll show you how to adjust and
| | 00:44 | animate photographs to
bring your program to life.
| | 00:46 | We'll be covering all these basics plus
plenty of other advanced techniques such
| | 00:52 | as creating the perfect chroma key using
the Ultra Keyer and smoothing out shaky
| | 00:57 | footage with Premiere's
brand-new Warp Stabilizer.
| | 01:01 | Now let's get started
with Adobe Premiere Pro CS6.
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| Using the exercise files| 00:00 | If you are a premiere member of the
lynda.com online training library, or if you
| | 00:05 | are watching this tutorial on a DVD, you have
access to the exercise files used throughout the title.
| | 00:11 | To use these exercise files, simply open
up the folder on your Desktop, and you'll
| | 00:16 | see a folder for each chapter of the course.
| | 00:20 | Inside each of these folders is a project
file which some of the movies may refer to.
| | 00:26 | When you first launch these movies, you
maybe greeted with a dialog box that asks
| | 00:31 | you where the original media is.
| | 00:34 | Now we've stored the original media
along with the exercise files inside
| | 00:38 | a folder named Media.
| | 00:40 | Go ahead and click on the Media folder,
click on Display Only Exact Name Matches,
| | 00:46 | and you'll see that Avocados will be
the only one that isn't grayed out.
| | 00:51 | Select it and click Open.
| | 00:55 | Since all the media is located in one
folder, all of it will get reconnected
| | 01:00 | after you select the first clip.
| | 01:02 | Now if you are working on an older
machine that might not have an accelerated
| | 01:06 | graphics card or GPU, you
may get a warning dialog.
| | 01:10 | That's okay, the projects will work
equally well on machines with and without an
| | 01:16 | advanced graphics card. Your
rendering just may be a little bit slower.
| | 01:19 | So you can just dismiss that dialog
box, and don't worry, these projects
| | 01:24 | will work exactly the same way, except
that it may be a little bit older machines.
| | 01:30 | If you are not a premium subscriber to
lynda.com, you don't have access to the
| | 01:34 | exercise files, but you can follow
along from scratch with your own assets.
| | 01:40 | Let's get started.
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1. Touring the InterfaceLaunching the application for the first time| 00:00 | When you first launch the application--
which if you're on a Macintosh you may
| | 00:05 | have put the application in your dock,
and on a Windows machine, you may have
| | 00:10 | it in your Taskbar.
If not, check your applications folder.
| | 00:14 | Now, when you click on Premiere Pro,
you'll be greeted by this dialog box.
| | 00:19 | Now help is pretty obvious, but
the other two I'll cover quickly.
| | 00:23 | If you click on Open Project, you
can actually dig down and find previous
| | 00:27 | projects that you may have worked
on and launch them from there.
| | 00:30 | It's probably a lot easier just to click
on the original project file, and you'll
| | 00:34 | bypass this screen altogether.
| | 00:37 | In the upper left-hand corner are the
recent projects that you may have worked
| | 00:40 | on, and if you've played with Premiere Pro
prior to watching this course, you
| | 00:45 | may have a list of some of
the projects that you created.
| | 00:48 | What I want to focus on is what
happens when you click on New Project.
| | 00:52 | And there's only a couple of
things that you need to change.
| | 00:55 | The first thing you need to be aware of
is under video rendering and playback,
| | 00:59 | there may be an option that lets you
choose between the Mercury Playback Engine,
| | 01:04 | GPU Acceleration, or just Mercury
Plackback Engine Software Only.
| | 01:09 | If you have an older video card or a
video card that doesn't quite meet the
| | 01:13 | necessary specs, for hardware acceleration,
this will be grayed out because
| | 01:17 | your only choice is software.
| | 01:20 | The bottom-line is you shouldn't
change this at all because Premiere Pro will
| | 01:24 | by default select the fastest solution.
| | 01:28 | The only other thing you may be a
little bit worried about is capture format,
| | 01:32 | if you're not working in DV or HDV,
but again, you can ignore this because
| | 01:36 | all this does is tell the application
what format you might be using if you
| | 01:41 | need to capture from tape.
| | 01:42 | We actually explore this in more detail
in the capturing video section of this course.
| | 01:48 | The only two things you really need to
focus on is where you want to save your
| | 01:52 | project file and what you want to call it.
| | 01:55 | You can click on the Browse button and
select the location where your project
| | 01:59 | files should be saved.
| | 02:01 | By default it's going to save it
in the last location that you saved
| | 02:05 | your previous project.
| | 02:07 | For now I'm going to save it on my
Desktop so I can easily throw it away when
| | 02:12 | I'm done recording this movie.
| | 02:14 | So I'm going to click on Browse,
choose Desktop, and press Choose.
| | 02:19 | Once that's been defined, go
ahead and give your project a name.
| | 02:24 | You shouldn't leave it as untitled,
otherwise you'll have dozens and dozens of
| | 02:27 | programs all over your computer named
Untitled, and you won't be able to find the
| | 02:31 | one you're looking for.
| | 02:33 | So I'm going to call this
Introduction to Premiere and press OK.
| | 02:38 | It's this dialog box that at first may
seem a little scary, but don't panic.
| | 02:43 | All it's really doing is asking you to
choose the settings for the sequence
| | 02:47 | that you're gonna edit your
footage into. And guess what?
| | 02:50 | If you press Cancel, you'll be able to
automatically generate a sequence that
| | 02:55 | matches your video clips
with a simple click and drag.
| | 03:00 | If you know you do have to edit to a
specific format that's different from
| | 03:05 | the footage that you have, you can go ahead
and drill through this list and select that.
| | 03:11 | But to get started, let's go ahead and
click Cancel and get into learning more
| | 03:16 | about Adobe Premiere Pro.
| | 03:19 | And now you're greeted with the
Premiere Pro interface, and we're going to
| | 03:23 | explore this interface in the next movie.
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| A tour of the interface| 00:00 | In this movie we are going to take
a quick look at the interface for
| | 00:04 | Adobe Premiere Pro 6.
| | 00:06 | Now first off, your screen may look different
than my screen for a couple of reasons.
| | 00:12 | First of all, the resolution of my
screen is pretty low so you can actually see
| | 00:16 | everything in this movie, it's 1280x720.
| | 00:20 | And your screen maybe a lot larger, so
the icons may appear smaller, and you
| | 00:24 | actually may see more detail.
| | 00:26 | But don't worry about that, if you want
you can just sit back and watch and see
| | 00:30 | where everything is.
| | 00:32 | If you've played with Premiere Pro
prior to watching this movie, you may have
| | 00:37 | moved some things around
already, and it may not match.
| | 00:41 | In that case, you may want to go up to
the Window dropdown menu under Workspace
| | 00:47 | and select Reset Current Workspace.
| | 00:50 | This is really useful if you've moved
things around anyway, and you want to get
| | 00:54 | back to the default setting.
| | 00:57 | Now that we've gotten that all cleared
up, let's take a look at the interface
| | 01:01 | for Adobe Premiere Pro 6.
| | 01:04 | Let me quickly go through the
four main areas of the interface.
| | 01:10 | In the upper left-hand corner is your
Source Monitor, and this is where you'll
| | 01:16 | decide the in points and out points of
your clip, for instance where a clip may
| | 01:20 | start and end, because you'll probably
be shooting a lot more video than you'll
| | 01:25 | be putting into your Timeline.
| | 01:27 | As you move over to the
right is your Program Monitor.
| | 01:32 | Now this is exactly what your
viewer sees. This is your finished show.
| | 01:36 | So if you've done any kind of compositing--
in this case the narrator, which we've
| | 01:41 | put over a generic background because
she was shot on green screen. And as I
| | 01:45 | play my video in my Timeline, this will update.
| | 01:49 | Now the Timeline is directly
underneath the Source Monitor, and as you see,
| | 01:55 | there is a variety of colored clips
here: lines that say Video 1, 2, and 3 and
| | 02:00 | Audio 1 and 2. The Timeline--or it's
sometimes referred to as your sequence--is
| | 02:06 | basically a graphical view of your
program from beginning to end, where
| | 02:12 | everything on the left is the
beginning of the show and everything on the
| | 02:15 | right is the end of the show.
| | 02:17 | And if I press the Spacebar to play
the Timeline, you'll see that the Program
| | 02:23 | Monitor will update and show me
exactly what my viewer will see.
| | 02:27 | (female speaker: --the sun, and it's
literally lighting up their lives.)
| | 02:31 | (music playing)
| | 02:37 | Now as we continue clockwise around
the interface, on the far left corner is
| | 02:42 | your Project Pane, and this is where all
your media is stored as well as copies
| | 02:49 | of your sequences, or your Timeline.
| | 02:52 | Now you also maybe noticing that in
each of these four primary areas there
| | 02:58 | is additional tabs.
| | 03:00 | This one as you can see it says Project
Interface, Media Browser, Info, Effects,
| | 03:06 | and then I start running out of space.
| | 03:09 | If you are using a higher resolution
monitor, you may not be running out of
| | 03:14 | space, but I want to point out
something that's very useful.
| | 03:16 | Right above each of the tabs and each
of the quadrants is a little Slider Bar,
| | 03:20 | and I can move this slider left
and right to see more areas that may be
| | 03:26 | obscured because my resolution is smaller.
| | 03:30 | And you'll notice this is available
not only in the lower left pane, but in
| | 03:34 | every pane that has a variety of tabs.
| | 03:38 | Now we'll look at customizing the
Adobe Premiere Pro 6 interface in a later
| | 03:43 | movie, but this gives you an
idea of the four main areas.
| | 03:46 | There is a couple of other things I just
want to point out before we get started,
| | 03:50 | and we'll go into a lot more detail as
we cover each one of these locations as
| | 03:57 | we are learning to edit.
| | 03:58 | On the far right are your audio
meters, and you'll notice when I play by
| | 04:02 | hitting the Spacebar...
(video playing)
| | 04:05 | ...I can actually see the volume levels or the
decibel levels of the program that I am creating.
| | 04:11 | To the left of the sequence are a
variety of icons which are your tools.
| | 04:16 | Now if you've ever worked in almost
any other piece of software--even word
| | 04:19 | processing programs--you know you
can switch to different tools to
| | 04:24 | accomplish different tasks.
| | 04:25 | And as we learn to edit, we'll
go over what each tool means.
| | 04:30 | You'll also notice underneath the source
and the program windows are a series of
| | 04:34 | buttons, and this is just like working
a DVD player where you can play, stop,
| | 04:40 | rewind, go to the beginning of the
show, and we'll go over these buttons
| | 04:44 | throughout the course.
| | 04:46 | But for now, you should have a general
sense of navigating and what each of these
| | 04:51 | windows do in Adobe Premiere Pro 6.
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| Customizing the window layout and the interface| 00:00 | One thing I love about the Adobe
Premiere Pro 6 interface is how easy it is to
| | 00:06 | customize to my specific editing style.
| | 00:09 | I can move things around very easily.
For instance, let's suppose I wanted a
| | 00:14 | lot more space in my Timeline, and I don't need
my Source or my Program Monitor to be as large.
| | 00:22 | All I have to do is hover my mouse
between those two sections, click and drag
| | 00:27 | up, and it dynamically scales
everything larger and smaller as I need it.
| | 00:34 | I can also do this by
moving things right or left.
| | 00:37 | So for instance, if I wanted to see
more detail in my Project panel, I can
| | 00:42 | simply click and drag that over to the right.
Or if I want less, I can drag over to the left.
| | 00:49 | Now what you noticed is that my Tool
panel--which was directly between the
| | 00:54 | Project and the Sequence panel--got
huge, way larger than I needed. Well, this
| | 00:59 | too, is infinitely customizable.
| | 01:02 | So to shrink that down, I simply place
my cursor between those two panels and
| | 01:07 | drag to the left, and as you can see
the icons are dynamically adjusted to take
| | 01:13 | advantage of the space that I give it.
| | 01:16 | Now I have been moving things around a
lot, so I am going to go ahead and reset
| | 01:19 | the panel, but I am going to
show you a few more things.
| | 01:23 | So if you ever completely mess up your
windows, remember, you can go down to
| | 01:27 | Window > Workspace and simply click
Reset Current Workspace, and that will bring
| | 01:33 | you back to the default.
| | 01:35 | And you won't do this by accident,
because every time you try it it's going to
| | 01:39 | give you a warning box to make sure
that's what you really want to do.
| | 01:44 | So, of course, we are going to click on Yes,
and as you see, it returns to its default setup.
| | 01:50 | Now I am not limited with just changing
the size of each of these windows.
| | 01:55 | I can actually move windows
around to different locations.
| | 01:58 | A lot of times when I am editing, I
really want all the media in my project file
| | 02:05 | to be in the upper left-hand corner.
| | 02:07 | So I can grab the tab, and I can
start moving it around the interface.
| | 02:12 | As my cursor hovers over different
windows you'll notice that you'll see
| | 02:16 | a purple highlight.
| | 02:18 | Now if I place my cursor a little bit
higher, a little bit to the left, a little
| | 02:23 | bit to the right or even at the
bottom, I will get a different result.
| | 02:28 | First, let's see what happens if I let
go with the purple highlight directly in
| | 02:33 | the middle of this quadrant.
| | 02:35 | What Premiere has done is place that
tab adjacent to all the other tabs in this
| | 02:42 | window, and I can actually go to that
Slider Bar we learned about earlier and
| | 02:47 | see everything that I want, and my
Project panel is now a lot larger in the
| | 02:53 | upper left-hand corner.
| | 02:55 | Now I am going to go ahead and move
it back to where it was. I am going to
| | 02:58 | simply drag it down to the bottom and
let go with the purple box dead center and
| | 03:02 | as you see it returns to that same
location, but it's now on the far right
| | 03:07 | instead of on the far left.
| | 03:09 | Now I can move these back left and
right and customize that and position
| | 03:13 | these anywhere I want.
| | 03:15 | Another thing I can do is instead of
grabbing it and dragging it and dropping it
| | 03:20 | dead center, what would happen if I
dropped it left or right or top or bottom?
| | 03:25 | Well, I am going to go ahead and drop
it left for now, and what you see is it
| | 03:30 | actually creates an entire new
frame with just my project information.
| | 03:36 | So instead of putting it inside the
existing frame, it puts it the right.
| | 03:41 | I am going to go ahead and drag it down,
drop it in the middle, so you can see
| | 03:45 | where we were originally, and do the same thing
and drag it over and drop it, say, on the bottom.
| | 03:53 | So you can see it's very easy to
position windows exactly where you need them.
| | 03:58 | And if you are running off two
monitors, this is great because you can
| | 04:02 | customize your setup anyway you want.
| | 04:05 | You can also do this with your
toolbar and with the audio meters that we
| | 04:10 | learned about earlier.
| | 04:11 | So I can grab those panes, and I can say,
yeah, I like my toolbar up top, simply
| | 04:17 | let go, and it places the toolbar at
the very top, giving it way more space than
| | 04:21 | necessary so I can simply grab in
between, slide it up, and now my toolbar is
| | 04:28 | conveniently located at
the very top of the screen.
| | 04:31 | So as you can see, you can customize it
anyway you want, but take into account if
| | 04:36 | you do customize it, your screen may
look a little bit different than my screen
| | 04:42 | as you watch these movies.
| | 04:44 | There's one other really important
keyboard shortcut that I want to show you
| | 04:49 | that's great when customizing your interface.
| | 04:52 | What's really cool about Adobe
Premiere Pro 6--and let me go ahead and scroll
| | 04:57 | all the way over to a window that will
take advantage of it, so I am going to
| | 05:01 | simply slide over to where I can see
Source and click on that.
| | 05:04 | So this is my original clip.
| | 05:06 | If I press the Tilde key, it makes
that one panel full screen, and now I can
| | 05:13 | really see all of my tabs
without having to deal with the slider.
| | 05:17 | Let me go ahead and press the Tilde
key again and step back over here to this
| | 05:22 | pane, and again, press the Tilde key--
and as you can see I can very quickly step
| | 05:28 | between all of my tabs.
| | 05:30 | Now that we have kind of moved
everything around, let's go ahead before we
| | 05:34 | move on, click on Workspace and
point out one more thing which is once I
| | 05:40 | create a Workspace that I really
like I can always save that as a New
| | 05:44 | Workspace, and if necessary move it
from one machine to another one through
| | 05:50 | the Import Workspace button.
| | 05:52 | You'll also notice that there's
different window configurations if you are
| | 05:56 | working with Audio, Color Correction,
Editing--which is what we are doing--as
| | 06:01 | well as working with effects and
working with metadata, and if you are used to
| | 06:07 | the previous version of Adobe Premiere Pro,
you can even jump back to the way 5.5
| | 06:12 | was set up, but I don't
think you want to do that.
| | 06:15 | The most important one for you is Reset
Current Workspace because that gets you
| | 06:20 | back to exactly where you want to be.
| | 06:25 | For most of this course we are going
to be working with the default editing
| | 06:29 | Workspace, but I do want to point out
that there is often a additional windows
| | 06:34 | that you may want to open up when you
are doing specific actions, and these can
| | 06:39 | be found under the Window dropdown menu,
and this is true on both the Macintosh
| | 06:44 | operating system and the
Windows operating system.
| | 06:49 | By now you should have a basic sense of
what each of these windows do and be a
| | 06:55 | lot more comfortable with the
Adobe Premiere Pro 6 interface.
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| Exploring the different ways to drive Premiere Pro CS6| 00:00 | Now the good thing about Adobe Premiere Pro
is there's lots of ways to do everything.
| | 00:07 | The bad thing about Adobe Premiere Pro
is there's lots of ways to do everything.
| | 00:12 | So what I'm going to go over in this
movie is the variety of different ways you
| | 00:16 | can edit based upon your personal
preference, and your personal style.
| | 00:21 | So as you can see, we're back to our
vanilla interface, the only difference is
| | 00:26 | I've imported some video clips for us to
work with just so you can see different
| | 00:31 | ways that you can move around the interface.
| | 00:35 | So what we are going to do is in the
lower left-hand corner of your screen you
| | 00:39 | see I have my Project window, where I have
already populated it of clips in media.
| | 00:45 | Now you're only seeing two folders
here because of my screen resolution.
| | 00:50 | I'm going to go ahead and press the
Tilde key that we learned about earlier to
| | 00:54 | make this full screen.
| | 00:56 | And as you can see, there's a variety
of folders where I have organized all my
| | 01:00 | media by whether they are graphics or
color correction or B-roll, and we are
| | 01:04 | going to look at that in much more detail
when we actually explore the Project window.
| | 01:09 | But for now, I'm going to switch from an
icon view by pressing the button in the
| | 01:14 | lower left-hand corner from Icon to a
List View so you can see where I'm getting
| | 01:20 | the footage that we'll be working from.
| | 01:22 | And just to keep things simple, we'll
work with the footage in the B-roll
| | 01:26 | library so I am going to click on
the triangle and reveal the contents of
| | 01:32 | what's inside the B-roll library.
| | 01:34 | I'm going to press the Tilde key to now
shrink this window back and make it look
| | 01:38 | a lot more like what you're probably
seeing, and I'm going to bring the clip from
| | 01:44 | the Project window into my Source clip
to make in and out points, and I can do
| | 01:49 | that in a lot of different ways.
| | 01:50 | I can simply double-click to load
something in, or I can actually click and drag
| | 01:57 | and drop it in that window and that
allows me to load the clip into my Source
| | 02:02 | window to mark in and out points.
| | 02:04 | So as you can see, dragging and
dropping is a very convenient way to edit.
| | 02:11 | In addition to dragging and dropping,
there is a variety of buttons, and if I
| | 02:15 | wanted to play this clip I can
simply press the Play button...
| | 02:18 | (video playing)
| | 02:20 | ...and we can see the light is still on,
but if I want actually scrub through it,
| | 02:25 | I can again do lots of dragging
and see the light turn on and off.
| | 02:29 | So dragging around with your mouse
is one very useful way of working in
| | 02:35 | Adobe Premiere Pro 6.
| | 02:36 | As a matter of fact, if I choose to put
this clip into my Timeline, I can either
| | 02:41 | drag it left to right and create and
edit or even drag it down to the Timeline
| | 02:46 | and drop it exactly where I want it to be.
| | 02:48 | So as you can see, dragging and dropping
is one way of driving Adobe Premiere Pro 6.
| | 02:55 | In addition to dragging and dropping,
you can also do a lot of things
| | 02:59 | with dropdown menus.
| | 03:01 | So I could go to the Edit dropdown menu,
I could do things such as Undo, File,
| | 03:06 | work with Project Settings, Clip Settings.
| | 03:08 | So a lot of what you may want to do
can also be done with dropdown menus from
| | 03:13 | the top part of your screen.
| | 03:15 | Keyboard shortcuts are another way
that you can drive Adobe Premiere Pro 6.
| | 03:19 | So for instance, I can actually scan
through my clip by pressing the Spacebar
| | 03:25 | instead of pressing the little Play
button, and I can also create my edits by
| | 03:31 | pressing keyboard shortcuts such as the Period
key to bring a clip directly into the Timeline.
| | 03:39 | Another important thing to know is
that you can also right-click in the
| | 03:44 | interface--or if you don't have a two-
button mouse Ctrl-clicking--and that will
| | 03:48 | also reveal different things that you
can do with the clip, but realize this is
| | 03:53 | context-sensitive so depending on
where your mouse is hovering when you
| | 03:58 | right-click you might get different options.
| | 04:01 | The last thing I want to point out is
that in the upper right-hand corner of
| | 04:05 | each of the panels you can see a
flyout window or a dropdown box, and if you
| | 04:11 | click on this again, you'll see
many other options on how you can drive
| | 04:16 | Adobe Premiere Pro 6.
| | 04:18 | Now don't worry about remembering all
of this now, I just want you to realize
| | 04:23 | there is a lot of different ways to
edit in Adobe Premiere Pro 6, and they are
| | 04:29 | all right. It's whatever works best for you.
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| Understanding system configuration and the Mercury Playback Engine| 00:00 | I'm going to very quickly talk about
System Configuration and the Mercury
| | 00:04 | Playback Engine, and this is pretty
geeky, so don't feel bad if it's a little
| | 00:09 | bit confusing. There is just a
couple of things you need to know.
| | 00:13 | You've probably read in the marketing
material from Adobe that they use this
| | 00:16 | thing called the Mercury Playback Engine
to make everything work faster, quicker, and smarter.
| | 00:22 | Well, the Mercury Playback Engine is not
really a physical item, it's actually a
| | 00:26 | combination of how much RAM you have in
your computer, how fast your video card is
| | 00:33 | and how much memory it has, and how
many processors you have in your computer
| | 00:38 | and how fast they run.
| | 00:40 | All those combined create what's
called the Mercury Playback Engine.
| | 00:45 | So for best practices, the more
RAM you have in your computer, the
| | 00:49 | faster Premiere will run.
| | 00:51 | So for instance, on this Macintosh,
I can very quickly find out about how
| | 00:56 | much RAM I have, and in this case I have
6 gigabytes of RAM installed on this computer.
| | 01:02 | That's actually pretty low. This system
will run well, but the more RAM I throw
| | 01:07 | at it the faster a lot of things will happen.
| | 01:10 | As a matter of fact, some computers can have
16, 32, 64, even 192 gigabytes of RAM.
| | 01:18 | I think that might be a
little bit much if you get 192.
| | 01:22 | But I do recommend the starting off
with 12 gigabytes of RAM is going to give
| | 01:26 | you much more robust performance.
| | 01:30 | The second thing is the
processor inside of your computer.
| | 01:33 | Now a lot of computers not only
have a single processor, but they have
| | 01:37 | multiple dual and quad core processors that
all work together to make things happen faster.
| | 01:44 | The faster your computer, the more
responsive again Premiere Pro will be.
| | 01:49 | The final part of the equation is
the video card in your computer.
| | 01:54 | Now most people don't realize that the
graphics card not only has RAM on it,
| | 02:01 | just like your computer, but
they are also rated for speed.
| | 02:04 | So some of the newer graphics cards can
have 1 or 2 gigabytes of RAM--mine has
| | 02:10 | about 1 & 1/2--and they're designed to
handle a lot of the video processing and take
| | 02:16 | the load off the CPU inside your computer.
| | 02:20 | If you don't have one of these fancy
graphic cards, the newer graphic cards,
| | 02:25 | don't worry about it, because Adobe
Premiere Pro 6 can leverage the power of
| | 02:29 | your processors and the power of your
RAM and give you pretty great performance.
| | 02:35 | So really that's all the
Mercury Playback Engine is.
| | 02:38 | It's a combination of all
three of these elements.
| | 02:42 | The newer and faster your computer,
the more layers of video you can create
| | 02:47 | without having to wait for it to
calculate that fuzzy glow as something
| | 02:53 | flies across the screen.
| | 02:55 | So if you're finding that the
performance of Adobe Premiere Pro is not as robust
| | 03:00 | as you think it should be, adding a
little more memory or maybe even swapping
| | 03:06 | out the video card in your
computer could be the solution.
| | 03:09 | Upgrading to a brand-new computer with
lots of RAM, of course, is the best answer,
| | 03:15 | but probably not for your wallet.
| | Collapse this transcript |
| Adjusting essential preferences| 00:00 | In this movie let's take a quick look
at where the preferences are located and
| | 00:05 | maybe a couple of changes you can make
to make your workflow a little easier.
| | 00:09 | Now if you're working on a Mac the preferences
are located under Premiere Pro > Preferences.
| | 00:15 | If you're working under a PC, it's
located under the Edit menu at the very
| | 00:20 | bottom of this list.
| | 00:23 | Now when you open up the Preference
menu it really doesn't matter which one you
| | 00:27 | select--we are going to start with
General--but as you can see there is a
| | 00:30 | variety of tabs here that
I can go back and forth.
| | 00:34 | Now when you are first learning to
edit, the default settings are exactly what
| | 00:39 | you need, and as we go through the course
we may suggest some changes, but again,
| | 00:43 | depending on how you decide to drive
Adobe Premiere Pro, you'll be able to make
| | 00:49 | these settings or preferences
exactly the way you want them.
| | 00:53 | And for instance, how long do you
want your video transitions to be?
| | 00:57 | Now you'll discover that instead of
talking in terms of one or two seconds you
| | 01:01 | talk in terms of frames.
| | 01:03 | Video is usually recorded at 30
frames a second, some video cameras such as
| | 01:08 | DSLR cameras you can set to 24 frames a second,
so you can choose how long a dissolve will be.
| | 01:14 | But again, don't sweat it at this point
you can always change these preferences
| | 01:19 | any time during the editing process or
even once you've added, say a transition,
| | 01:24 | you can still make them longer or shorter.
| | 01:26 | There is a huge list that you can go
down, and we're not going to go down and
| | 01:30 | cover each one because you'll
probably fall asleep by the third click.
| | 01:34 | But I want you to know
where the preferences are.
| | 01:37 | And one of the things I do like to
adjust is the brightness of the interface.
| | 01:42 | Now if I slide this over to the right
I can get a much brighter interface and
| | 01:49 | this is nice for being able to see things,
but if you're editing for a long time
| | 01:55 | for hours and hours at a stretch, it's
better to have a darker interface because
| | 02:01 | your eyes will get less fatigued.
| | 02:03 | We can go down and see these different
types of audio hardware and mapping. One
| | 02:08 | thing I do like to change is the Auto Save.
| | 02:11 | Adobe Premiere Pro will actually
automatically save a clone of your project
| | 02:18 | every X number of minutes, and you
can save a certain number of projects.
| | 02:22 | I like to suggest to editors that are
learning to work with Premiere Pro that
| | 02:28 | maybe making mistakes and need to step
back in time to automatically save every
| | 02:33 | 5 minutes instead of every 20 minutes.
| | 02:36 | And then if you want to you can save
beyond five versions you can say 10 versions,
| | 02:41 | so now you can go back in
time an hour in case you've discovered
| | 02:46 | you've made a critical mistake in
your edit, and you wish you had an earlier
| | 02:50 | version of your show.
| | 02:52 | You can access these auto saves in
the same location where you've been
| | 02:56 | saving your projects.
| | 02:58 | For now I'm simply going to go ahead
and close the Preferences window, but we'll
| | 03:02 | be opening it up and making
some changes throughout the course.
| | 03:06 | There is one other change that I'd
like to suggest, and that's back under the
| | 03:11 | Windows setting under
Workspace that you saw earlier.
| | 03:15 | There is a check box here that says
Import Workspace from Projects, which you
| | 03:21 | can toggle on and off.
| | 03:24 | If there is a check box next to it, it's
on, which is what the default is, and if
| | 03:28 | it's unchecked it's off.
| | 03:30 | What that means is that if you open an
existing project, however you had your
| | 03:35 | Workspace laid out no matter what it
was prior to opening it, it will remember
| | 03:41 | the layout of the screen.
| | 03:43 | And that's great in some cases, but
other times if you're getting a project
| | 03:48 | handed off from somebody, or you've
completely trashed your Workspace and reset--
| | 03:53 | doesn't take you back to the default--
| | 03:55 | if you uncheck that, next time you open
up a project it'll match the layout a
| | 04:00 | Premiere prior to opening that.
| | 04:03 | Now in some cases you completely want
to erase all of your preferences, and you
| | 04:10 | can do that very easily with a
keyboard shortcut when you launch Premiere.
| | 04:15 | If you're on a Mac if you hold down the
Shift and the Option key when launching
| | 04:20 | Premiere or on a PC if you hold down the
Shift and the Alt key during the launch
| | 04:26 | process, when Premiere opens up all
your preferences will be reset back to the
| | 04:32 | defaults and all the movies that are on
the upper left-hand corner that would've
| | 04:37 | been listed there before are completely gone.
| | Collapse this transcript |
|
|
2. ImportingImporting files and folders| 00:00 | Well, now that you have a better
understanding of the Adobe Premiere Pro
| | 00:04 | interface and some of the preferences
that you may want to adjust, let's go
| | 00:08 | ahead and import some video,
so we can start editing.
| | 00:13 | But before we import any video, I have
to stress one very important thing when
| | 00:18 | working with Adobe Premiere Pro 6 and importing media.
| | 00:22 | You're never really actually bringing
the media into your project file, all
| | 00:28 | you're doing is pointing to where the
media is, whether it's on your internal
| | 00:33 | hard drive and attached hard
drive or even on a camera card.
| | 00:37 | Think of it as a shortcut or an alias
to where that media is, and the reason
| | 00:43 | this is critical is that if you unplug
an external hard drive, or if you unplug
| | 00:49 | the camera card, that media will go off-line
because Adobe Premiere Pro won't
| | 00:55 | know where to look because that card is
not there anymore, but what's even more
| | 01:00 | dangerous, if you write over that card
or you take the media off that attached
| | 01:05 | hard drive, it's gone for good.
| | 01:08 | So best practice is always take your
media and copy it to your internal hard
| | 01:15 | drive or to a media hard drive, and
then import that media into Premiere Pro.
| | 01:22 | So it will always live in a local location,
and you won't have to worry about losing it.
| | 01:29 | With that said, let's go
ahead and import some media.
| | 01:33 | Now as I said earlier, there's lots of
ways to drive Adobe Premiere Pro 6, you
| | 01:38 | can use pull down menus,
keyboard shortcuts as well as clicking.
| | 01:43 | You can always go to File, and Import
and use it with a pull down menu, and as
| | 01:48 | you can see there is a keyboard
shortcut associated with that, on the
| | 01:52 | Macintosh, it's Command+I, on Windows
is Ctrl+I, but even simpler, I just like
| | 02:01 | to double-click in the Project pane and
that automatically opens up an Import dialog box.
| | 02:07 | Now, the Import dialog box will go
back to the last location that you
| | 02:12 | imported footage from.
| | 02:14 | In this case, it was the Media folder.
| | 02:17 | Now if you are a premium lynda.com
subscriber, you will have downloaded the
| | 02:22 | exercise files, and inside that folder
there will be a folder called Media.
| | 02:28 | But you can always use your own
media and follow along just the same.
| | 02:33 | So if I wanted to say bring in this
clip here, Avocados, I can simply select it
| | 02:39 | and click Import, and as you can see the
clip appears immediately in my project.
| | 02:46 | Now importing this way is good, but there's
an even a better way to import Media into
| | 02:53 | Premiere Pro and that's using the Media Browser.
| | 02:57 | Now the Media Browser should be
directly adjacent to the Project pane.
| | 03:02 | Go ahead and click on the Media Browser,
and I'm going to press the Tilde key to
| | 03:08 | enlarge this to full screen.
| | 03:10 | Remember the Tilde key--or some people
call it the Grave key--is located in the
| | 03:15 | upper left-hand corner of your keyboard.
| | 03:18 | Now it's much easier to see my file directory.
| | 03:21 | Once again, I'm working on a Mac, but it works
exactly the same way on a Windows machine.
| | 03:28 | Now I have two choices in how I
want to review the Media Browser.
| | 03:33 | What we are seeing here is an Icon view,
but I can also go down in the lower
| | 03:38 | corner and switch this to a List view.
| | 03:41 | So, for some of you who are used to
using file directories, you may want to
| | 03:45 | switch to the List view to navigate
to the Media folder that came with the
| | 03:50 | exercise files or to your own media.
| | 03:54 | I know that my media is located on my
desktop, and inside the folder called
| | 04:00 | Exercise Files > Media, and here's a
list of all the media that's available
| | 04:06 | in the Media folder.
| | 04:08 | But remember, I said importing wasn't
quite as good as using the Media Browser,
| | 04:13 | and this is where it gets really cool.
| | 04:15 | Instead of looking at this as a
List view, I'm going to switch back to a
| | 04:18 | Thumbnail view, and what you will see
is little picture icons of every single
| | 04:24 | clip that's available to you.
| | 04:26 | There is also a little slider down here,
and I can move that slider from little
| | 04:32 | mountains on the left, to massive
mountains on the right, and it actually
| | 04:36 | scales up my images.
| | 04:39 | So, depending on your screen resolution,
you may want to move that a little bit
| | 04:43 | to the right, so you can see what's
happening in each of these picture icons.
| | 04:48 | But we are not going to stop just
there, because sometimes you have no idea
| | 04:53 | what the shot is--for instance, Green
Screen Clean. Is there a narrator?
| | 04:59 | Is there not a narrator?
| | 05:00 | Well, Adobe Premiere Pro 6 has
something called Hovers Scrub, and I can simply
| | 05:05 | hover my mouse over any of these icons
and move it left and right and actually
| | 05:11 | see what happens in that video.
| | 05:13 | So, as you can see here I can the
single light bulb turns on, and in this case I
| | 05:19 | have the CFL light bulb, which also turns on.
| | 05:23 | If I click on any of these images, I
actually get a little scrubber bar down
| | 05:28 | here, and I can actually scroll through the video
to make sure that's the clip that I want.
| | 05:35 | Now another benefit of the Media Browser
is that I can look at a variety of file types.
| | 05:41 | So in this folder we have still images,
we have music, I have graphics,
| | 05:48 | I have video, and if I want to find
something very quickly, I can click on All
| | 05:52 | Supported File types, and instead of
seeing everything, I can say, you know
| | 05:56 | something, I just want to look at my
JPEGs because I want to find a specific
| | 06:01 | photograph, and now I'm looking at
only the JPEGs that are in that folder.
| | 06:08 | I can also keyword search so if you're
looking at a folder that maybe has JPEGs,
| | 06:12 | but thousands of JPEGs, and you know
the name of the JPEG you can actually type
| | 06:18 | it in find it immediately,
and then go ahead and import it.
| | 06:22 | Now if I wanted to import just one image,
I can select it and the first thing, I
| | 06:28 | would do is I would just simply right-
click can say Import, as you see it tells
| | 06:34 | me its importing the files, I'm going
to step back into my Project folder, and I
| | 06:38 | can actually see the Media is already here.
| | 06:42 | But I don't want to
bring these in one at a time.
| | 06:44 | I can select a range of clips by
lassoing them and import them, or I can bring an
| | 06:51 | entire folder in all at once.
| | 06:55 | I'm going to switch back from JPEG to
All Supported Files, and then I'm going to
| | 07:00 | step up to the Parent directory.
| | 07:03 | This may look slightly different on a
Windows machine, but you should be used to
| | 07:08 | navigating through your operating system.
| | 07:11 | When I step up, I see the entire Media
folder, at which point I can right-click
| | 07:17 | on the entire Media folder
and import the media that way.
| | 07:21 | I can also--if I'm in the List view--
simply grab the Media folder and drag it
| | 07:27 | and put it directly on top of my
Project folder, place it anywhere I want,
| | 07:33 | I'll see a hand with plus sign,
and simply let go of my mouse.
| | 07:38 | At this point, Adobe Premiere Pro is
importing all the files--now when I say
| | 07:43 | importing, remember it is just pointing to where
the original media is on your hard drive.
| | 07:50 | Now if you move that media, Premiere Pro
will lose its location, and you'll have
| | 07:55 | to reconnect that media.
| | 07:58 | Now we'll cover that in a later movie.
| | 08:01 | Now you'll notice that because I
brought the media in as a folder, it's
| | 08:07 | organized inside of a folder instead
of as individual clips at the top level.
| | 08:13 | Now I can simply go back to the List
view and reveal the contents of that
| | 08:18 | folder, select any clips that I want
and drag them out of the folder to the
| | 08:24 | top level. We'll look at organizing the Project
panel in greater detail in an upcoming movie.
| | 08:32 | Now I want to point out one more
thing that's very useful when importing
| | 08:38 | using the media browser.
| | 08:40 | I'm going to go ahead and Delete all
of this media because I've actually
| | 08:45 | organized all of this media in
separate folders at the finder level.
| | 08:50 | So I'm going to simply Select All and
press Delete, which removes the media
| | 08:55 | from my Project file.
| | 08:57 | Now remember, we were pointing to the
original media. This doesn't harm the
| | 09:01 | original files on your hard drive in any way.
All I'm doing is deleting this shortcut.
| | 09:08 | Now if we jump back to the Media
Browser, and we step out of this folder, I want
| | 09:14 | to point out that I have a folder on my
desktop which you don't have, which is
| | 09:17 | called Media Organized.
| | 09:20 | We put all of your media in a single
media folder so that it's easier to
| | 09:25 | reconnect the media to the exercise files.
| | 09:28 | But I've organized this in advance because
I wanted to show you something really cool.
| | 09:32 | I'm going to go ahead and hide the
Premiere Pro interface for one moment to show
| | 09:37 | you the contents of that folder.
| | 09:39 | On my desktop is the folder called
Medial Organized, and if I double-click to
| | 09:44 | open up the contents, you can see I've
divided my footage based upon the type of
| | 09:50 | footage it is, B-roll, interviews,
shaky footage, things that I want to do
| | 09:56 | speed changes on, my green screen,
I've already pre-organized it. And I don't
| | 10:00 | want to have to do this twice so I'm
going to go ahead, close this out, switch
| | 10:05 | back to Premiere, and now if I click
on this folder for Media Organized and
| | 10:12 | open that up, there is all of my
organized folders, I can simply select them
| | 10:17 | all and import them.
| | 10:22 | So this is awesome. All of my organization
is still there, and I don't have to
| | 10:28 | worry about reorganizing
my footage after the fact.
| | 10:32 | As a side note, if you're a Windows
user, and you're worried about importing
| | 10:36 | QuickTime movies--even if you don't
have QuickTime on your operating system--
| | 10:40 | you can import them into Premiere Pro
because it understands all of the
| | 10:44 | standard QuickTime codecs and can
play them back without any additional
| | 10:48 | software needing to be downloaded.
| | 10:51 | As you can see, the media browser for
importing your footage is a lot more
| | 10:57 | robust than importing footage
through the simple Import command.
| | Collapse this transcript |
| Importing card-based media| 00:00 | Now importing files that are already
on your hard drive or on external hard
| | 00:06 | drive or even on some cards--like off
of a Canon DSLR camera--is pretty easy
| | 00:11 | because you can simply either use the import
command or you can use the media browser.
| | 00:16 | However, other card-based media is a little
more difficult, and I am going to show you why.
| | 00:22 | Let me go ahead and hide Premiere Pro
and show you an example of what the
| | 00:28 | folder structure looks like inside of a
card that you may have recorded your movies to.
| | 00:35 | And you can see on my desktop I
have a folder here called card.
| | 00:39 | Now this could be a card such as AVCHD
format that some consumer cameras use,
| | 00:46 | there are others formats
Panasonic's P2, there is Sony's XD cam.
| | 00:50 | But if you look inside any of these
cards by double-clicking on the folder, you
| | 00:55 | see inside there is something that
might say contents, and then you can drill
| | 00:59 | down even deeper, and there's
lots of folders inside here.
| | 01:03 | And you might think, "Oh I'll
just grab the video," but one:
| | 01:07 | it's a strange format and the way these
cameras record your video is the audio
| | 01:13 | might be recorded separately.
| | 01:15 | There is something called metadata
or information about the file in a
| | 01:18 | different folder, so these all had to be combined
to create a movie file that you can watch.
| | 01:24 | So a traditional import command would not work.
| | 01:29 | And that's where the beauty of
the media browser comes into play.
| | 01:34 | Let's go ahead and close
this and go back to Premiere Pro.
| | 01:38 | Now if I try to import through the
traditional import method, and I pointed at
| | 01:43 | this card that's on my desktop, it
won't be able to bring this. And if I click
| | 01:49 | import it would get confused, it
wouldn't bring in all the media, and it would
| | 01:53 | actually give me a generic error.
| | 01:55 | And we know that generic errors are
the ones that we should most fear.
| | 01:59 | So let's go ahead and delete that
and switch over to the media browser.
| | 02:05 | Going back to my desktop in my Home
directory, once again I see the card.
| | 02:11 | Now if I select the card by double-clicking,
instead of seeing all that
| | 02:16 | information, I actually see video files.
| | 02:19 | Let me go ahead and press the
Tilde key to show you how this looks.
| | 02:24 | So instead of seeing all those
individual folders with all those files inside
| | 02:28 | that make no sense, I can actually see
the clips and the information about them.
| | 02:33 | I am going to switch over from the
List view to the Thumbnail view, and once
| | 02:39 | again, as you can see I can use Hover
scrub to see if these are clips that I
| | 02:44 | actually want to bring in.
| | 02:46 | Because not everything you shoot on
your card, you might want to bring in.
| | 02:50 | Often times I have at least 20 minutes
of the lens cap or at least my feet as
| | 02:55 | I'm running along trying to get a shot.
| | 02:58 | Now another thing that changes when it
looks at a card is instead of viewing as
| | 03:02 | file you see it automatically detects
in this case that the card was recorded
| | 03:08 | using the Panasonic P2 format.
| | 03:11 | So it's only showing me the information
on the card that is in the P2 format.
| | 03:16 | If for some reason--and this is unlikely--
you've thrown some additional media on
| | 03:21 | the card just because you want to use it
to move it from one machine to another,
| | 03:26 | if you switch back to File directory
you would actually see the card exactly as
| | 03:31 | I saw it when I closed Adobe Premiere,
and we looked at the file structure.
| | 03:36 | So let's step back up one level to
where we see the word contents, and I can
| | 03:41 | switch back from file
directory back to Panasonic P2.
| | 03:45 | But as you can see from the grayed out
list, there is a variety of cards that
| | 03:50 | the media browser can interpret.
| | 03:52 | Another thing to keep in mind, if you
are shooting on cards that sometimes when
| | 03:57 | you're shooting you can have two cards
in your camera and the video actually
| | 04:01 | flows from being recorded on
the first card onto a second card.
| | 04:05 | This is commonly referred to as spanned
media, which means the media spans across
| | 04:10 | the first card into the second card.
| | 04:13 | And the beautiful thing about the
media browser is it can import media that
| | 04:16 | crosses over from one card to
another, and it can do this automatically.
| | 04:21 | Once I've looked at the images that I
want, I can simply select them and just
| | 04:26 | like we did in importing files I can right-click
and import them directly into my project.
| | 04:32 | Now if you skip to the last movie
because you say I only work in cards, I want
| | 04:37 | to reinforce something that I said there,
and that is Premiere Pro only points to
| | 04:43 | the media that's on that card.
| | 04:46 | So if you input media off a card and
eject the card, it's going to go off-line.
| | 04:52 | And if you record over that card, you
are going to lose your media for ever, so
| | 04:57 | best practices says as soon as your
record onto a card, put that card into a card
| | 05:02 | reader, plug it into your computer, and
copy the entire card onto your hard drive.
| | 05:10 | I'm going to go back and close this
for just one second because this is a big
| | 05:13 | mistake that a lot of new editors do.
| | 05:16 | They put the card into their computer,
open it up and think they only need the
| | 05:20 | video files and just drag this folder.
| | 05:23 | If you do this you'll probably end up
losing all of your media, you won't have
| | 05:28 | any of your sound, any of the
proxies or any of the metadata.
| | 05:33 | So remember, when copying a card drag
the entire card, don't open it up, don't
| | 05:39 | change anything, don't add
anything, don't delete anything.
| | 05:44 | Popping back into Premiere Pro, we are
going to import these files, and you will
| | 05:50 | see they immediately appear in
the Projects section of our panel.
| | 05:55 | I'll just set the tilde key so this
returns to the exact same format that's
| | 06:00 | probably on your desktop.
| | Collapse this transcript |
| Capturing from tape| 00:00 | In this movie we are going to take a
quick look at capturing video off of tape
| | 00:05 | in Premiere Pro CS6.
| | 00:06 | Now, we are only going to spend one
quick movie if you have some legacy tapes.
| | 00:11 | If you really want to get into the details
of capturing from tape, you can watch the
| | 00:15 | Adobe Premiere Pro CS4 training on lynda.com,
which devotes an entire chapter to
| | 00:20 | capturing from tape.
| | 00:21 | And the basic functions haven't
changed, so it will still be valid.
| | 00:25 | But for now, let's do a quick capture.
| | 00:28 | You are going to create a New Project
and because of that there is no project
| | 00:31 | file for this movie and the important
things you need to do is select what
| | 00:37 | format you are capturing from.
| | 00:39 | You can capture from either DV or HDV
and this is important to select, because
| | 00:44 | this tells Premiere Pro what
protocols to use when talking to your camera.
| | 00:49 | Now we've recorded everything on DV,
so I am going to make that selection.
| | 00:53 | It's also important to name your
project, so we'll call this capture.
| | 00:58 | Now before you press okay, make sure you
select a location where you want your
| | 01:03 | project files, and your captured media to go.
| | 01:06 | So click on the Browse button, and in
our case I am going to just put it on
| | 01:10 | the desktop, because I know that I am going
to be deleting this after I finish the movie.
| | 01:15 | Press OK, and you're greeted with a
dialog box that we're used to seeing when
| | 01:20 | you need to actually
select your sequence presets.
| | 01:23 | Now if all of your footage is coming
from this tape, you can select a sequence
| | 01:27 | setting, but if this is just part of the
footage, go ahead and hit Cancel and let
| | 01:32 | Premiere Pro automatically set the
sequence settings when you drop that first
| | 01:36 | clip on your timeline.
| | 01:38 | We know that ours is DV widescreen,
so I will make that modification now.
| | 01:43 | Press okay, and we are
greeted by the familiar interface.
| | 01:47 | Now let's go ahead and plug in our
camera and make sure your camera is set to
| | 01:51 | playback mode or VCR mode as opposed
to record mode so you can actually take
| | 01:56 | control and bring in your footage.
| | 01:59 | The next step is going to the
File menu and selecting Capture.
| | 02:03 | If your camera is set to playback, you should
see this screen and probably the word Stopped.
| | 02:10 | As long as you don't see the word
No Communications, you should be okay.
| | 02:14 | I'm a go ahead and hit play just to
make sure that our tape is queued up to
| | 02:19 | where I want to start capturing.
| | 02:24 | Looks good, so let me go ahead and
press Rewind because we're going to capture
| | 02:28 | the entire tape from the beginning.
| | 02:30 | It's important before you start
capturing to make sure your tape is rewound.
| | 02:34 | Now the tape is at the very beginning,
and I am going to change just a couple of
| | 02:38 | pieces of information on the
right side and grab the entire tape.
| | 02:42 | Just so you know where your media came
from, go ahead and label the tape, and we
| | 02:45 | are going to call this Random B-roll,
and I'm going to name the clip as in just
| | 02:52 | generic B-roll because you'll see how
that will benefit me in just a moment.
| | 02:57 | Now we are going to capture the entire
tape, but one of the things you can do
| | 03:00 | with DV and HDV, you can have
Premiere Pro actually break your scenes
| | 03:05 | into individual clips.
| | 03:06 | So I am going to have to do a scene
detect and simply click on tape to capture
| | 03:11 | everything that I recorded.
| | 03:14 | The application will queue up the
tape and immediately start capturing.
| | 03:21 | So now we just shot some B-roll to
throw in as some temp footage, and this
| | 03:26 | is only four shots for us to capture.
| | 03:32 | Now as soon as it runs out of media on
the tape, it will actually pause, and we
| | 03:36 | can go ahead and close the capture window.
| | 03:40 | If you take a look in your Project
pane, you see there are the four shots
| | 03:44 | that we just captured, and it actually
called them B-roll and then appended
| | 03:47 | them with 02, 03 and 04.
| | 03:50 | So there you see the value of
labeling just one clip if you are going to
| | 03:55 | capture an entire tape.
| | 03:56 | Let me double-click and load one of the
B-roll shots into my source monitor.
| | 04:01 | I can scrub through it, see I have
captured exactly what I want, and I can work
| | 04:05 | with this clip just like any other
clip that I would in Premiere Pro.
| | Collapse this transcript |
| Organizing media| 00:00 | Now that you have an understanding on
how to import your media--whether it's on
| | 00:04 | files or cards or from a camera--you need
to organize all this media so it's
| | 00:11 | easier to work with.
| | 00:12 | So let's go back to the Project panel,
and I am going to hit the Tilde key to
| | 00:16 | bring it full screen because that's
what we are really going to focus on.
| | 00:20 | Now if you've been playing around as
you've been watching, your screen may look a
| | 00:25 | little bit different. You may have
switched over to the List view, but for now
| | 00:29 | make sure that you're in the icon view.
| | 00:32 | Once in the icon view of course, you
can make your images larger or smaller
| | 00:38 | to see more detail.
| | 00:39 | For now, I am going to keep mine on
the smallest view so I can see the
| | 00:42 | largest number of clips.
| | 00:44 | And we see, we have video clips with
audio--that's the little symbol right here.
| | 00:51 | If there wasn't any audio attached, you
would not see that symbol. For instance,
| | 00:55 | we have a photograph and that doesn't
have audio. We also--in some cases if the
| | 01:00 | title is short enough--we actually see
the suffix and see what kind of image it
| | 01:04 | is, whether it's a still or a
moving image or maybe a Photoshop file.
| | 01:09 | You'll also notice that as you hover
your mouse over the titles, you'll see
| | 01:13 | information about the type of media it is, the
size of the media, and how long the media is.
| | 01:21 | And up here in the upper left-hand
corner, I have just an audio file, and in this
| | 01:25 | case, it's an audio file that the
AIF, or non-compressed audio file.
| | 01:31 | Now if I take my mouse and put it over
any of the video images, you see you can
| | 01:35 | hover scrub as we learned earlier on,
when brought in this footage with the
| | 01:40 | media browser, and if I wanted to click
on any of these, the hover scrub stops
| | 01:45 | here, but I get a little yellow line, and
I can scrub through the image and hear
| | 01:50 | the image as I scrub through
it by grabbing this little bar.
| | 01:55 | And then again, as soon as I move off
that image I can hover scrub and look
| | 01:59 | at any images I want.
| | 02:00 | So working in the Project panel is great in Icon
view, but let's take this to the next level.
| | 02:08 | There are some preferences I can
change that may make working in the Project
| | 02:13 | panel a little bit more to my personal liking.
| | 02:16 | And I can do this by clicking on
this flyout or dropdown menu on the
| | 02:21 | upper right-hand side.
| | 02:23 | Now there is a lot of things I can do
to change the configuration of my screen,
| | 02:27 | but what I really want to do is I want
to go to the bottom area, and I want to
| | 02:32 | look at these three selections.
| | 02:34 | The first one which is unchecked is
Preview Area, now if I click on that take a
| | 02:39 | look at what happens in the upper left-hand
corner of the screen. It actually
| | 02:45 | brings up a small icon which I can slide
through, I can hit a Play button, and it
| | 02:50 | gives me all the metadata about that file.
| | 02:54 | And this is nice if you're quickly
jumping through images, and you don't want to
| | 02:57 | do that hover to find out
details about that piece of media.
| | 03:02 | So I can simply click through.
I can see the name of the clip.
| | 03:06 | In this case, it's a movie versus
an audio file versus a still, the
| | 03:10 | physical size of the clip.
| | 03:12 | This is all 720p footage.
| | 03:14 | The frame rate it was recorded at,
and even the audio sampling rate.
| | 03:19 | And all this is very useful if you're
having problems with footage, and you
| | 03:23 | can quickly see if it matches or doesn't match
all the other footage you might be using.
| | 03:28 | Now, if I didn't like the hover scrub
idea, when I went over a clip I didn't
| | 03:33 | like the fact that as I hovered over it,
it would play, I can actually turn that
| | 03:38 | off by unchecking Hover Scrub.
| | 03:41 | I can also uncheck thumbnails. Now
instead of seeing all the images on the
| | 03:46 | clips, I just see an icon.
| | 03:49 | Again, this would be really useful if
I had a very slow machine, but I like
| | 03:54 | being able to see exactly
what's happening in all my footage.
| | 03:58 | So let's go back and turn that on.
| | 04:01 | If we switch over to the List view, we get
a whole new way of looking at our media.
| | 04:07 | As you can see, in the list view we can see a lot
of the metadata associated with these clips.
| | 04:14 | Now the List view is very customizable.
| | 04:17 | If for instance, it was important for
me to know what the video endpoint was,
| | 04:23 | I could grab that and drag that and move that
to the left and have that as my second item.
| | 04:29 | I can also scroll down here and see
if there's any additional pieces of
| | 04:34 | information that might be of value to
me, such as if I've marked a clip as good
| | 04:39 | or have written in some scene information.
| | 04:42 | Now realize, that not all of your
metadata information is available in this
| | 04:47 | upper bar. You can control what you see
and what you don't see by right-clicking
| | 04:53 | and opening up the Metadata Display Dialog Box.
| | 04:58 | And we're looking here just the
very first one the Premiere Pro project
| | 05:01 | metadata, and as you can see everything
that's checked I am seeing as a choice
| | 05:07 | in my list and then everything
that's unchecked is unavailable.
| | 05:11 | So perhaps you want to know if a clip
is being used or not being used. I am
| | 05:16 | going to click on Video Usage and
you'll see in a moment once I hit okay that
| | 05:21 | that's going to be
available as one of my choices.
| | 05:24 | Now I really don't care about the tape
name, because I didn't really record any
| | 05:30 | of that information when I brought my
clips in, so I am going to uncheck that
| | 05:34 | and maybe scroll down a little bit and
remove whether a shot is good or not--not
| | 05:39 | because I won't use this, but because we
looked at this earlier, and I want you to
| | 05:43 | see that it's going to
disappear when I click okay.
| | 05:46 | So now as we scroll through, I can't see
if a shot is good or not, but I can see
| | 05:52 | something I added such as video usage.
| | 05:55 | So once I start putting these clips
into my timeline, I can know whether I've
| | 06:00 | used them or not so I don't use the
same clip over and over and over again.
| | 06:06 | Another really cool thing that a lot of
people are unaware of is it's a little
| | 06:10 | frustrating when you're in the List
view not being able to see an icon or a
| | 06:16 | picture of the footage.
| | 06:17 | Well, you can go back over here to the
dropdown menu and turn Thumbnails on.
| | 06:24 | Now these are off by default in the List
view, but I can go ahead and click those
| | 06:28 | on, and now I have an idea of what
footage I'm actually looking at if I can't
| | 06:34 | remember because the
complexity of the name that I gave it.
| | 06:37 | As you can see, switching between list
view and icon view is very useful when
| | 06:43 | trying to find footage,
and organize your program.
| | 06:47 | If you wanted to quickly find footage
there is also a search box that I can
| | 06:51 | click on, and in this case I just want
to find all of my green screen footage.
| | 06:56 | I am going to start typing GRE, and
as you see, it's already defining the
| | 07:02 | different clips that use those letters.
| | 07:05 | And I'm going to jump right down to green,
and I can see all five clips that use green in them.
| | 07:12 | In this case there is
metadata referencing green here.
| | 07:17 | So as you see, once I type Green screen,
I see exclusively the images that I want
| | 07:23 | to work with, and this is a very quick
way to find things, and you can search a
| | 07:27 | lot of different metadata--as a matter
of fact, if we click on the X to reset
| | 07:31 | this we'll see all of our clips, if you
go down to the bottom right-hand corner
| | 07:36 | there is the option to Find Footage.
| | 07:39 | We are going to go ahead and click on
this, and I can search by a variety of
| | 07:44 | metadata, not just the name but I can
search by things such as in points, out
| | 07:50 | points, comments, I can search
for all my footage--by status.
| | 07:56 | I can also search by multiple parameters.
| | 07:59 | So I can look for status and
also ones that I've marked good.
| | 08:04 | As you can see, there's a variety of
ways that you can search for footage when
| | 08:08 | you have hundreds and hundreds of clips.
| | 08:11 | Let's go ahead and close this box
and move to the next step in really
| | 08:15 | organizing your footage, because you
don't want to have hundreds of clips at
| | 08:20 | the top level inside one bin. What you
want to do is create folders. And you'll
| | 08:27 | hear the term bin a lot when people are
talking about folders. It goes back to
| | 08:31 | the old film days of the big bins that
used to hang film over, but to me bins,
| | 08:36 | folders, tomato-tomato think of them
as folders even though you might hear
| | 08:41 | them referred to as bins.
| | 08:43 | To create a new folder, simply go over
to the icon here that says new bin, it's
| | 08:51 | a picture of a folder--kind of clever, huh?
Click on that, and it creates a bin or
| | 08:57 | a folder you can now put clips into.
| | 09:00 | So I am going to rename this music,
and as soon as I hit the Enter key I now
| | 09:06 | have a folder called music that I
can grab and drop my music into.
| | 09:13 | Now it looks like it reorganized my
list, but it really didn't. It just moved
| | 09:17 | everything up a little bit, and there
is my music inside of the music folder.
| | 09:21 | I am going to go ahead and close that,
and let's really clean things up and make
| | 09:25 | a folder of all of my B-roll.
| | 09:29 | So once again, we want to
create another New folder.
| | 09:32 | I am going to do it a little
differently this time. I am going to go over to
| | 09:35 | File menu, go New, and as you see
there is an option to create a new Bin.
| | 09:41 | But just between you and me,
we know that's a folder.
| | 09:44 | Once again, a new bin is created, we are
going to call this B-roll, and once it's
| | 09:49 | created, I can grab all of the footage
that maybe I've created as B-roll--as a
| | 09:54 | matter of fact I can simply click and
select a range of those. On the Mac I can
| | 10:00 | hold down the Command key to do that.
| | 10:04 | And just for the sake of simplicity,
I'll just grab those and drag them up and
| | 10:09 | drop them in the B-roll bin.
| | 10:11 | As you can see, this is
starting to get less and less complex.
| | 10:15 | I am going to go back and switch to the
Icon view so you can see how it looks a
| | 10:19 | little bit different than it did before.
| | 10:22 | As you can see, here as I scroll up and
down, there are my bins, lets go just a
| | 10:27 | little bit further down, so you
can see music and B-roll right here.
| | 10:31 | Let me go ahead create a New folder. I
am going to call this one narrator, and
| | 10:38 | now I can simply go through and
visually find all the shots where I have the
| | 10:43 | narrator on camera. And that would be
this shot here, and this shot there, and then
| | 10:50 | I can go ahead and drag those down
and drop them in the narrator bin.
| | 10:57 | So organizing your footage is pretty
easy. You can make brand-new folders.
| | 11:02 | If I have a folder--say a B-roll--I
can open that up, and it opens up as a
| | 11:07 | floating window on top.
| | 11:09 | We'll deal with how you can control
that in a moment, but right now I just
| | 11:13 | simply want to make a folder in there,
and I can drop some additional footage
| | 11:17 | inside of the folder in the lower
level. We'll call that B-roll best shots.
| | 11:24 | I'm going to close that out and switch
back to the List view, because I want you
| | 11:29 | to see the B-roll folder when I open it up.
There is my best shots on the inside,
| | 11:35 | and I can even go down to another level
and see that the electric meter and the
| | 11:39 | farmer are two of my best pieces of footage.
| | 11:42 | So organizing your media before you
start editing really can speed up your
| | 11:47 | workflow, but you can organize this
panel at any time through your editorial
| | 11:52 | process--especially if you import
media after you've already started editing
| | 11:58 | and you want to place them in the best location
to find the footage you are looking for.
| | Collapse this transcript |
| Reconnecting offline media| 00:00 | You're probably watching this movie
for one of two reasons, either you
| | 00:04 | completely skipped how to use these
exercise file movie earlier on and all your
| | 00:09 | files are offline, or you're actually
progressively watching all of the movies
| | 00:14 | and you're at the right place
learning the right thing at the right time.
| | 00:18 | So what we're going to cover is what
happens if you open up an Adobe Premiere
| | 00:23 | Pro Project file, and you
have media that's offline.
| | 00:27 | Now I'm going to open up this Project
file from the welcome to Adobe Premiere
| | 00:31 | dialog box because I've opened it up
recently, but of course, you can open this
| | 00:36 | up by going into chapter two of the
exercise files, or under Open Project.
| | 00:42 | If you're working with your own media,
you already know that you have files
| | 00:45 | off-line, and you can just follow along
as I reconnect media back to our Project file.
| | 00:53 | Now if you have media that's offline,
instead of being greeted by your Adobe
| | 00:57 | Premiere project file--or by one of
the wonderful dialog boxes that you're
| | 01:01 | expecting--you see this box which is
saying, where is the file Avocados?
| | 01:06 | Now yours may not say avocados, but it sure
will say, where is the file something?
| | 01:12 | And you need to tell Premiere Pro where
it is, and it will reconnect everything.
| | 01:17 | Instead of connecting everything, I'm
going to go ahead and hit Cancel and show
| | 01:22 | you what a project looks like with
media offline, and then we'll step back into
| | 01:27 | this dialog box and show you how you
can easily reconnect media that you've
| | 01:31 | either moved or that
Premiere has lost the location of.
| | 01:36 | Now by clicking Cancel, it will launch
the Project file, and you can see that I
| | 01:41 | have all of these red warning boxes--
media is offline here--and if I look down
| | 01:46 | here to my project panel, you'll see
all these question marks showing that the
| | 01:51 | media is offline, and if you were in the
icon view, again, you would not see the
| | 01:56 | images that you were expecting.
| | 01:58 | So how do you reconnect it?
| | 02:00 | It's as simple as right-clicking on any
media that's offline, and underneath the
| | 02:06 | dropdown window you simply
want to click on Link media.
| | 02:12 | And I see the same dialog box that we
saw earlier. Since the last place I looked
| | 02:17 | was my Media folder, Adobe
Premiere Pro went right here.
| | 02:22 | But in your case, it may open up to
another part of your computer. For instance,
| | 02:27 | it might open up to my home folder, in
which case I have to tell Premiere Pro
| | 02:33 | where the media is located. Now I know
in this case it's located on my desktop,
| | 02:38 | inside the exercise files in the Media folder.
| | 02:43 | So whenever you launch a project with
these exercise files and media is offline,
| | 02:49 | you know to look inside the Media folder
that came with the download or the DVD.
| | 02:56 | Now we need to tell Adobe Premiere Pro
where the avocados are, and specifically
| | 03:02 | it either asks me link media to avocados.
| | 03:06 | Now if you're using your own media,
it might not say avocados, but you get the point.
| | 03:12 | So I can go down, and I can find
avocados and select it, but if you have
| | 03:17 | thousands of clips in this folder,
finding the avocados might be kind of
| | 03:20 | difficult. That's where Display Only
Exact Name Matches comes into play.
| | 03:26 | When I click that, you'll notice
everything gets grayed out except for something
| | 03:30 | with the exact name that Premiere Pro
is looking for, and I can simply select
| | 03:35 | avocados and say Open.
| | 03:38 | But before I click Open, I
want to explain these four boxes,
| | 03:41 | Skip, Skip All, Offline, and Offline All.
| | 03:45 | If I know for instance that a piece of
media is not available, and I don't want
| | 03:50 | it to keep looking for it in this session,
I simply would say Skip, and it would
| | 03:56 | go down the list to the next
piece of media that's offline.
| | 04:00 | If I say Skip All, it will assume
everything is offline and allow me to open up
| | 04:05 | my Project file, and it will look
exactly like you saw when we launched it
| | 04:09 | before with everything in red.
| | 04:13 | The two other options, Offline and
Offline All, allows me to tell Premiere Pro
| | 04:19 | not only to skip looking for it this
time, but it's okay that it's offline and
| | 04:24 | don't remind me about it again.
| | 04:27 | So if I click just Offline, it will
never ask me to find the avocados shot again
| | 04:33 | every time I launch the application.
| | 04:35 | If I click Offline All, it will never
bug me about any of the media that might
| | 04:41 | be offline, and I can still
reconnect it later, but at least I don't get
| | 04:45 | distracted every time I launch the project.
| | 04:49 | But what we want to do is connect
media, so I'm simply going to click on
| | 04:54 | Open, and you might ask yourself, well,
what about all that other media that's off-line?
| | 04:59 | Premiere Pro is pretty clever, and it
will find any other offline media that
| | 05:04 | resides in this folder.
| | 05:07 | So as soon as I click Open, you're
going to see it search through that whole
| | 05:11 | folder and connect all the other clips
that are offline, and in your case, if
| | 05:16 | you're working with the exercise
files, everything should come back online.
| | 05:21 | If you're using your own files and
media has been located in a lot of different
| | 05:25 | places, it may ask you to go through and find
different groups of media, a group at a time.
| | 05:33 | So that fixes just one piece of footage,
but what you want to do is you want
| | 05:38 | to connect everything.
| | 05:40 | Now, if I really want it to reconnect everything,
there is a couple of different workflows.
| | 05:47 | If I had accepted the dialog box when I
first launched the project when it said
| | 05:52 | media was offline, and if I'd selected
the avocados it would have connected
| | 05:56 | everything that was offline, but since
I hit Cancel and opened up the project
| | 06:01 | and said I'll deal with it later, if I
want to connect everything, I need to go
| | 06:05 | back to the Project pane and Select
All, and once everything is selected then
| | 06:11 | when I right-click I can select Link
Media, it takes me back to the last
| | 06:17 | location that I looked at, it's going to
ask me for the bulb--once again, Display
| | 06:22 | Only Exact Name--I choose bulb, click
on Open, and what you see is it connects
| | 06:28 | everything that it found in that folder.
| | 06:31 | So in a nutshell, reconnecting media
is pretty easy by right-clicking on any
| | 06:37 | media that's offline in a project, or
when you first launch a project, if Adobe
| | 06:43 | Premiere Pro discovers media offline,
pointing to its location and simply saying Open.
| | Collapse this transcript |
|
|
3. Marking and Selecting ClipsBasic editing overview| 00:00 | In this movie we're going to look at
two things: how to create a sequence, and
| | 00:05 | just some basic editing concepts,
before we dig in and show you really how to
| | 00:10 | do fine-tuned editing.
| | 00:12 | We have yet to make a sequence in this
course, and I want to show you a couple of
| | 00:16 | ways that you can do that.
| | 00:18 | We saw at the very beginning you can
create a sequence when you first launch
| | 00:22 | the application, and you can also create
a sequence under the New menu and say New Sequence.
| | 00:29 | Now again, you're given this dialog box
which says pick something, and if you're
| | 00:35 | not really sure what to pick, you
could really panic. So unlike before, we're
| | 00:40 | going to actually create a sequence,
and it doesn't matter what sequence you
| | 00:46 | choose because you see that Adobe
Premiere Pro is smart enough to fix the
| | 00:51 | mistake if you make one.
| | 00:52 | Let's go ahead and click OK, and we're
going to make a standard definition
| | 00:56 | 48 kilohertz 4x3 sequence which has
nothing to do with any of the video that we're
| | 01:02 | going to be editing with. It's
all high-definition 720p footage.
| | 01:06 | Now watch what happens when I grab
any clip and drag it into my timeline.
| | 01:12 | Now I'm going to simply scroll up to
the B-roll, and it's not open so I'm going
| | 01:17 | to click on the disclosure triangle
here and open up the contents, and I can
| | 01:21 | grab any clip. I'm going to just grab
the CFL bulb and drag it and drop it
| | 01:27 | right into the first location in the
sequence. Now as you see, wherever I drag
| | 01:31 | it and let go, I could actually put the clip,
but I want it to be at the very beginning.
| | 01:36 | As soon as I let go, I'll get a warning
box or a dialog box that says, do I want
| | 01:42 | to keep my existing sequence
settings or change them?
| | 01:46 | If I select change, what Adobe Premiere Pro
will do is it will match my sequence
| | 01:52 | settings to match my footage.
| | 01:54 | So in this case, all of my footage is
pretty standard. It's all 720p, 29 frames
| | 02:00 | per second, so I'm going to go ahead
and say change sequence settings, and now
| | 02:04 | it's a perfect match.
| | 02:06 | So now the sequence settings match
exactly the footage in my program.
| | 02:11 | Now if I go ahead and I drop another
clip in, I'm not going to get that same
| | 02:15 | dialog box because the sequence
settings have already been adjusted, so I can
| | 02:19 | just simply go ahead and drag any of
my footage into the timeline to create
| | 02:25 | the story that I want.
| | 02:26 | Now I'm working off the List View. I can
do the same thing in the Icon View, and
| | 02:32 | in this case as you see, I have all of
my folders, so to step into a folder I'm
| | 02:37 | going to simply hold down the Command
key--this is the Control key on Windows--
| | 02:42 | and simply double-click on the B-roll
folder, and I can see the contents, and this
| | 02:47 | way I can scroll through.
| | 02:49 | Once again, my screen resolution is
pretty small, so you'll probably see a lot
| | 02:53 | more clips in your B-roll panel, and I
can go ahead and drag in this time lapse
| | 02:59 | footage and then maybe the television
shot and scroll down and maybe grab the
| | 03:04 | shot of the iPad. And if you
notice, they're all different lenses.
| | 03:08 | As a matter of fact, some of this
footage is way longer than other footage.
| | 03:11 | Some is only a few seconds.
| | 03:13 | This one is 50 seconds long, so it
really takes up a lot of real estate, and it
| | 03:19 | really doesn't tell the story that I want.
| | 03:21 | We're going to learn in the next couple
of videos how you can actually mark in
| | 03:26 | and out points and put precisely the
part of the video that you want in your
| | 03:30 | show into your timeline.
| | 03:33 | Now there's another way that you can
make a sequence to match your footage in
| | 03:38 | one step. Instead of making a new
sequence and then dropping your clip on it and
| | 03:42 | having to say change, you can grab any
clip in your project panel, click on it
| | 03:48 | and drag it on what appears to be a
piece of paper right next to the trash can in
| | 03:53 | the bottom of the interface.
You'll see a little plus symbol.
| | 03:57 | When you let go of the clip on that
icon, it will immediately make a new
| | 04:02 | sequence, name it after the name of the clip,
put the clip inside, and match all the parameters.
| | 04:09 | So if you want to very quickly make a
sequence to match your footage, it's as
| | 04:13 | simple as grabbing it, dragging it
and dropping it onto the New Item icon.
| | 04:19 | Now once you've done that, I would go back
and select that sequence and change its name.
| | 04:24 | You can simply single click on it and
change it to--for instance PSA_roughcut.
| | 04:33 | Now when you look at the sequence, it's going
to have the right name, as opposed to farmer.
| | 04:39 | Two ways to create new sequences
and drag footage into your timeline.
| | Collapse this transcript |
| Previewing and marking media in the Project panel| 00:00 | Now that you have a basic understanding
of editing and how to create a sequence,
| | 00:05 | let's take a more detailed look at
your Project panel on how you can actually
| | 00:10 | select the best part of a clip that you
might want to bring into the timeline.
| | 00:14 | So it's easier for you to see,
| | 00:16 | I'm going to go ahead and take advantage
of the Tilde key in the upper left-hand
| | 00:20 | corner of the keyboard to enlarge
my Project panel to full screen.
| | 00:24 | Now there is, of course, two ways to look
at your Project panel. We are going to
| | 00:28 | step back into it using Icon View
because I want to show you some important
| | 00:34 | preference changes and workflows so
when you open up a folder or a bin, you
| | 00:40 | don't get frustrated.
| | 00:41 | Now normally when you double-click to
open up any bin--and we are just go ahead
| | 00:46 | and select the B-roll bin--you'll
get a floating box, and you can see the
| | 00:52 | contents of that bin, and that's going
to either be in a List View or an Icon
| | 00:55 | View--however it was when you last closed it.
| | 00:57 | But this is very cluttered. I have
floating images over other images. I can't
| | 01:03 | really see everything that I
want to see to get the job done.
| | 01:07 | So there are a couple of modifier keys
that you can use that actually allows you
| | 01:11 | to open up bins in a cleaner, more refined way.
| | 01:15 | I am going to go ahead and close this
bin by clicking--on the Mac the small red X
| | 01:21 | in the left corner, and then on a
Windows machine you would close it by clicking
| | 01:25 | on the X in the right-hand corner.
| | 01:27 | Now instead of just double-clicking on
the folder to open it up, I can hold down
| | 01:33 | one of two modifier keys.
| | 01:35 | If I hold down the Command key on a Mac,
or the Ctrl key on a Windows machine, it
| | 01:42 | will actually open up that folder in place.
| | 01:46 | Take a look. Instead of it
floating, when I double-click,
| | 01:50 | it actually opens up the contents of
that folder and replaces the higher-level
| | 01:56 | Project panel folder.
| | 01:58 | Now I can easily step back by clicking
this button right here, but this keeps my
| | 02:04 | screen nice and clean.
| | 02:06 | Now I am going to go ahead and step
back up into the higher-level, because
| | 02:11 | there's another way I can open up this
folder, and that's by holding down the
| | 02:16 | Option key on a Mac, or the
Alt key on a Windows machine.
| | 02:21 | With the Option key held down, and I
double-click on B-roll, instead of replacing
| | 02:26 | the tab that's there, it actually opens
up a new attached tab, and this can be
| | 02:32 | really nice because sometimes I may want
to switch quickly between two different
| | 02:37 | bins--or two different folders--and I
don't have to keep opening and closing them.
| | 02:41 | So having the ability to have multiple tabs
open at the same time is a great way to work.
| | 02:48 | Now if I wanted my B-roll to be next
to the project bin--just like we learned
| | 02:53 | earlier--I can simply grab it, slide it
to the left, and now I can easily switch
| | 03:00 | between both of these locations.
| | 03:03 | Now in some cases you may find it
extremely frustrating to always have to hold
| | 03:09 | down a modifier key just to do what you want.
| | 03:12 | You may always want it to open up as a
new tab or you may always want it to open
| | 03:17 | up and replace the higher-level folder.
| | 03:20 | Well, if you go into your Preference
settings--and once again on a Macintosh
| | 03:25 | these are underneath the title Premiere Pro,
and on a Windows machine they would
| | 03:30 | be at the very bottom of the Edit menu.
| | 03:33 | Now, of course, I'm on a Mac so you
don't see it, but I wanted you to
| | 03:36 | remember where to go to modify your
preferences if you're editing Premiere Pro in Windows.
| | 03:43 | Once you're inside the Preference
settings and we go directly to General, it
| | 03:47 | looks exactly the same no matter
what platform you're working on.
| | 03:51 | And if you notice down under
General in the bottom third, there is a
| | 03:55 | section called Bins.
| | 03:57 | And it shows exactly what
happens with each of the modifier keys.
| | 04:01 | Now what I like to do is I'd like to
switch from Open in new window to simply
| | 04:07 | Open in new tab, click OK, and now
whenever I click on any of my folders it
| | 04:15 | creates a New tab that I can move
left or right, and if I'm done with it, I
| | 04:20 | simply click X to close.
| | 04:23 | So now that you're comfortable with
opening and closing bins, and we've already
| | 04:28 | looked at the different ways that you
can view things within the Project panel,
| | 04:33 | I want to show how you can mark
In and Out Points very easily.
| | 04:37 | We are going to switch back to
the Icon View in our B-roll bin.
| | 04:43 | Now we learned earlier that I can simply
hover over any of my clips and actually
| | 04:48 | skim through and see what happens.
| | 04:50 | But I want to do more than that.
| | 04:52 | I want to be able to select the part of
the clip that I want to use in my show.
| | 04:58 | So for instance, I can go down to the
smartphone shot, and I really wanted to
| | 05:02 | start right when he presses the button.
| | 05:05 | So what I need to do is I can click on
the clip to select it turning hover scrub
| | 05:10 | off and allowing me to scrub through
by moving the slider left and right.
| | 05:17 | Now if I wanted to start at this point,
I'm going to mark an In Point, and the
| | 05:24 | keyboard shortcut for an In Point is
simply I. So by pressing I on my keyboard,
| | 05:30 | you'll notice that that
yellow line has kind of shifted.
| | 05:34 | So now when I drag this into my
timeline, the very first frame is going to be
| | 05:39 | just as he presses the button.
| | 05:41 | If I scroll through all the way here to
the end, when he takes his hand out of
| | 05:45 | frame, I can make that my Out
Point by pressing the O key.
| | 05:50 | So now, without ever leaving my project
panel, I can actually refine what part
| | 05:56 | of the clip I want to use
when editing in Premiere Pro.
| | 06:01 | Let's go ahead and do that with another clip.
| | 06:04 | I think a perfect example
would be one of the light bulbs.
| | 06:08 | I want to get it just before it turns on, and
once it turns on I want to be out of the shot.
| | 06:14 | So we can go over here to either one
of these bulbs. I like this one. This is
| | 06:17 | kind of nice. And I am going to click on it.
| | 06:19 | And as you see, there is probably an
in and out marked from when I cut it
| | 06:23 | earlier, but I don't want
to use that in and that out.
| | 06:27 | So it's simply scrubbing where I want
it to be and marking I for In, I can then--
| | 06:33 | if I don't want to scrub--simply press
the spacebar to watch the scene in real
| | 06:39 | time, and when I got to the point where I want
the shot to end, I can press the O key for Out.
| | 06:46 | If I wanted it to last a little bit
longer, I will simply press the spacebar
| | 06:50 | again and then press O, and now
I have a new Out Point marked.
| | 06:57 | So as you can see, you can use the
Project panel--not only to hold your clips and
| | 07:02 | to organize your clips--you can even
take it to the next step of picking the
| | 07:07 | best part of the footage to use in your program.
| | Collapse this transcript |
| Previewing and marking clips in the Source panel| 00:00 | So now you should have a good handle
on how to control and mark In and Out
| | 00:04 | Points in the project pane. Let's
take a look at how we can get even more
| | 00:09 | control and more detail by moving your clips
from the project pane into the source pane.
| | 00:17 | To do that I can simply double-click
on any clip that I want to load into
| | 00:22 | the Source panel, and I can do this
whether it's in the List View or in the Icon View.
| | 00:28 | Now this clip already has an In and
Out Point marked, and I can see that by
| | 00:34 | this green area here.
| | 00:37 | If I was actually to put this into my
timeline, it would start at this point
| | 00:41 | when the light turns on, and
it would run for a few seconds.
| | 00:45 | Let's go ahead and remove the In
and Out Point, and I am going to simply
| | 00:49 | right-click and choose Clear In and Out.
| | 00:53 | And as you see, the green area now goes away.
| | 00:55 | The advantage of working in the Source
panel is that it gives you much, much
| | 01:00 | more control, and you can really
look at clips in great detail.
| | 01:05 | This is a shorter clip, so I can
actually scrub through the whole clip very
| | 01:10 | quickly by grabbing this little yellow tab.
| | 01:13 | As a matter of fact, I know in the
source panel exactly how long this clip is by
| | 01:19 | looking at the right bottom corner,
and I see 39 seconds, 12 frames.
| | 01:24 | So if I put this whole shot in my
timeline, it will be almost 40 seconds long,
| | 01:28 | and we know that's way, way, way
too long for any shot in a video.
| | 01:34 | Now what's this number on the left?
| | 01:35 | Let me go ahead and press the Tilde
key in the upper left-hand corner of my
| | 01:40 | keyboard, and that will bring
the source monitor to full screen.
| | 01:44 | The number on the left will indicate
one of two things, it will start at 0 and
| | 01:51 | count all the way up to the end of the
clip--and this is from footage that you
| | 01:54 | might get from a DSLR camera or maybe
from your phone. The other number you might
| | 02:00 | see is something called Time Code, and
it looks very similar, but instead of
| | 02:05 | starting at absolute 0, it may start at
15 hours 27 minutes 12 seconds 14 frames.
| | 02:14 | And a lot of professional cameras
record time code when they record the video
| | 02:20 | signal so you can always find the exact
shot based upon that information that's
| | 02:26 | stored with the video clip.
| | 02:28 | All the media we are working with in
these exercise files--and probably any
| | 02:32 | footage you would shoot with a DSLR
camera and even lot of consumer cameras--
| | 02:37 | would probably start at 0 and go
all the way up to the end of the clip.
| | 02:42 | The nice thing is if I go to--for
instance, exactly when this light turns on--
| | 02:50 | I can see here it's at
roughly 15 seconds and 19 frames.
| | 02:55 | So I know that if I make a note that,
oh, I need to go to the CFL clip at 15
| | 03:01 | seconds and 19 frames, I
can find when it turns on.
| | 03:05 | All this is telling me is
where my playhead position is.
| | 03:09 | Now let's go ahead and
set some In and Out Points.
| | 03:11 | Now I'm going to scrub back right before
it turns on, and just like we did in the
| | 03:16 | Project panel, I am going to go ahead
and press the I key to mark an In Point.
| | 03:23 | And as you see, the green bar appears,
and now from that In Point to the end of
| | 03:28 | the clip, I can see that my
duration is 24 seconds and 8 frames.
| | 03:34 | I can continue to scrub through until
I feel it's about a right duration and
| | 03:40 | simply press the O key, and now I've
marked my Out Point, and I see that my duration
| | 03:44 | is 7 seconds and 29 frames.
| | 03:47 | Just for your reference, most
video is 30 frames per second.
| | 03:52 | So when you start thinking about cutting video,
you start thinking in thirtieths of a second.
| | 03:57 | So half a second is 15 frames, or
a third of a second is 10 frames.
| | 04:03 | Now that's most standard video. Some
cameras do to shoot at 24 frames a second,
| | 04:08 | and keep in mind that in that case, you
would never see 29, and a half a second
| | 04:13 | would be 12 frames, and a third
of a second would be, say, 8 frames.
| | 04:16 | I wouldn't worry about that too much.
| | 04:19 | Just keep in mind hours,
minutes, and seconds for now.
| | 04:23 | Now a couple of other things you may
want to adjust are this dropdown Window
| | 04:28 | here, which is your Playback Resolution.
| | 04:30 | If I click on that, I have an option
to play back at Full Resolution, Half
| | 04:35 | Resolution, and Quarter Resolution.
| | 04:38 | And you may ask well, why would I want to
see anything less than the best quality?
| | 04:43 | Well, if you're using some high-def
footage on a slower machine, or an older
| | 04:48 | machine, playback might stutter because
the machine isn't fast enough to create
| | 04:54 | all of those images at their normal speed.
| | 04:57 | So I can switch it to Half Resolution,
and now the processor has less work to do,
| | 05:03 | and I can see smooth playback.
| | 05:06 | But don't worry, every time you pause
the image or when you export it, Premiere
| | 05:12 | Pro will always send it out
at the best quality available.
| | 05:17 | Now there are a couple of other
things I'd like to point out in this pane.
| | 05:21 | I have transport controls at the
bottom, and we looked at these briefly at the
| | 05:25 | overview of Premiere Pro.
| | 05:27 | So as you can see, there is the option
to Play. I can Step Forward a Frame at a
| | 05:33 | time, very precise. I can also Step
Backwards a frame at a time very precisely.
| | 05:39 | I can do this with my keyboard also,
and that's the left and right arrow keys.
| | 05:44 | If you press the right arrow key, you
can actually Step Forward a frame at a
| | 05:48 | time, and when you get to the precise
moment where you want--in this case--your
| | 05:53 | Out Point to be, I can simply press the
O key again, or if my hand is already on
| | 05:59 | my mouse, I can simply click
this icon and Mark a new Out point.
| | 06:05 | One of the things I love about Adobe
Premiere Pro 6 is if I'm not exactly sure
| | 06:11 | what a button does or information about
a clip, if I just hover my cursor over
| | 06:17 | that button, it will tell
me that button's function.
| | 06:21 | Now you can also modify the Source
panel by going over here to this wrench
| | 06:27 | and clicking on it. It's a settings
box, and for now there are only a couple
| | 06:31 | things that I may add.
| | 06:33 | There is an option to Loop playback, so
if I click on Loop playback and now hit
| | 06:39 | the spacebar, you'll notice that the
video will play from the endpoint to the
| | 06:45 | outpoint and then recycle again so you
can actually see the entire duration of
| | 06:52 | what you're planning on
putting into your program.
| | 06:55 | Now while it's playing, I can go ahead
and adjust my In and my Out Points and
| | 07:00 | simply hit the spacebar again,
and it's going to cycle through.
| | 07:04 | So you can see precisely what your
viewer will see before you even bring it
| | 07:08 | into your timeline.
| | 07:09 | I'm going to press the spacebar to
stop playback and step back into the
| | 07:14 | wrench one more time.
| | 07:16 | One more great feature of Premiere Pro 6
is the ability to simplify your interface.
| | 07:22 | Now these buttons are really nice as
you're learning to edit in Premiere Pro, but
| | 07:28 | after a while when you start using
keyboard shortcuts, they could actually be a
| | 07:32 | little bit more cluttered
than they are more advantageous.
| | 07:35 | So you can always uncheck Show
Transport Controls, those buttons will go away,
| | 07:41 | and now you can simply navigate back
and forth with the scrubber bar--or better
| | 07:48 | yet, with three special keys.
| | 07:51 | And those are the keys J, K, and L. Now
if you rest your fingers on J, K, and L
| | 07:58 | and press the J key,
you'll actually play in reverse.
| | 08:03 | If you press the K key, it will pause,
and if you press the L key, it will play forward.
| | 08:09 | So it's a very quick way to navigate
through a clip to mark your In and Out
| | 08:13 | Points, because if you look directly above your
fingers on J, K, and L are the I and the O key.
| | 08:20 | So very quickly I could go through
find the point where I want the clip to
| | 08:25 | start, press I, and now I want to
go forward to choose my Out Point.
| | 08:30 | Now if I press the L key once, it
plays at normal speed, but multiple taps
| | 08:35 | and I can fast forward.
| | 08:37 | Press the space key to stop, press O and
now I can very precisely choose where I
| | 08:43 | want the clip to Start, to Stop, Mark
my Ins, mark my Out, all without ever
| | 08:49 | having my hand needing to leave the keyboard.
| | 08:52 | Getting full control and a good
comfort level with working in the Source
| | 08:57 | panel can really accelerate your
editing when choosing the right part of a
| | 09:03 | clip that you want to use.
| | Collapse this transcript |
|
|
4. Basic Video EditingEditing clips into the Timeline| 00:00 | Up until this point in the course you
have had the opportunity to get exposed to
| | 00:04 | Adobe Premiere Pro 6, how to import
files, how to organize both your Project
| | 00:09 | panel as well as your Source panel and
even marks some Ins and Out Points, but
| | 00:14 | we really haven't delved deep into
editing into the Timeline, and that's what
| | 00:19 | we're going to do in this chapter.
| | 00:20 | So the first thing we are going to do is
load a clip from the Project panel into
| | 00:26 | the Source panel, and one of the ways
to do that is to simply double-click, and
| | 00:31 | we are going to choose the Bulb clip,
because I find that's very interesting,
| | 00:34 | it's something we can
mark an In and an Out Point.
| | 00:37 | On this clip here I don't have any In
and Out Point marked, but you may already
| | 00:42 | have In and Out Points if you've played with
this clip earlier on before watching this movie.
| | 00:47 | So I want to show you how to
remove that before we get started.
| | 00:51 | So let me go ahead and quickly put an
in point in, and move my playhead and
| | 00:55 | put an out point in.
| | 00:56 | As you see, this is what it would look
like if you had an in and an out point
| | 01:00 | already marked on your clip,
something we did in an earlier movie.
| | 01:05 | To remove that, you can simply right-click
on it and choose Clear In and Out.
| | 01:12 | Now, once again, we have a fresh clip.
| | 01:14 | So I want to select the best part of
this clip to start my program, and I can of
| | 01:19 | course use the Transport Controls down
in the lower part of this screen, but
| | 01:23 | what I really want to do is I want to
use keyboard shortcuts, because that's
| | 01:27 | much more efficient.
| | 01:29 | Since we are working exclusively in the
Source panel, let me go ahead and press
| | 01:33 | the Tilde key in the upper left-hand
corner of my keyboard and that will bring
| | 01:37 | the Source Monitor to full screen.
| | 01:40 | So if I wanted to navigate to this clip
using keyboard shortcuts, the three that
| | 01:44 | I need to know are the letters J, K, and L.
| | 01:48 | If I press the J key, it
will play the clip in reverse.
| | 01:52 | If I press the L key, it plays the clip forward.
| | 01:58 | And while it's playing, if I hit the K
key it will actually pause playback.
| | 02:02 | Of course you can also pause
and play with the Spacebar.
| | 02:06 | So that's a very quick way to
navigate to the area that I want.
| | 02:09 | So I can hit the J key to go backwards,
right before the light turns on, and by
| | 02:14 | pressing the I key I can mark my In Point.
| | 02:18 | Now, if I wanted to be very precise,
instead of just pressing J and L by
| | 02:23 | themselves, I can hold down the K key
and then, for instance, if I tap L, I can
| | 02:30 | literally move forward one frame at a
time, and that way I can be very precise
| | 02:35 | in choosing where my clip starts.
| | 02:37 | I am going to press the I key again, and
that will relocate the In Point a few frames later.
| | 02:44 | Multiple taps on the J key will fast rewind,
and multiple taps on the L key will fast forward.
| | 02:51 | But in this case it's a pretty short clip.
| | 02:53 | I want to go forward, but I want to
kind of go forward in slow motion, I don't
| | 02:57 | want to just keep tapping L, L,
L, L, so here's a great trick.
| | 03:01 | Hold down the K and the L key at the
same time, and I can move forward in
| | 03:06 | slow motion and get precisely to the part of
the clip that I want to mark to be my Out Point.
| | 03:14 | Once I am in the proper position,
I press O, and I am all set.
| | 03:18 | Now, you can use these buttons down here
to Mark In and Mark Out, but that's not
| | 03:23 | very efficient, so I highly recommend
sticking with the keyboard shortcuts I and
| | 03:27 | O and the Transport Controls of J, K, and L.
| | 03:31 | With the clip properly marked, we are
going to go ahead and bring it into the Timeline.
| | 03:35 | Now, I am going to press the Tilde
key so we can see the entire interface
| | 03:39 | again, and I'm going to show you several
ways that you can bring the clip into the Timeline.
| | 03:44 | We've seen that you can drag a clip by
just dragging and dropping and letting
| | 03:48 | go, and one of the things you may
discover when you first drag a clip into a
| | 03:54 | brand spanking new Timeline is you may
get a pop-up dialog box that informs you
| | 03:59 | that the clip doesn't
match the sequence's settings.
| | 04:04 | And this is actually a pretty good thing,
because if at the beginning you just
| | 04:08 | skipped the selection of what type of
sequence or you selected the wrong one,
| | 04:14 | Adobe is smart enough to say, hey, if
your clip is a certain frame rate and
| | 04:18 | size, you probably want your sequence to match.
| | 04:21 | So in general, I would select Change
sequence settings to match my clip.
| | 04:28 | Now, as you see when I drag the clip
into the Timeline, wherever I let go is
| | 04:32 | where it ended up, and that's not
really where I want it to be. I want it to
| | 04:35 | be at the beginning.
| | 04:36 | So let's take a look at a couple of other
ways that we can bring a clip into our Timeline.
| | 04:41 | I am going to go ahead and undo this by
hitting Command+Z, on a Windows machine
| | 04:46 | that would be Ctrl+Z, and instead of
dragging the clip into the Timeline, I can
| | 04:52 | drag it from the source
window into the program monitor.
| | 04:56 | And then if I let go, it's going to
place the clip at the very beginning of my
| | 05:01 | Timeline. And as you see, it moves
the playhead to the end of the clip.
| | 05:06 | Now, the playhead--once again--is that yellow
triangle with the red line dropping down.
| | 05:11 | And the nice thing about this is
it's preparing me for my next edit.
| | 05:14 | Let's go ahead and bring another clip
in, and we are going to bring it in, in a
| | 05:18 | slightly different way.
| | 05:19 | Let's go ahead and choose the Plug clip.
I am going to grab the clip, and I can
| | 05:23 | just drag it and drop it
into the source monitor.
| | 05:27 | And as you see, the effect is the
same as if I had double-clicked it.
| | 05:31 | As you see, there is already an In
Point and an Out Point marked in this clip,
| | 05:35 | and they are not the ones that I want.
| | 05:38 | I don't necessarily have to remove the
in and the out point before I put new
| | 05:42 | ones in. As a matter of fact, if I
scrub over to any part of the clip where I
| | 05:46 | want it to start, and maybe I want it
to be right before his hand comes into
| | 05:50 | frame. When I press the I key, it
relocates the in point to that frame.
| | 05:56 | And then I can scrub through either
using J, K, L, or just drag the playhead
| | 06:01 | to the end of the part of the shot
that I want and press O, and that will
| | 06:04 | create a new Out Point.
| | 06:06 | So we saw we could grab the clip and
drag it from left to right as one way to
| | 06:11 | bring a clip into the Timeline.
Let's take a look at another way.
| | 06:16 | There are two buttons here,
| | 06:17 | one says Insert and one says
Overwrite, and at this point their effect is
| | 06:22 | exactly the same. We'll explore the
difference between Insert and Overwrite
| | 06:26 | edits in a later movie.
| | 06:28 | But if I go ahead and I click on the
Overwrite button, it will be the same
| | 06:32 | effect as if I dragged it from the
Source panel to the Program panel.
| | 06:36 | So this is actually a little easier,
because I don't have to move my mouse this
| | 06:40 | far, but the next way of doing
things is the best way of doing things.
| | 06:45 | And instead of using a button or dragging,
we are going to use a keyboard shortcut.
| | 06:51 | So once again, we'll select another
clip in our Project panel, and let's
| | 06:56 | pick something interesting. We have the plug
going in, so maybe we have the fan turning on.
| | 07:01 | So I am going to go ahead and
double-click and load the fan into my source
| | 07:04 | monitor, and I'll scrub back to a nice
part of the clip where it starts blowing,
| | 07:10 | Mark an In Point, Mark an Out Point,
and now instead of dragging or clicking a
| | 07:16 | button, I am going to use a keyboard
shortcut, and that is the Period key.
| | 07:22 | Anytime I want to bring a clip into my
Timeline, I can press the Period key, and
| | 07:27 | that creates what's called an Overwrite edit.
| | 07:28 | And as you see, my mouse didn't move
and the clip appeared directly on the
| | 07:33 | Timeline because I pressed Period.
| | 07:36 | So there are a few ways to bring clips
from your source monitor into your Timeline.
| | 07:42 | There's no right or wrong.
Do whatever works best for you.
| | 07:46 | If you like dragging, drag, if you
like buttons, buttons, but me personally, I
| | 07:50 | like the simplicity of J, K, L, I,
and O, followed by the Period key.
| | Collapse this transcript |
| Marking and targeting destinations in the Timeline| 00:00 | Now that you're comfortable with
bringing clips into the Timeline, you've
| | 00:04 | probably done something such as
grabbing your playhead and scrolling back and
| | 00:10 | watching your show by hitting the Spacebar.
| | 00:13 | And your playhead may be sitting far
out to the right or may be sitting
| | 00:17 | somewhere in the middle of
the clips that you watched.
| | 00:19 | If you went ahead and did exactly what
we did in the earlier movie--which is
| | 00:24 | bringing a clip in from the Project
panel into your Source panel and then
| | 00:29 | editing it into your show by a simple
drag or pressing the Period key--you'll
| | 00:34 | notice that the clip doesn't go to
the very end like it did before. It just
| | 00:39 | lands wherever the playhead is.
| | 00:40 | I am going to go ahead and hit undo
and move the playhead to an empty space
| | 00:45 | later and do the exact same thing.
| | 00:48 | As you see, depending on where that
playhead is parked, when you perform an
| | 00:54 | edit, that's where Adobe Premiere Pro
is going to put the clip unless you
| | 00:59 | actually mark where you want the clip to go.
| | 01:02 | And you're going to use the same skill
that you used earlier by marking In and
| | 01:06 | Out Points, except this time instead of
doing it in the source monitor, you are
| | 01:09 | going to do it in your Timeline.
| | 01:11 | Let me go ahead and hit undo to
remove that clip, and I am going to move my
| | 01:16 | playhead a little bit earlier, but I'm
not going to actually have it touch this
| | 01:20 | clip, because I want you to see that
it's going to put the clip exactly where I
| | 01:24 | want it to be--not just
where the playhead is left.
| | 01:27 | I am going to press I for in, and it's
going to mark an In Point in the Timeline.
| | 01:32 | Now, no matter where this playhead
resides--it could be all the way down here--
| | 01:37 | when I do an edit--I am going to grab
and drag it this time--you'll see the clip
| | 01:42 | lands where the In Point was marked.
| | 01:45 | To be precise about where you want to
put a clip in the Timeline, don't always
| | 01:50 | trust where the playhead is, because
a lot of time that moves while you're
| | 01:54 | editing. Go ahead, position the playhead
exactly where you want and press the I
| | 01:59 | key to mark an In Point.
| | 02:01 | I am going to go ahead and undo my last edit.
| | 02:03 | What I want to do is I simply want to
have the new clip put in directly at the
| | 02:08 | end of the fan shot, so I am going
to go ahead and I am going to grab my
| | 02:11 | playhead and drag it over to the very end.
But look, it's kind of hard for me to
| | 02:16 | see where the very end is.
| | 02:19 | So if I hold down the Shift key, it
turns on snapping temporarily, and it snaps
| | 02:25 | like a magnet to the very end of that clip.
| | 02:28 | I can simply press I to my mark my In
Point, and now no matter where that clip
| | 02:32 | resides, when I drag this over or press the
Period key, it lands exactly where I want it.
| | 02:38 | Now, conveniently, the playhead snaps
to the very end of that clip preparing
| | 02:42 | me for the next edit.
| | 02:44 | So it's good to keep an eye out where
your playhead is as well as mark an In
| | 02:48 | Point in your Timeline so you can
put the clip exactly where you want it.
| | Collapse this transcript |
| Moving clips in the Timeline and performing a swap edit| 00:00 | Now that we have a handful of clips in
our Timeline, let's take a look at how
| | 00:05 | easy it is to move them.
| | 00:06 | Now, a good analogy for video editing
is like word processing, think of these
| | 00:11 | four clips as four paragraphs, and I
just want to move them around because I
| | 00:15 | want to change the order of my story.
| | 00:18 | I'm going to bring this full screen by
pressing the Tilde key, and we are going
| | 00:22 | to work exclusively in our Timeline.
| | 00:25 | Make sure that your Timeline is selected
and you can see this full screen now.
| | 00:29 | I want to zoom in a little bit here,
because why work with it so small on the
| | 00:33 | left side? And to zoom in and zoom out
very easily within your Timeline is just
| | 00:38 | simply pressing the Plus key to zoom
in and the Minus key to zoom back out.
| | 00:44 | So as you can see, we can zoom in a little bit.
| | 00:47 | If you zoom in too much, it looks
like we've lost our clips here, but what
| | 00:51 | actually happened is we just need to
slide this little slider over to the left.
| | 00:56 | I can also use this bar here--be very
precise at how zoomed in or zoomed out I am.
| | 01:03 | So once you get to a comfortable zoom
level, to move a clip you can simply click
| | 01:08 | on it and drag it and
reposition it where you want.
| | 01:11 | Now, the reason you might want to do
this is maybe you wanted to add some more
| | 01:16 | footage before we cut to the avocados,
so you want to create a space that you
| | 01:20 | can drop another clip into, or maybe
you just want to extend the beginning part
| | 01:26 | of the avocado scene to part of
the clip that we had trimmed out.
| | 01:29 | And we are going to actually look at
how to extend that in a later movie.
| | 01:33 | But right now I just want you to get
comfortable with grabbing a clip and moving
| | 01:37 | them left and right in your
Timeline to reposition them.
| | 01:40 | As a matter of fact, if I wanted to I
could grab this clip called Plug and
| | 01:45 | move it all the way to the end of my
sequence, because maybe that's the last
| | 01:49 | thing that I want to see.
| | 01:51 | So as you can see, you can move
these around pretty easily, but there is
| | 01:56 | a couple of gotchas.
| | 01:57 | First of all, if I grabbed a clip,
and I placed it where there already is
| | 02:02 | another clip, it's actually going to
cut out part of that clip and replace it
| | 02:07 | with a clip that it just dropped over it.
| | 02:08 | And you might want to do that, you
might not, it can be a little bit dangerous.
| | 02:12 | So let's go ahead and hit undo and just
stick with simple moving clips around.
| | 02:18 | Now, once again, I can drag this clip,
and if I bring it right next to this one
| | 02:23 | here, you see that it
snaps directly to that clip.
| | 02:27 | There's something called snapping, and
there is a little button up here where
| | 02:30 | you can toggle it on and off, and the
keyboard shortcut for that is the letter S,
| | 02:35 | which is pretty nice, because
you remember S for snapping.
| | 02:37 | So I am going to go ahead and I am going
to snap all my clips back together so I
| | 02:41 | don't have any big spaces.
| | 02:43 | I am really happy, but I just realized,
you know what? I think this show should
| | 02:49 | start off with something more natural.
It should start off with the avocados.
| | 02:53 | And the problem is if I wanted to bring
that to the beginning, I'd have to move
| | 02:57 | everything down and pop that in.
| | 02:59 | Well, there's something called a Swap Edit
which allows you to literally swap a clip's order.
| | 03:05 | So I am going to go ahead, grab the
avocados, and I am going to start dragging
| | 03:08 | it where I want it to be. And if I let
go now, it's actually going to delete the
| | 03:13 | clip below it, and I know that
because I see that down pointing arrow.
| | 03:17 | So what I really want to do is I want
to hold down a couple of Modifier keys,
| | 03:21 | on the Mac its Command and Option.
| | 03:24 | If you notice, with these Modifier keys
pressed, the image changes a little bit.
| | 03:29 | I see a couple of things. I see little
triangles in the upper left-hand corner
| | 03:33 | of the clip, and I also notice that
the yellow icon above the clip has now
| | 03:38 | changed to where you kind of see a return arrow.
| | 03:42 | If I let go at this point, avocados
get moved to the beginning, and everything
| | 03:47 | else slides down later in the Timeline.
| | 03:50 | I didn't cut anything out, and I
didn't create any holes or gaps.
| | 03:54 | So moving clips around your Timeline
is pretty easy, just be careful not to
| | 03:59 | accidentally step on another clip. And
if you want to swap a clip's position,
| | 04:04 | remember, hold down those Modifier
keys of Command and Option, and you can do
| | 04:09 | it in just one step.
| | Collapse this transcript |
| Adjusting edit points in the Timeline| 00:00 | In this movie we are going to learn how
to a stretch a clip out if you need to
| | 00:03 | make it longer or shorter.
| | 00:04 | So once again, let's step into our
Timeline full screen by pressing the Tilde
| | 00:09 | key. And as we see, this is how we
left it at the end of the last movie. I am
| | 00:13 | going to go ahead and move a couple
of these clips around just so you see
| | 00:18 | there are some gaps here.
| | 00:20 | And what I want to do is I may want to
make a clip longer or shorter, and it's
| | 00:24 | really easy to do by simply going to
the edge of the clip, and you'll notice a
| | 00:29 | little red icon pops up, and I can
drag the clip and make it longer.
| | 00:34 | Or if the arrow points the other way,
and again, I'm going to simply deselect
| | 00:39 | this, and now select it again and
drag it to the left to make it shorter.
| | 00:44 | So I can easily trim a clip
exactly the length that I want.
| | 00:48 | Now, I am going to go ahead and step
back out of this full screen view by
| | 00:52 | hitting the Tilde key again, because
I want you to see what happens in the
| | 00:55 | program monitor as I adjust the end of a clip.
| | 00:58 | So if I go ahead and I grab the Bulb_60fps
clip, and I pull it, you'll notice
| | 01:04 | that I actually see the very last
frame, so I can precisely choose when I
| | 01:09 | want that clip to end.
| | 01:11 | You'll also notice that maybe I
wanted it to go a little longer. If I run
| | 01:16 | into another clip, it doesn't let me
accidentally erase what's there, it's
| | 01:21 | kind of like I hit a wall.
| | 01:22 | And there are many editing tools that
you can use to fix this situation, and
| | 01:27 | we'll learn about those in later movies.
| | 01:29 | I am going to go ahead and zoom back so
you can see my entire Timeline and show
| | 01:34 | you again how easy it is to select
the edge of a clip and stretch it out.
| | 01:40 | Now, I am actually making the clip longer, but
I'm seeing everything I wanted to see in my clip.
| | 01:47 | So adjusting a clip in the Timeline,
pretty easy, just grab the edge and pull.
| | 01:52 | The one thing to be aware of is if
you do run out of media--and let me drag
| | 01:56 | this all the way out. You see I
can't drag it any further, not because I
| | 02:00 | bumped into another clip, I simply used all
the footage that was available in this clip.
| | Collapse this transcript |
| Splitting clips using the Razor tool| 00:00 | Now that we are comfortable with
moving clips around and extending their edit
| | 00:03 | points, there's is another great tool
if I actually want to cut out a part of a
| | 00:08 | clip or cut a clip in half,
and that's the Razor tool.
| | 00:12 | And this is the first time we have
actually switched from our Selection tool,
| | 00:15 | which has a keyboard shortcut of the
letter V, to a different tool, and we are
| | 00:19 | going to switch to the Razor tool, and
its shortcut is the letter C, think of
| | 00:23 | that as cutting, so C for cutting.
| | 00:26 | I am going to select the Razor tool, and
you'll notice now that that is highlighted,
| | 00:30 | and now when I come across any of
these clips, the icon has changed, and I
| | 00:34 | actually see a little bar, and if I
click where the Razor tool is hovering, it
| | 00:40 | actually cuts that clip in
half and makes it into two clips.
| | 00:44 | Now, why would I want to do that?
Well, there is a lot of reasons.
| | 00:48 | If you wanted to perhaps go from black
and white to color, I may put a filter on
| | 00:52 | the first clip and leave the second one
in color and simply put a dissolve in,
| | 00:56 | and we'll learn how to do
that later on in the course.
| | 01:00 | Another thing I might want to do is just
move things around, but I wanted to put
| | 01:04 | maybe the avocado clip in between the fan clip.
| | 01:08 | So I simply cut the clip in half with
the Razor Blade, and now I need to make
| | 01:13 | sure I switch back to my Selection tool--
so either click on the Selection tool
| | 01:18 | button or press the V key. And think of
the V key as looking a little bit like
| | 01:22 | an arrow, so that's an easy way to
remember what the keyboard shortcut is.
| | 01:26 | Now I simply want to swap out
this clip with the avocado clip.
| | 01:31 | So I am going to simply grab it and
drag it, and like we learned before, if I
| | 01:35 | hold down the Option and Command key on
a Mac, I can let go, and now part of my
| | 01:41 | fan clip is at the beginning, I have
the other footage, and then the second
| | 01:45 | half of the fan clip.
| | 01:47 | Another reason I may want to use the
Razor Blade is maybe I just want to create
| | 01:52 | a nice little hole and move part of
this clip further down the Timeline.
| | 01:56 | I am going to press the V key so you
can see how easy it is to switch between
| | 02:00 | tools, and I'll just drag this down
the Timeline a little bit later because I
| | 02:05 | want to put a bunch of clips in
here, and I just want to leave a space.
| | 02:09 | So as you can see, cutting a clip in half is as simple
as selecting the Razor Blade, clicking, and you're done.
| | Collapse this transcript |
| Deleting clips| 00:00 | So we know how to bring clips into our
Timeline, we know how to move them around
| | 00:04 | and extend them, but how do I remove a clip?
And there's a couple of ways to do
| | 00:08 | that, and you get different results
depending on the type of edit you do.
| | 00:13 | So, the first thing we want to do is, say,
remove this Bulb clip, and I can select
| | 00:19 | it, and if I want to delete that clip--
it's called a lift edit in the technical
| | 00:24 | jargon. But I just want to remove
it, so I want to delete the clip.
| | 00:27 | It's as simple as pressing the Delete key on
a Mac, or the Backspace key on a Windows machine.
| | 00:33 | And if I press that key, the clip is
now gone, and it leaves an empty space, and
| | 00:38 | this empty space is called a gap.
| | 00:40 | And there are times you may want to
leave an empty space, and there are times you
| | 00:44 | may want to also close that empty space
or close that gap, and that's a slightly
| | 00:50 | different type of edit.
| | 00:51 | So let's go ahead and hit undo--
that's Command+Z on a Mac and Ctrl+Z on
| | 00:56 | Windows--and instead of doing a Delete
or Backspace, I'm going to hold down a Modifier key.
| | 01:04 | First, I'll select the clip that I
want to remove, and now I'll press
| | 01:08 | Option+Delete. And what you see is
that not only is the clip removed, but the
| | 01:15 | space is closed. That's also called a
Ripple Delete, and some people also refer
| | 01:19 | to that as an extract edit.
| | 01:21 | If you're a clicker and you have
your hand on your mouse, go ahead and
| | 01:25 | just right-click on any clip, and you
can see you have the choice to Cut,
| | 01:29 | which removes the clip.
| | 01:31 | Let me undo that. Or I can right-click
and choose Ripple Delete, and again, I
| | 01:39 | have the same effect.
| | 01:41 | Now, what about if I have a gap
already because I didn't know how to do this
| | 01:45 | earlier or maybe I moved a clip, and I
just want to close that space? Well, think
| | 01:50 | of that empty space also as a clip, and
I can simply right-click on that empty
| | 01:56 | space and choose Ripple Delete and
close that gap, and I'm good to go.
| | 02:02 | So removing a clip from your Timeline
is pretty easy. I can do them one at a
| | 02:07 | time, or if I wanted to remove an
entire chunk, I can just lasso them and hit
| | 02:13 | Delete and they're all gone.
| | 02:16 | Now remember, if you do this by mistake,
you can always undo and bring them back.
| | 02:20 | So deleting clips in your Timeline, very
simple, whether you like to use a mouse
| | 02:26 | or a keyboard shortcut, your choice,
but it's fast, and it's efficient.
| | 02:31 | Just remember, there's two types:
| | 02:33 | a Delete that leaves the space,
and a Ripple Delete that closes it.
| | Collapse this transcript |
| Performing an insert edit| 00:00 | Now, in earlier movies you have learned
to move clips around, even cut them in
| | 00:04 | half, and slide them down so you could
add clips into your Timeline to tell a
| | 00:09 | slightly different story than
maybe you originally intended.
| | 00:12 | Well, I'm going to show you a way you
can do a lot of that in just one step, and
| | 00:17 | it's something called an Insert Edit.
| | 00:20 | So for instance, if I wanted to drop a
clip in between Avocados and Plug, and
| | 00:24 | I'm going to simply drag my playhead and
you see I'll snap it between these two.
| | 00:29 | It doesn't quite stop there, so if I
hold the Shift key down, it actually snaps
| | 00:34 | right to that edit point.
| | 00:36 | I can also use the Up and Down Arrow
keys to precisely jump to a cut point.
| | 00:41 | So that's two ways to get there, but
you want to make sure you are on the edit
| | 00:44 | point, because if you are a frame or
two early or late, you're actually going
| | 00:48 | to get a flash frame after your cut of
the previous shot, and that can be very distracting.
| | 00:53 | So precision counts before
you start doing an Insert Edit.
| | 00:57 | Now, let's load a clip from our
Project panel into our source window.
| | 01:02 | I like this smartphone shot, so I'm
going to go ahead, double-click it, load it
| | 01:07 | into my Source panel. Just like
before we can mark an In and Out Point.
| | 01:10 | I'm going to do this with a drag so I
can actually see there is some good
| | 01:13 | action. Always try to cut on action.
| | 01:16 | It's a long shot. I'm going to go ahead
and pull this back a little bit. I don't
| | 01:19 | need to see all of this I want it to
be about. I don't know, about that long.
| | 01:23 | And that long is what?
| | 01:24 | Well, I can go over here and see
that's about 4 seconds, and 4 seconds is a
| | 01:28 | good length for a shot.
| | 01:29 | Now, there's a couple of ways to do an
Insert Edit, again, depending on whether
| | 01:34 | you like to drag, whether you like to
hit buttons, or whether you like to use
| | 01:37 | keyboard shortcuts, whatever
works for you, you can do.
| | 01:41 | So we'll start off with one of the
basic ones, which is a button, because my
| | 01:44 | cursor is right here, and I can click
this button here which says Insert.
| | 01:49 | Now, watch what happens to my
Timeline when I click the Insert button.
| | 01:54 | It puts the clip exactly at the point
where my playhead was parked and pushes
| | 01:59 | the other clips after it down the Timeline--
or downstream is the jargon you might hear.
| | 02:05 | So it actually will make my show longer,
but I won't accidentally cut out any
| | 02:10 | footage that I've already put into my Timeline.
| | 02:13 | I'm going to go ahead and hit undo--
Command+Z on a Mac and Ctrl+Z on windows--
| | 02:18 | and show you that I can also do that simply
by grabbing it and dragging it over here.
| | 02:23 | Now, what you see is it says Drop to Overwrite,
and we'll discuss Overwrite in the next movie.
| | 02:30 | But if I hold down the Modifier key--
and on a Mac it's the Command key--it
| | 02:34 | actually tells me what the keyboard shortcut
is, and when I let go it does the same thing.
| | 02:41 | So if I'm in a rhythm of grabbing and
dragging, grabbing and dragging, I can do
| | 02:45 | an Insert Edit by just
holding down a Modifier key.
| | 02:49 | Now of course, I like to edit quick, and
I think keyboard shortcuts are the magic
| | 02:54 | that allows me to do that, so let's
go ahead and once again undo that with
| | 02:58 | Command+Z, and instead of doing any
dragging, once I've marked my In and my Out
| | 03:03 | Point, I'm simply going to press
the Comma key, and I can do my insert.
| | 03:09 | Now, a word of warning: if my playhead
is parked in the middle of a clip--and
| | 03:16 | let me go ahead and choose the Time_lapse_Sunset
shot, because I think this is
| | 03:19 | absolutely stunning. And we'll leave
the In Point just a little bit shorter.
| | 03:24 | And now what would happen if I do an
Insert Edit with my playhead parked in the
| | 03:29 | middle of this clip.
| | 03:30 | Well, exactly what you expect to
happen, it cuts it in half, and that's not
| | 03:36 | what I want to do here.
| | 03:37 | Now, there are times that you may want
to do an Insert Edit and actually cut a
| | 03:41 | clip in half. Maybe it's an interview
and you want to cut away to what the
| | 03:46 | person is talking about and actually
see the video and hear the ambient sound
| | 03:51 | and then return to the interview, and
that's a perfect time to do an Insert Edit.
| | 03:57 | And that saves you the trouble of
placing your playhead on a clip, finding the
| | 04:01 | Razor Blade, cutting it in half, moving
it down, dropping the clip in, closing
| | 04:06 | the gap...as you can see, very time-consuming.
| | 04:09 | The Insert Edit is an awesome
tool when cutting your show.
| | Collapse this transcript |
| Performing an overwrite edit| 00:00 | Another very useful edit
is called an Overwrite edit.
| | 00:04 | This is a situation where maybe I
want to replace one or two clips in my
| | 00:08 | Timeline or just part of them with
another clip, and instead of going in and
| | 00:11 | deleting them and leaving the space and
bringing the new clip in, I just want to
| | 00:16 | paste it over, just replace it with
a new clip, and it's very easy to do.
| | 00:21 | I can simply select the new clip that
I want--let's go ahead and scroll down
| | 00:23 | and pick a nice clip.
| | 00:25 | I really like this Windmills and Moon
shot, so we are going to load that in.
| | 00:29 | And I want to put it over this mess right here,
so I want to make sure that I am right on that.
| | 00:35 | And we learned earlier that I use
the Up and Down Arrow keys, I can get
| | 00:38 | precisely on my edit point.
| | 00:41 | So with that covered, I am going to go
ahead and select this shot, and we'll just
| | 00:46 | Mark an In Point there and an Out Point here.
| | 00:49 | And I can see this is a pretty
long shot. It's about 12 seconds long.
| | 00:53 | So I can go ahead and drag this over,
and if I let go, it's going to perform an
| | 01:00 | Overwrite edit. And take a look
at what happens in my Timeline.
| | 01:04 | It actually removes all of the clips that were
there and replaces it with this 12-second clip.
| | 01:10 | Now, this is important for you to see.
My clip was little over 12 seconds long.
| | 01:14 | 12 seconds and 3 frames precisely.
| | 01:17 | But the space for all those clips was a
little longer, and if I zoom in with the
| | 01:20 | Plus key, I've got a little piece of a
clip of the plug hanging on there, so
| | 01:24 | this is something you need to be
careful of when you do an Overwrite edit that
| | 01:28 | you really overwrite
everything that you intend to.
| | 01:33 | Let's go ahead and zoom back full
screen on the rough cut. There is a great
| | 01:36 | keyboard shortcut for that, it's the
Backslash key. It's directly under the
| | 01:40 | Delete key, and that will allow me to
see all of the clips in my Timeline.
| | 01:45 | And I'm going to hit undo--once again,
that's Command+Z on a Mac and Ctrl+Z on
| | 01:49 | Windows. That's probably my favorite keyboard
shortcut because I make a lot of mistakes.
| | 01:54 | And this time I am going to actually
make this a little bit longer. I am going
| | 01:58 | to just grab the Out Point, and right
there is good, so I can actually either
| | 02:03 | hit the O key where the
playhead is parked or simply drag it.
| | 02:08 | Now if I go ahead and do an Overwrite,
I'm going to cover up everything.
| | 02:12 | And instead of dragging it from left to
right, I am going to show you the other
| | 02:17 | two ways of doing it.
| | 02:18 | Again, there is a button, and it's this
button right here. As you see, it says
| | 02:22 | Overwrite, and I love the fact that in
Adobe Premiere Pro that I can hover over
| | 02:27 | any button, and it gives me a tooltip
that tells me what that button does and
| | 02:31 | also the keyboard shortcut.
| | 02:33 | If you notice the keyboard shortcut
for Overwrite is the Period key, and we
| | 02:38 | actually used that earlier on when we
were bringing clips into the Timeline.
| | 02:43 | We were actually doing Overwrite edits.
| | 02:44 | But now that we have clips there and
our playhead is positioned earlier, when I
| | 02:49 | hit that Period key, I do perform an
overwrite, and I replace all the other clips
| | 02:55 | that were there with that one giant clip.
| | 02:59 | Overwrite edits are very useful for
creating cutaways or replacing footage with
| | 03:05 | shots that are different
than you originally intended.
| | Collapse this transcript |
| Dragging to a second layer to edit cutaways| 00:00 | Well, up until this point we've learned
a lot of skills on how to manipulate our
| | 00:03 | clips in the Timeline. And one of the
things that makes or breaks the show
| | 00:08 | sometimes is putting in a cutaway.
| | 00:10 | And we have to actually put in a
cutaway in this clip, because if we watch it,
| | 00:13 | it's actually two takes.
| | 00:15 | When the director gave me this footage,
he just gave me all of the interview as one clip.
| | 00:19 | And I am going to go ahead and play it,
listen to it, and take a look at this
| | 00:22 | frame that comes up that
we're going to have to remove.
| | 00:25 | (male speaker: --right now, coming through this pipe
is 35 gallons of mineral water that's taking care
| | 00:29 | of my avocados and my home.
This is being pumped right now with--)
| | 00:34 | So I actually need to remove
or cover over that pickup line.
| | 00:39 | So I am going to go ahead and use the
skills we learned with the Razor Blade and
| | 00:43 | the Ripple Delete and quickly remove that.
| | 00:45 | I can simply go over here, and that's
where I want to cut it, so I am going to
| | 00:50 | switch to my Razor Blade, which is the C key.
| | 00:52 | I will make a little cut there and
drag it over here, and then when he comes
| | 00:56 | back on camera, right before he starts
talking and maybe even leave a little
| | 01:00 | bit of the word Interview Pick-up,
but we are going to hide that.
| | 01:03 | And I am going to Razor Blade that,
switch back to my Selection tool--that's
| | 01:07 | the V key--and with the clip selected, I
can simply right-click and do a Ripple Delete.
| | 01:13 | So I've effectively tightened up this
edit. And if I watch it, it sounds great.
| | 01:18 | (male speaker: --of my avocados and my home.
This is being pumped right--)
| | 01:21 | But it doesn't look great, and that's
exactly why we want to create a cutaway.
| | 01:25 | Now, we have a great cutaway. He is
talking about avocados, and I'm going to go
| | 01:29 | ahead and load this into the source monitor.
| | 01:30 | And I think I picked a pretty good area.
It's a nice rack focus. Maybe we'll do
| | 01:36 | earlier where we are just seeing the
avocados once they come into focus, so we'll
| | 01:40 | mark a new In Point.
| | 01:42 | And 3 seconds sounds about good, so
I'll go ahead and grab this and shorten it
| | 01:47 | just until I see it's about 3 seconds,
and now I want to do an Overwrite edit.
| | 01:53 | So I am going to go ahead and
position this here and pull it over and do an
| | 01:59 | Overwrite edit, and you'll
see a problem will happen.
| | 02:03 | Well, I did. I replaced the bad cut with
my avocados, but I also lost his audio.
| | 02:11 | (video playing)
| | 02:14 | I actually just hear the
sound of the farm equipment.
| | 02:17 | But that's not my only problem. If I
wanted to move this around--maybe I brought
| | 02:20 | it in too early or too late--and I go
ahead and I drag this left, or I drag it
| | 02:23 | right, it's going to a leave a big
gap and even cut off more of his audio.
| | 02:27 | So let me go ahead and hit undo. I am
going to do it twice, Command+Z, and that
| | 02:32 | will remove the clip from my Timeline--
get us back to where we want to be.
| | 02:35 | And I am going to scroll up a little bit.
We haven't really looked at this, and
| | 02:38 | you probably won't need to scroll
because your screen resolution is probably a
| | 02:42 | little bit larger than mine.
| | 02:44 | But there's a second video track. As a
matter of fact, there are as many video
| | 02:47 | tracks as you ultimately need. And what
I really want to do is I want put this
| | 02:51 | clip as a cutaway on the second video track.
| | 02:55 | And there's a lot of ways to do that,
and the easiest way is to simply drag the
| | 02:58 | clip and bring it down to the
Timeline and drop it where you want it to go.
| | 03:04 | Now, I can drop it anywhere I want.
It's going to naturally snap to the
| | 03:07 | beginning of where my playhead is.
| | 03:09 | But as long as I cover over that edit
point, I am going to be a happy camper.
| | 03:14 | I let go, it places the clip above it.
And now let's go ahead and play and
| | 03:19 | see what it looks like.
| | 03:21 | (male speaker: --is 35 gallons of mineral water
that's taking care of my avocados and my home.
| | 03:25 | This is being pumped right
now with solar technology.)
| | 03:27 | Well, that's pretty cool!
I don't cut off his voice.
| | 03:30 | I do hear the farm equipment. We'll learn
how to work with audio later on in this course.
| | 03:35 | But I have a problem that I can very
easily fix, and that is he talks about the
| | 03:39 | avocados before I actually see the
avocados, and I want to be able to move that.
| | 03:45 | And the beauty of working with two
tracks is I can simply grab that and--
| | 03:49 | using the skills that we learned
earlier--just slide it down a little bit.
| | 03:53 | And now when I hit play...
| | 03:55 | (males speaker: --mineral water that's
taking care of my avocados and my home.)
| | 03:57 | ...I actually see the avocados when he's
talking about the avocados, and I don't see
| | 04:02 | that edit point at all.
| | 04:04 | So cutaways can really help your show
look good by covering over edits that you
| | 04:09 | want to hide, or just even
showing what a person is talking about.
| | Collapse this transcript |
|
|
5. Advanced Editing TechniquesPerforming a three-point edit| 00:00 | In the previous movies we've marked an
in and out point in our Source panel and
| | 00:06 | an in point in our Timeline before we
brought a clip in. And that's a very easy
| | 00:11 | and basic way of editing, but
it actually is very limiting.
| | 00:15 | In this movie we are going to talk
about something called three-point editing.
| | 00:19 | Let's go ahead and load a clip in from
our Project panel into our Source panel
| | 00:24 | and take a look at some of the other
options we have other than marking an
| | 00:27 | endpoint and an out point in our source clip.
| | 00:30 | I'm going to go ahead and load in the
CFL bulb shot. And traditionally we've been
| | 00:36 | marking an endpoint and an out point
in our Source Monitor and then, of course,
| | 00:42 | putting an in point on our timeline.
| | 00:45 | And we've done that either at the
end of a clip or even leaving a space.
| | 00:49 | Well, I can always back time a clip.
| | 00:51 | So for instance, if I knew that I was
making a spot that was exactly 15 seconds
| | 00:56 | long, I could park my playhead right on
15 seconds--and I am going use the Left
| | 01:02 | and Right Arrow key just to
move it back to exactly 15.
| | 01:06 | I know that because I can see that right
here in my Program panel, and I can kind
| | 01:12 | of see it down there.
| | 01:13 | So instead of marking an in point,
now I am going to go ahead and press O
| | 01:18 | and mark an outpoint.
| | 01:20 | So I have an in and out in my source, and I only
have an out in my destination in my Timeline.
| | 01:28 | Well, Premiere Pro is smart enough to be
able to figure out that if this clip is
| | 01:34 | only 12 seconds long, it
knows where the endpoint is.
| | 01:38 | It does the math for me.
| | 01:40 | So let's go ahead and I am going to drag
this in, and I can either overwrite this
| | 01:45 | way, or I can use the keyboard shortcut,
but what you do not want to do with
| | 01:49 | three-point edit is you don't want to
drag it to the timeline, because whenever
| | 01:53 | you drag a clip to the timeline it
completely ignores the in and out points in
| | 01:58 | your timeline and just puts
the clip wherever you let go.
| | 02:02 | It assumes you know where you want to put it.
| | 02:05 | So you either need to drag it over
here, use the button or the keyboard
| | 02:09 | shortcut--and in this case
it would be the period key.
| | 02:13 | Now if you noticed, it back timed 12 seconds
and actually cut off a little bit of
| | 02:19 | this clip, but that's okay because
that's what I intended for it to do.
| | 02:23 | Let me go ahead and undo that, and you
can see I cut off part of this clip, but
| | 02:29 | the idea of three-point editing says you
need to choose an in and an out in your
| | 02:34 | source and an in or an out in your destination.
| | 02:38 | And in this case, we chose an out
instead of an in, and you saw what happened.
| | 02:43 | Now you're not limited to just choosing
whether it's an in or an out in your timeline.
| | 02:48 | As a matter of fact, I could go to my
timeline, and instead of just having an out
| | 02:53 | point I could say, you know, I want this
to come in right at 10 seconds, so it's
| | 02:58 | going to be a 5-second space, and
again I'll use the Left and Right Arrow
| | 03:02 | keys just right to 10 seconds, and
now I am going to mark an in point.
| | 03:06 | So I have an in point marked and an
out point marked, and in this case I don't
| | 03:12 | care when the shot ends.
I just really care when that light turns on.
| | 03:17 | So I'll mark an in point there, and I
am going to go ahead and remove the out point.
| | 03:22 | So I am going to just say Clear
Out, and in this case, again, I'm doing
| | 03:26 | a three-point edit.
| | 03:28 | I have an in point in my source and an
in and an out in my destination, and it
| | 03:32 | will calculate how long
of this clip I need to see.
| | 03:36 | Again, we'll drag it over.
| | 03:38 | I could be using the period key, and as
you see down here it filled exactly the
| | 03:44 | space that I wanted.
| | 03:45 | Now this is great if you're cutting to
music or if you have a sound bite where
| | 03:50 | you need to have video covering
specifically what somebody is saying, you can
| | 03:54 | mark an in and an out in your
timeline, and if the source footage is just
| | 03:58 | wallpapers--it's just generic--you can
easily just pick a key point and drop it in.
| | 04:04 | So as you see, three-point
editing is pretty straightforward.
| | 04:08 | You choose three of the four choices,
two ins and one out or two outs and one in.
| | 04:15 | Now there is one gotcha.
| | 04:18 | What happens if you pick an in and an
out in your source and an in and an out in
| | 04:24 | the timeline or your destination?
| | 04:26 | Let's go ahead and mark our
timeline with an in point and an out point.
| | 04:31 | I am going to do a pretty
short here as a matter of fact.
| | 04:33 | If I look here I can see that it's about
2 seconds long, and I am going to scroll
| | 04:38 | down and pick another shot,
something that's a little bit longer.
| | 04:41 | As a matter of fact, I am going to
specifically choose the fan here, and I am
| | 04:45 | going to go ahead and load that into
the Source Monitor by double-clicking and
| | 04:50 | stretch out my in and my out point.
So here we go.
| | 04:54 | I have an in and an out, I can see
what the length of this clip is, it's 12
| | 04:58 | seconds long. I could even make it a
little longer, and I'm putting a 12-second
| | 05:03 | clip here, and I also have
an in and out point there.
| | 05:06 | Well, if I go ahead and I drag it across
I am going to get a warning dialog box.
| | 05:11 | It's going to warn me that I put in
four points, and maybe I don't want use all
| | 05:16 | of those four points.
| | 05:18 | So four of these pretty are self-evident.
| | 05:21 | I can say, you know something. I made
a mistake. I really want to ignore the
| | 05:25 | out point on the fan.
So I would say Ignore the Source Out Point.
| | 05:29 | And if I hit OK if it fits in my
2-second hole, and that's perfect.
| | 05:35 | Let me go ahead and undo that.
| | 05:37 | So I still have the same in and out point
here and that really long in and out point there.
| | 05:41 | Again, I'll drag it over. I
can choose what I want to ignore.
| | 05:45 | By default, it ignores the
out points on the sequence.
| | 05:49 | So don't always just ignore reading
this box and hit OK, because you could
| | 05:53 | accidentally overwrite video that you may
want to keep, but there's another choice
| | 05:58 | which is at the very top of the list.
It says Change Clip Speed or Fit to Fill.
| | 06:05 | What it's going to do, it's going to
squeeze a 15-second clip into a 2-second
| | 06:11 | hole, and it's going to do
that by speeding the clip up.
| | 06:15 | So a four point edit actually allows
you to speed up or slow down a clip.
| | 06:21 | Let's take a look and see how that works.
| | 06:24 | So it still looks like 2 seconds here,
but when we play it back, that fan is
| | 06:29 | moving at a pretty good speed. And I
am going to go ahead and zoom in, in my
| | 06:32 | Timeline by hitting the plus key, and
you can actually see it says 576% of
| | 06:40 | its original speed.
So it automatically sped up the clip.
| | 06:44 | If I had a shorter clip, say 2 seconds
long, and I dropped it into a 15-second in
| | 06:49 | and out point in my timeline, that
would actually slow-mo the clip.
| | 06:54 | So Fit to Fill is great, especially
if you have say a sound bite that's 6
| | 06:58 | seconds long, and you have a clip that's
only 5 seconds of footage, I could mark
| | 07:03 | an in and out in my source and an in
and out in my destination, do Fit to Fill,
| | 07:09 | and then slow it down just
enough to cover the voiceover.
| | 07:15 | Three-point editing gives you a lot
of control on placing the clip in your
| | 07:19 | timeline exactly where you want it to be.
| | Collapse this transcript |
| Performing a replace edit| 00:00 | In this movie we are going to
learn about the Replace Edit.
| | 00:03 | Now the Replace Edit is an amazing
tool because it allows you to swap out
| | 00:07 | one clip for another.
| | 00:09 | Now this could be useful if you have a
different take, or in this case I showed
| | 00:13 | the rough cut to the producer and when
I played it, they loved the idea of a
| | 00:18 | light bulb turning on, but because
this is all about solar energy and saving
| | 00:22 | power, they wanted it to be a CFL bulb.
| | 00:25 | So I actually have a shot of a CFL bulb
and we are going to load that into our
| | 00:30 | source monitor by just double-clicking it,
and I want to swap out this shot with
| | 00:35 | the shot that's already here.
| | 00:37 | And it's really easy to do if you
know the modifier key to pull it off.
| | 00:43 | Now what I can do is I can mark the
in-point where I want this shot to start.
| | 00:48 | I'm going to go ahead and mark the in-point
right there and hit I, and I am going
| | 00:55 | to grab it and drag it down to the timeline.
| | 00:57 | And if I let go it right now, you see
that it's not going to only replace the
| | 01:01 | original bulb, it's going to
blow away everything at the end.
| | 01:04 | And I don't want to figure out exactly
how long this clip needs to be by marking
| | 01:09 | in points and out points and
whatnot, I want to be quick.
| | 01:12 | So I can go ahead and hold down the
Option key on a Mac, or the Alt key on a
| | 01:16 | Windows machine, and if you notice, the
icon stays the same, but it only selects
| | 01:23 | the clip where my cursor is hovering over.
| | 01:26 | If I let go at this point you'll
see that bulb will change to CFL.
| | 01:32 | So now I have just swapped out this clip
and if I hit Play, it's perfectly timed
| | 01:41 | because I matched my in point to
my in point, and I'm good to go.
| | 01:45 | A lot easier than marking ins and outs.
| | 01:48 | As a matter of fact, you can even do
this by grabbing a clip from your Project
| | 01:53 | panel, dragging it over, and holding
down the modifier key to replace it.
| | 02:00 | Now that's great, but there's even
a faster and more efficient way to do something.
| | 02:04 | Now in this case, I am going to go
ahead and hit undo a couple of times to go
| | 02:09 | back to our original bulb.
| | 02:10 | What's more important than timing the
beginning is sometimes timing a specific
| | 02:15 | action, maybe you're going from a wide
shot of the baseball game of the batter
| | 02:20 | hitting the ball to a close-up
of the batter hitting the ball.
| | 02:23 | And the key thing that's important is
the moment the ball strikes the bat and
| | 02:30 | that could happen in the middle of a clip.
| | 02:32 | So there's another way to do a replace.
I could park this right about where
| | 02:37 | this comes to full luminance, and then
what I'm going to do is select my clip in
| | 02:42 | the Source Monitor and again park the
playhead where it's at full luminance for the CFL.
| | 02:50 | So this is the critical point where
my playhead is parked, and this is the
| | 02:54 | critical point in my timeline
where the playhead is parked.
| | 02:58 | Now I simply right-click on the clip in
the timeline, I get a dropdown menu and
| | 03:03 | look at that Replace With Clip,
and I have three choices.
| | 03:07 | I can just grab the one in the Source
Monitor, in which case it will use the in
| | 03:11 | point, but that's not really what I want.
| | 03:13 | I want it to not only grab it from the
Source Monitor, but I want it to match
| | 03:17 | the exact frame where I have the
playhead parked. So I can select that.
| | 03:22 | Now just for reference I can also
select from the bin and again it will
| | 03:27 | choose the in point or if there is no
in point it will choose the beginning of the clip.
| | 03:30 | But this is the magic one.
| | 03:32 | I simply click and select, and it swaps
out the old clip with the new clip lining
| | 03:38 | up that one key moment at
exactly where I want it.
| | 03:42 | The Replace Edit is my favorite tool
when swapping out an old clip with a new clip.
| | Collapse this transcript |
| Targeting specific tracks in the Timeline| 00:00 | In an earlier movie we learned that I
can actually put a cutaway on my second
| | 00:05 | video track if I needed to either show
what a person is talking about or to hide a cut.
| | 00:10 | And we did this with this farmer interview shot.
| | 00:13 | We had this cut right here, and we
replaced it with our Avocados B-roll.
| | 00:18 | Well, let's go ahead and load the
Avocados B-roll back in, and if you watch
| | 00:22 | that movie, you saw that I did this by simply
dragging the clip to video track 2 and letting go.
| | 00:29 | But that's not necessarily
the fastest way to edit.
| | 00:32 | A lot of times you'll either want to drag
left or right or use a keyboard shortcut.
| | 00:36 | Let me go ahead and mark a good in and
out point in our timeline, so when he's
| | 00:41 | starting to talk about avocados...
| | 00:43 | (male speaker: --water that's
taking care of my avocados--)
| | 00:45 | So right about when he is going my
avocados, I'll mark an in point, and I'll mark
| | 00:50 | an out point when he has done
talking, and we'll cut get back to him.
| | 00:53 | (male speaker: --taking care of my
avocados and my home. This is being--)
| | 00:57 | So mark an out point.
| | 00:58 | So instead of dragging this down,
I've marked my in and out point like we
| | 01:03 | learned in the three-point editing
movie, and I can go ahead and mark an in
| | 01:07 | point in my source.
| | 01:10 | Now if I did the traditional edit that
we've been doing by dragging it over or
| | 01:14 | hitting the period key, it deletes what's there.
| | 01:18 | I actually want to put it on the second track.
| | 01:20 | So let's go ahead and hit undo and
what we are going to learn is how can I
| | 01:24 | target what's here to the second track
and still use keyboard shortcuts or still
| | 01:30 | drag from the source to the Program window.
| | 01:33 | So what I want to do is I want to tell
Premiere Pro that ignore video track 1
| | 01:39 | and put my video onto track 2.
| | 01:42 | So I can just click on that to turn it
on, and I am going to scroll down here.
| | 01:46 | Now you probably won't have to scroll,
because I have less screen resolution, and
| | 01:51 | I'm going to say instead of putting the
audio onto audio 1, let's go ahead and
| | 01:55 | put audio onto track 2.
| | 01:57 | So I'll go ahead and I'll turn that off,
and I'll move this up a little bit so you
| | 02:02 | can actually see what I have done.
| | 02:05 | You'll notice that my blue line is over
here, and when I drag this over, instead
| | 02:11 | of going to track 1, it actually puts
it onto track 2, and I have my cutaway.
| | 02:17 | The nice thing is if I am going to
put a lot of B-roll on this interview
| | 02:21 | segment, once I have set my track targeting,
I could go ahead and mark an end point
| | 02:26 | here and perhaps show some of the water
that he's talking about. And now again
| | 02:30 | just mark an in and out point directly
in my Project Targeting panel, and I could
| | 02:36 | go ahead and drag it up there.
| | 02:38 | You'll notice it'll go onto video track 2,
and I can control--if I wanted to--
| | 02:44 | to put things on track 3 or
any track that might be above.
| | 02:48 | So as you see, track targeting is very useful.
| | 02:52 | The key here is to make sure that the
track you want your video, and your audio
| | 02:58 | to go to are the ones that are highlighted.
| | Collapse this transcript |
| Linking and unlinking audio and video tracks| 00:00 | In the previous movie we learned how
to put video and audio onto video track 2
| | 00:05 | and audio track 2.
| | 00:07 | And if we went ahead and we played
these clips, you'll notice that the audio is
| | 00:12 | a little bit distracting.
| | 00:14 | (male speaker: --through this pipe is 35 gallons of mineral
water that's taking care of my avocados and my home.
| | 00:18 | This is being pumped--)
| | 00:20 | Now what's really distracting is more the farm
noise as opposed to the sound of the water.
| | 00:24 | I almost expect to hear the water.
| | 00:26 | So I want to do is I want to delete
just the audio from the Avocado clip
| | 00:32 | and leave the video.
| | 00:34 | But if I select either the audio or video--
| | 00:37 | you have to be careful when you click
on a clip because sometimes they jump,
| | 00:41 | you'll notice that both are selected.
| | 00:44 | These clips are linked together and
this is the default of the editing
| | 00:50 | application, because you want to make sure
that your video stays in sync with your audio.
| | 00:55 | Now I could ultimately turn down the
volume on the Avocado clip, but what I
| | 01:00 | really want to do is I want to replace
that maybe with that pumping sound of the
| | 01:03 | water, just to give it a smoother edit.
| | 01:06 | So how do I break this link?
Well, there are several ways to do it.
| | 01:10 | I can select the clip, and I can either
do this from a pulldown menu or since I
| | 01:14 | have already selected the clip it's a
lot easier for me simply to select Unlink.
| | 01:21 | As soon as I click on Unlink, you'll
notice that there was a little line here
| | 01:25 | and it's gone, and now when I click on
Avocados in the audio track, that's all I
| | 01:29 | select in and the same thing goes for video.
| | 01:32 | So because they're no longer linked, I
can select it and simply press the Delete
| | 01:37 | key on a Mac, or the Backspace key on
Windows, and remove that clip, and now I
| | 01:43 | don't have to hear the
sound of the farm machinery.
| | 01:46 | Now I want you to keep hearing the
sound of the pumping water, and I hope I have
| | 01:49 | enough media to do this.
| | 01:50 | So I am going to go ahead and grab
the edge and stretch it, but I can't.
| | 01:56 | If you notice there's a pop-up window that
says the trim is blocked by the video on V2.
| | 02:02 | So I need to somehow break the
relationship here of the video and the audio.
| | 02:07 | And once again, I can unlink it, but
that gets a little bit dangerous because I
| | 02:12 | could actually put the
water out of sync with itself.
| | 02:15 | Now water is water, but there are many
times where if you unlink something, you
| | 02:19 | could get into trouble.
| | 02:20 | As a matter of fact, I am going to show you
exactly how much trouble you can get into.
| | 02:23 | If I right-click on this, and I select
Unlink, now my water is out of sync with
| | 02:30 | everything, and if I don't remember to
put it back together, I'll notice
| | 02:34 | 20 minutes later that everything
is messed up in my timeline.
| | 02:36 | So let me go ahead and undo that.
| | 02:39 | I am going to hit undo once to bring it
back and undo a second time to re-link it.
| | 02:43 | As you see, it's now underlined and
instead of unlinking it permanently, I can
| | 02:49 | hold down a modifier key, in this case
it's the Option key on a Mac and the Alt
| | 02:54 | key on Windows and simply
extend or drag just the audio.
| | 03:00 | What I'm doing by holding that modifier
key down is temporarily breaking the
| | 03:05 | link so I can make one of these
clips longer than the other one.
| | 03:10 | But you'll notice they're still
linked together at this point.
| | 03:13 | If I remove my finger from the modifier key
, and I select pumping water, they're linked.
| | 03:18 | If I move one, the other one moves too.
| | 03:20 | Let's go ahead and play it back and
hear how much smoother the edit is.
| | 03:25 | (male speaker: --through this pipe is 35 gallons of mineral
water that's taking care of my avocados and my home.
| | 03:29 | This is being pumped--)
| | 03:31 | So that's great. It sounds like it's the background
sound of when he is talking and then we can
| | 03:36 | eventually lower the volume of the
pumping water, but being able to unlink two
| | 03:42 | clips to delete part of it or being
able to temporarily unlink a clip are very
| | 03:48 | useful tools when editing.
| | Collapse this transcript |
| Performing roll and ripple edits| 00:00 | In this movie we are going to learn
about Ripple Edits and Roll Edits.
| | 00:04 | They are actually two different types
of trimming the edge of a clip to make
| | 00:09 | sure that your show actually is paced perfectly.
| | 00:13 | For instance, let's take a
look at these first two shots.
| | 00:16 | We have a shot of the person turning on light
switch, and then the light turns on.
| | 00:28 | As you see, that would be pretty boring.
| | 00:31 | What we want to have happen is we want
to see the light get flicked on, and as
| | 00:35 | soon as the switch clicks, I want to cut
to the light and see the light turn on,
| | 00:40 | which means I need to trim the tail of
this clip and the head of this clip in.
| | 00:45 | If you notice we trimmed clips before,
we learned how to do that by making
| | 00:49 | clips longer and shorter, and if I
hover my mouse over the edge of the clip,
| | 00:54 | it points to the direction of the clip
I want to shorten, and I could just drag
| | 00:58 | this all the way to the point where
we see the light get turned on and then
| | 01:03 | just let go and then I have this big gap, and then
I am going to go ahead and remove the gap.
| | 01:08 | I could right-click and Ripple Delete,
and then I'll do the same thing here, and
| | 01:13 | right before the light comes on, there
we go. I have another gap and right-click
| | 01:17 | and Ripple Delete, and
now we have perfect timing.
| | 01:21 | That works just great, but it's not very fast.
| | 01:26 | So let's go ahead and undo several steps back to
where we were at the very beginning. There we go!
| | 01:32 | I think I hit undo four times
and there we have our lousy timing.
| | 01:38 | So instead of using this traditional
red trim tool, I can go over here, and
| | 01:44 | again, we are going to go to tooltips, and you
see there is an option for a Ripple Edit tool.
| | 01:51 | Now if you notice the color has changed,
and if I go ahead and I grab the light
| | 01:56 | switch, and I make it shorter, just to
where he flicks the switch, I can let go.
| | 02:03 | But do you notice how the program
window looks a little different?
| | 02:07 | Before we just saw the last frame of
the first clip, what we're seeing now is
| | 02:11 | not only the last frame of the first
clip, but on the right side we are seeing
| | 02:15 | what it's going to cut to
assuming the gap isn't there.
| | 02:19 | As soon as I let go of my mouse, not only
does it shorten the clip, it closes the gap.
| | 02:25 | So instead of doing it in two steps
where I shorten it and then I had to remove
| | 02:29 | the gap, I can do it one.
I can do the same thing the other way around.
| | 02:33 | Let me go ahead and deselect this and
nothing is selected, and if you notice
| | 02:36 | now when I hover my mouse over it, I can
click and now I am going to drag to the right.
| | 02:42 | I see this switch at the very end, but
I'm going to go ahead and just move it
| | 02:45 | right before the light turns on, and it deletes
everything in front and removes the gap.
| | 02:51 | Let's go ahead and play that.
| | 02:55 | Well, I was a little bit off
there and that definitely happens.
| | 02:59 | So what I want to do I want to go
ahead and trim a little bit more at the
| | 03:02 | beginning, and I am going to show you a
really cool technique so you don't have
| | 03:06 | to step off and step back on.
| | 03:08 | Let me zoom in so you can see it little clear.
| | 03:11 | I am going to hit the plus key a
couple of times, and I want to grab the left
| | 03:14 | side, and I don't want to
have to click off there.
| | 03:16 | Well, there's a great little keyboard
shortcut, and it revolves around the T key.
| | 03:22 | If you hit Ctrl+T, every time I tap
the T key you notice that it's toggling
| | 03:28 | between five different states of trim.
| | 03:32 | We saw the red ones.
That's the trim that's going to leave a gap.
| | 03:36 | There is also one where it's on both
sides, that's a Roll Edit, and we are going
| | 03:39 | to look at that shortly, and then if I
tag it again I actually get the yellow
| | 03:44 | Ripple Delete trim edit, and I can go
ahead and grab and pull this to the left
| | 03:50 | just until the switch is clicked and now we go
ahead and hit play, and our timing is pretty good.
| | 03:59 | I could go ahead and hit Ctrl+T and
really refine this because I think I need
| | 04:04 | to pull it back just a little bit. And
if you notice I can pull to the left
| | 04:08 | with the yellow cursor, and it's going to just
add media to beginning and push everything down.
| | 04:14 | It's not going to remove
any of the clip on the left.
| | 04:17 | We'll get that just right and look at playback.
Perfect!
| | 04:25 | So that's the advantage of using the
Ripple Trim tool in Adobe Premiere Pro.
| | 04:31 | Now I also mentioned something called a Roll.
| | 04:35 | So let's go ahead and jump back to see
the entire timeline, and I could hit the
| | 04:40 | minus key several times, but instead of
that I am going to press the backslash
| | 04:44 | key and that's going to
show me my entire timeline.
| | 04:48 | And if I go over to these clips on
the right, and I hit Play, I have one
| | 04:54 | clip that's the fan and that's four
seconds long, and I have another clip of
| | 04:58 | these wind turbines and the moon in
the background, and it'll be great if
| | 05:02 | they were equal length.
| | 05:05 | I don't want to go do that whole ripple
thing, because then I'd be deleting and
| | 05:08 | moving things around.
| | 05:09 | So I am going to go ahead and I'm
going to switch from my Ripple tool to my
| | 05:14 | Rolling Edit tool which is the N key.
| | 05:17 | So I click on that, and now if I come
over here and click on the edit points and
| | 05:23 | with it clicked I can
move my mouse left or right.
| | 05:27 | You'll notice once again I see the
last frame of the first clip, which is the
| | 05:32 | fan, and I see the first frame of the
incoming clip which are the wind turbines,
| | 05:37 | and where ever I let go of my mouse
is where the cut is going to move to.
| | 05:42 | So it's very easy for me to roll the
edit point to make one clip longer and
| | 05:48 | the other clip shorter.
| | 05:50 | Unlike the Ripple Delete where I am
changing the duration of my show, with the
| | 05:56 | Roll Edit what I take from
one clip I give to the other.
| | 05:59 | So the total duration of these
two clips will always stay the same.
| | 06:05 | And that's a great tool to use when your
timing is perfect, but maybe you cut to
| | 06:09 | something a little bit too early or
little bit too late, but you don't want to
| | 06:13 | change the duration of your whole show.
| | 06:15 | A really cool trick is if you know
exactly where you want that edit to occur,
| | 06:21 | you can simply select the edit point
with the Roll tool, position your playhead
| | 06:26 | exactly where the cut should be,
perhaps on the musical beat, and simply press
| | 06:31 | the E key for what's called an Extend Edit.
| | 06:35 | And as you see, the edit automatically moves to the
precise location where your playhead was parked.
| | 06:41 | The Extend Edit is one of my favorite
tools, and it's easier to remember, because
| | 06:46 | once you have the edit
selected you press E for extend.
| | Collapse this transcript |
| Performing slip and slide edits| 00:00 | In this movie we are going to learn two new
kinds of edits, a Slip Edit and a Slide Edit.
| | 00:07 | If you take a look at the first three
clips in my timeline--I am going to go
| | 00:10 | ahead and play them back.
| | 00:12 | We have the fan and the light bulb that
we've been seeing as well as a shot of
| | 00:15 | an iPad, and the fan looks great.
| | 00:19 | The light bulb is just on, so that's boring,
and we have some nice action on the iPad.
| | 00:24 | Well, we know from the previous movies
there is a really cool section of that
| | 00:28 | clip where the light bulb actually
turns on and that's what I want to see.
| | 00:33 | But my timing is perfect.
| | 00:35 | I really want these edits to
happen specifically at these cut points.
| | 00:39 | Let's go ahead and zoom in a little bit closer.
| | 00:41 | I am going to press the plus key so we
can focus just on those three clips, and
| | 00:46 | what I'll want to do is I want to
simultaneously change the in point and the out
| | 00:51 | point of this clip so we
see the light turning on now.
| | 00:55 | I'm going to go ahead and double-click
on this clip and load it back from the
| | 00:59 | timeline into the Source Monitor.
| | 01:02 | This is actually now the clip
that's in my timeline, and if I made any
| | 01:07 | adjustments to it in the timeline it
would reflect up here and vice-versa.
| | 01:11 | We are going to go into that in greater
detail in future movies, but this is a
| | 01:16 | really good editing practice to
understand if you want to modify a clip that's
| | 01:20 | already in your timeline.
| | 01:22 | And I can see what the in and out points are.
| | 01:24 | If I go ahead and hit Play,
the light's already on.
| | 01:27 | So what I really want to do is I could
go up here and drag it out of the track
| | 01:31 | and stretch this out to where the light
turns on and then I got to slide it over
| | 01:36 | and then make it shorter
and then bring it back down.
| | 01:39 | That's just a nightmare.
Let me go ahead and hit undo.
| | 01:42 | We know that's Command+Z and Ctrl+Z on Windows,
and we're going to leave it exactly where it is.
| | 01:48 | But instead of leaving it on the
selection tool, we're going to switch to a new
| | 01:53 | tool that we haven't used yet and
that's called the Slip tool, and the keyboard
| | 01:57 | shortcut for that is the letter Y. Now
take a look what happens when I click on
| | 02:02 | the clip with the Slip tool, it's
different than when I normally click on it
| | 02:06 | with the selection tool.
| | 02:07 | If I start to drag left or right, take
a look in the upper right-hand window in
| | 02:12 | the Program Monitor.
| | 02:13 | I actually see the first and last
frame of the light bulb clip with time code
| | 02:19 | showing me approximately what the time
is on the original media, and I see the
| | 02:24 | last clip of the fan and the first clip
of the iPad just so I can get a sense of things.
| | 02:28 | As I move my mouse left and right, I
can actually change the timing of the clip
| | 02:34 | just so that it turns on at the right moment.
| | 02:37 | Now I haven't let go of my mouse.
| | 02:38 | Take a look at what happens in my
timeline when I release the mouse.
| | 02:43 | Nothing changed in the
orientation of how these clips are cut.
| | 02:47 | The timing is exactly the same.
| | 02:49 | But when I go ahead and I play the
clip I actually see the light turn on.
| | 02:55 | I am going to quickly go ahead and do
an undo and a redo, because I want you to
| | 03:01 | look in the upper left window and the
source window to see what happens to the
| | 03:05 | green in and out selection on this clip.
| | 03:08 | If I hit undo it's going to take me
back to the original in and out point, which
| | 03:13 | was much later on, and if you notice that
the duration of the clip doesn't change.
| | 03:18 | And then if I hit redo--
and we haven't used redo yet.
| | 03:22 | If you go onto the Edit menu, you can
see there's an option to Redo, and this is
| | 03:26 | important, because I'm pretty impatient,
and I tend hit undo one time too many.
| | 03:31 | So you can always redo.
| | 03:33 | If you notice when I redid this it moved
the in point back to that perfect timing.
| | 03:37 | So the Slip Edit is an amazing tool.
| | 03:40 | I use this a lot when I know that the
timing is right, but I'm just looking at
| | 03:45 | the wrong part of the media.
| | 03:47 | I'd input quite the right
in and out point that I want.
| | 03:50 | Another way you could do a slip is if you
load the clip back into the Source Monitor.
| | 03:56 | As long as you have the slip tool
selected I can simply grab the middle of this
| | 04:00 | clip, and I could move it
left and right this way.
| | 04:03 | So two ways to get to the same result,
but it's a very, very powerful tool.
| | 04:09 | Now complementing the Slip tool is the
Slide tool, and if we scroll down a little
| | 04:15 | further in our timeline--I am just
grabbing the bar here and moving it to the
| | 04:18 | right. I'll give you another trick, if
you press the H key for hand, you can
| | 04:23 | actually move left and right and slide
your timeline to where you want it to be.
| | 04:27 | So let's go ahead and position the second set
of clips directly in the middle of our timeline.
| | 04:33 | Every time I switch to a new tool by
habit without even thinking about it I
| | 04:38 | always want to go back to my selection tool.
| | 04:40 | Normally, I just press the V key
without thinking, but I am going to show you
| | 04:44 | here by clicking the button.
| | 04:46 | Now if I play this clip we have this beautiful
shot of the moon rising over these wind turbines.
| | 04:52 | I have a shot of the person plugging in
a power cable, and the timing is perfect.
| | 04:57 | And then we cut to this fan.
So I love the shot in the middle.
| | 05:00 | I mean, I won't want to ever slip this
because I actually timed this perfectly
| | 05:04 | and it cuts just at about the right time,
but I want to get to it a little bit sooner.
| | 05:10 | I'm looking at the windmills
just a few frames too long.
| | 05:14 | So I'd love to slide this whole thing
back, and of course, if I just grabbed it
| | 05:19 | and moved it, we know what the results would be.
| | 05:21 | I'd end up probably
deleting the clip at the beginning.
| | 05:25 | I'm having this huge gap here.
Let me go ahead and hit undo.
| | 05:29 | So instead of just grabbing it with my
selection tool I can go over here and
| | 05:34 | choose the Slide tool, which
is the keyboard shortcut of U.
| | 05:39 | With the Slide tool selected, you notice
that my cursor now changes when I click
| | 05:44 | on the clip and start
moving either left or right.
| | 05:46 | Again, I get a new pop-up window, and
this looks a little bit like that slip
| | 05:51 | window, just kind of inverted.
| | 05:53 | If you notice on the top I have the
first and last frame of the plug which
| | 05:58 | doesn't change as I move left or right,
but what I'm seeing now is the last
| | 06:02 | frame of the windmills clip and
the very first frame of the fan.
| | 06:08 | So if I want this all to happen
earlier I switch to the Slide tool, move this
| | 06:13 | to the left, let go of my mouse, and as
you can see I've deleted the end of the
| | 06:19 | first clip, but I don't have that gap anymore
that I have to stretch out of the following clip.
| | 06:25 | So the Slide tool is very helpful again,
because it allows you to edit using
| | 06:31 | just one action instead of using
three or four separate actions.
| | 06:37 | Slipping and sliding, two
great ways to fine-tune your edit.
| | Collapse this transcript |
| Creating subclips| 00:00 | In this movie we are going to learn about
subclipping and why you would want to use a subclip.
| | 00:06 | I only have one clip for us to work with.
It's the farmer interview.
| | 00:09 | So let's go ahead and double-click
and load that into the Source panel.
| | 00:13 | Now if we play through this, he has
about three separate ideas or three
| | 00:17 | separate sound bites. And as a matter
of fact, we looked at this clip earlier
| | 00:20 | when the director gave this to me,
there was even a pick-up and a piece of
| | 00:25 | black that I want to pull out.
| | 00:26 | I know I am never going
to put this in the show.
| | 00:28 | So what I want to do is I want to,
instead of having one big long clip, I'd like
| | 00:33 | to have three short clips that
would be very easy for me to find.
| | 00:36 | Now this is only an 18-second clip
to start with, but there will be times
| | 00:40 | when you may be given a 20-minute clip that
you don't have to search through all 20 minutes.
| | 00:45 | Perhaps it's a concert
or a really long interview.
| | 00:49 | You want to be able to break it up into
small chunks that you can find quickly.
| | 00:53 | And that's what subclipping is all about.
| | 00:55 | To subclip a larger clip, you just
simply mark in and out points at strategic places,
| | 01:02 | in this case, with each of the
three thoughts that he talks about.
| | 01:05 | Let's go ahead and hit Play and mark an in
and out point for his first sound bite.
| | 01:16 | Okay, so right before he
goes I am here, mark it in.
| | 01:20 | (male speaker: I am here at the
well about a mile from my house.)
| | 01:23 | I am here at the well
about a mile from my house.
| | 01:25 | That's a great little sound bite
that I want to make into a subclip.
| | 01:28 | So I have marked an in and an out point, and
I simply go up to clip, and I say make subclip.
| | 01:34 | Before I do this, let's go ahead and
switch from the icon view to the list view.
| | 01:39 | Now this isn't necessary for your
actual editing, but it might make it easier
| | 01:44 | for you to see what's happening.
| | 01:46 | So with this clip selected, I'll go up
here to clip, say Make Subclip, and I get a
| | 01:51 | dialog box that allows me to name the subclip.
| | 01:55 | It uses the name of the original clip
and then simply appends a .Subclip to it.
| | 02:01 | Now don't worry that it actually says
Interview_Farmer, and it might be confusing.
| | 02:05 | We can actually change that later.
| | 02:07 | What we want to do is very quickly go
through and subclip the next two sections.
| | 02:11 | So I want to go ahead. Once again, he
starts the next section, I mark an in
| | 02:16 | point, and then before it goes to
black, I mark the out point, and once again I
| | 02:23 | can go Clip > Make Subclip,
and then simply say OK.
| | 02:27 | As you see, there is a different icon
down here for each of the subclips.
| | 02:32 | We are going to make one more, and I am
going to make it a slightly different way.
| | 02:36 | Again, I am going to scrub through.
Right as soon as we come back from black I
| | 02:40 | am going to mark an in point, and when
he finishes talking I am going to let it
| | 02:45 | run to the end just so that I have a little
better handle in case I want to do a dissolve.
| | 02:50 | Instead of going up to the clip
dropdown menu and say Make Subclip, I can
| | 02:55 | actually just drag it into my
browser as long as I hold the modifier key.
| | 03:01 | If I'm on a Macintosh I'll hold down
the Command key, and on a Windows machine
| | 03:05 | I'll hold down the Ctrl key.
| | 03:07 | So in this case, I'll press Command, I
have my in and my out point selected, I
| | 03:12 | drag it and simply drop
it into my Project panel.
| | 03:17 | As you see, I get the choice for how I want
to name it, and for now I'll simply say OK.
| | 03:23 | So there we go!
I have three subclips.
| | 03:25 | If I click on any of these to load them
back into the Source panel, I only see
| | 03:30 | that one little piece of the sound bite,
and this is great for when I need to put
| | 03:34 | together and edit if I want to make
these more spaced out or if I want to find
| | 03:38 | something very quickly.
| | 03:40 | Now if I want to find something very
quickly, it might benefit me to change the
| | 03:44 | name. And to change the name of any clip
in my Project panel, I can simply select
| | 03:49 | it, highlight what I want to change,
and I am going to just ahead and put in
| | 03:54 | the space and type in the word: well.
| | 03:57 | So now I can know which
part of the sound bite that is.
| | 04:00 | And I can go through, and I can
change all of my subclips now.
| | 04:03 | In the case of an interview,
I could write the word sound bite.
| | 04:06 | But if I'm doing, say, a concert, and I
want to cut it down to each individual
| | 04:11 | song, I could name it by the title
of the song, or if I just have a lot of
| | 04:15 | footage, I can subclip it and label it to the
type of shot that is being shown in that clip.
| | 04:21 | So as you see, creating subclips is very easy,
but more important it's very useful.
| | Collapse this transcript |
| Locating and working with different versions of a clip using Match Frame| 00:00 | In this movie we are going talk about
something called match framing, but before
| | 00:04 | we get into that I want to explain a
very important concept for you to get your
| | 00:09 | head wrapped around when it comes to
editing in any non-linear editing systems
| | 00:13 | such as Adobe Premiere Pro.
| | 00:15 | And that is when you take a clip and
you load it from the Project panel into
| | 00:21 | the Source Monitor and then mark an in
and an out point and bring it into your
| | 00:27 | timeline, Premiere Pro actually makes a new
pointer or reference to the original media.
| | 00:34 | So this clip in the timeline, though
it has the same name as this clip in my
| | 00:41 | Project panel, they are
related but only by blood.
| | 00:45 | They are kind of like two
sons from the same parent.
| | 00:48 | So for instance, if I go to this clip
here, and I choose to make it longer or
| | 00:53 | shorter, it never affects the clip
that's in my Project panel and vice-versa.
| | 00:59 | For instance, in an earlier movie we
took the clip that was in the timeline, we
| | 01:05 | double-clicked it to load it back in
the viewer--and I am going to go ahead and
| | 01:09 | zoom out so we can see the in
and out points that are marked.
| | 01:13 | This is the clip that came in from our timeline.
| | 01:16 | If I make a change down in the timeline,
it's reflected up here in our Source Monitor.
| | 01:22 | If I make a change here in our Source Monitor,
it's reflected down here in the timeline.
| | 01:28 | And that's perfect, because that's the
clip that I loaded in from the timeline.
| | 01:32 | If I had another instance of this clip,
maybe instead of a light turning on, I
| | 01:38 | have the light turning off.
| | 01:39 | So let go ahead and mark an out point
and then an in point, and I'll drag this
| | 01:44 | down to later in the timeline.
So this is a brand-new instance.
| | 01:49 | So if I go over here, and I look at this
clip--and there is the light turning on--
| | 01:53 | and I make it shorter, do you notice it
didn't affect this clip here? And because
| | 01:59 | this clip was the one I just dragged
in, it didn't affect this clip here.
| | 02:03 | So it's something to keep in mind
that every time you drag a clip from the
| | 02:07 | Project panel into your timeline,
whether you stop in the Source Monitor or not,
| | 02:12 | it's going to make a new reference or a
new pointer so I can go ahead and make
| | 02:16 | any modification I want to this clip
here, and it won't affect any other time
| | 02:21 | I've used it in my
program or in my Project panel.
| | 02:26 | And that's great, and that's going to
take us to the idea of match framing.
| | 02:30 | I am going to go ahead and delete
the second clip here, and I'm going to
| | 02:36 | close this folder, and I'm going to
pretend this is one of hundreds of
| | 02:41 | folders and thousands of clips.
| | 02:43 | I want to find the original footage
so I can get the part of the clip where
| | 02:47 | the light turns off.
| | 02:49 | Well, instead of doing all of this
hunting, I can simply park my playhead
| | 02:54 | anywhere over that clip and press the F
key to load a copy of that clip from my
| | 03:01 | Project panel into my Source Monitor.
| | 03:05 | Notice what happens with
the timecode when I do this.
| | 03:08 | It loads the clip in, and it looks
like the same one because it actually
| | 03:11 | remembers what the in and out points
are, and that's kind of nice, but in this
| | 03:15 | case I want to see where the light turns off.
| | 03:19 | So I am going to go ahead and scrub a
little bit down the timeline. Here we go!
| | 03:26 | There's it where the light turns off,
mark an out point, mark an in point, and
| | 03:30 | drag it down to the end of my program.
So there we go!
| | 03:35 | We use match frame to very quickly find
the original shot, and not only find it,
| | 03:41 | but load it into the Source Monitor so
I can actually grab a different section of it.
| | 03:45 | And this is great, especially if
you have like a 15-minute clip.
| | 03:48 | It's a concert, and you just want to
find that, and you don't want to go digging
| | 03:51 | for it, match frame--the keyboard
shortcut is F--easy to remember frame.
| | 03:57 | Now there is a couple of other things
you need to know if you're going to be
| | 04:01 | using this match frame keyboard shortcut.
| | 04:04 | In an earlier movie we actually
stacked some video on track 2, and perhaps you
| | 04:10 | might even have videos stacked on
more than two tracks, two, three, or four.
| | 04:15 | I'm going to go ahead and scroll down.
| | 04:17 | Remember, my monitor is showing
much lower resolution than yours.
| | 04:21 | So you may not need to scroll down at
all, and then I am going to go ahead and
| | 04:25 | put another clip on top of this bulb.
| | 04:29 | I'm going to go ahead--and we'll just
choose the fan clip, load that into the
| | 04:33 | Source Monitor, and it's a good arbitrary
in and out point, and I'll go ahead and
| | 04:37 | drag it down into my timeline, and
I'll even make it the same length.
| | 04:44 | So what's going to
happen now if I hit the F key?
| | 04:46 | Let me go ahead and close this
so the fan is not already there.
| | 04:52 | As a matter of fact, I am going to show you
a really cool thing about Premiere Pro.
| | 04:56 | If I click right here on this dropdown
menu, I can actually find all the recent
| | 05:01 | shots that I used in editing.
| | 05:04 | This list can actually get quite long,
but it's great if you say I want to find
| | 05:08 | that shot that I used just a
few minutes ago, it's there.
| | 05:11 | And if you ever want to clear this
list just go Close All, and now it's blank.
| | 05:16 | So we're going to pretend that I want
to find the fan, and I am going to use the
| | 05:20 | F key for a match frame.
| | 05:23 | I hit the F key, and I get the light bulb.
Why is that?
| | 05:27 | Well, that's because of the
information here, the selected track.
| | 05:32 | Premiere Pro will look at the highest
selected track--and a selected track is
| | 05:37 | just a track that you've clicked
on and there is a gray highlight.
| | 05:40 | So now with the second track highlighted,
if I hit the F key it loads the highest
| | 05:46 | visible track that's activated.
| | 05:49 | So that's how you can be very specific
about finding the clip anywhere in your
| | 05:54 | timeline and on any vertical track.
| | 05:56 | Now I am going to show you one last
really useful technique to find footage.
| | 06:02 | Let's go ahead and close the
B-roll folder one more time.
| | 06:07 | Suppose that I want to find
where this original clip lived.
| | 06:11 | I don't want to load the CFL bulb clip
in to my Source Monitor because that's
| | 06:16 | not the clip I want to use, but I know
that the next shot in my B-roll folder
| | 06:21 | is the one I want to use.
| | 06:22 | So I just want to find that
folder and find the shot very quickly.
| | 06:26 | Instead of hitting the F key, I can
right-click on any clip in my timeline,
| | 06:31 | scroll down, and there is an
option to Reveal in Project.
| | 06:37 | No matter how deeply buried this clip
is when I click on it, it will actually
| | 06:43 | open up the folder and highlight
the clip that I'm looking for.
| | 06:47 | And there we go. Next to that CFL
bulb was the other shot I was looking for,
| | 06:52 | which was the light switch, and I can
load that into the viewer very quickly.
| | 06:57 | So those are two really useful features--
match frame, hitting the F key to load a
| | 07:02 | copy of a clip into your Source
Monitor, and then Reveal in Project to find a
| | 07:08 | clip anywhere in your Project panel.
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|
|
6. Improving Your Efficiency and Editing WorkflowTaking control of your Timeline| 00:00 | In this chapter we're going to look at
making your editing more efficient and
| | 00:05 | your experience that much more pleasurable when
working with the interface of Adobe Premiere Pro 6.
| | 00:11 | So I want to start off and talk about
working in the Timeline or in the Sequence
| | 00:16 | and some things that if you know about,
it's going to make editing a lot more
| | 00:19 | fun and a lot more fluid.
| | 00:21 | Now as you see, we don't even have a
sequence yet, and in earlier movies we
| | 00:26 | learned that we can quickly create a
sequence based upon the clips that we are
| | 00:31 | editing with by simply grabbing any
clip that we know that we are going to be
| | 00:35 | using and dragging it onto this
icon that looks like a piece of paper.
| | 00:39 | So I am going to simply select, say, the
Copier clip, and I'll drag it on that
| | 00:43 | piece of paper, and Premiere Pro
will automatically create a New Sequence
| | 00:47 | based upon the size of that clip and the frame
rate and even put that clip into my timeline.
| | 00:53 | Now that may not be the first shot I
want to use, and I can go ahead and I can
| | 00:57 | simply select and delete that, and I am
going to go over here and make sure I
| | 01:02 | change the name of my sequence to
something that's more useful, in this case
| | 01:06 | we'll just call it Rough Cut,
and we are ready to start editing.
| | 01:11 | Now these are skills that we've already
learned, but I want to explain exactly
| | 01:14 | what's happening here and ways that you
can maybe modify your sequence so it's a
| | 01:19 | little easier to work with.
| | 01:21 | Let's go ahead and grab any clip and
drag it in. I kind of like this iPad shot,
| | 01:25 | so I am going to go ahead drag it in,
and I am going to drop it directly into my
| | 01:30 | sequence and let go.
| | 01:32 | Now I can barely see this. I don't
know how long this clip is unless I select
| | 01:37 | it, but I do know that if I want to
zoom in, I can simply hit the plus or minus
| | 01:42 | keys to zoom in to more detail, and
the minus key to zoom out to less detail.
| | 01:49 | But more efficient would actually be
hitting the backslash key, and whether I
| | 01:53 | have one clip or a thousand clips in my
timeline, I'll be able to see them all
| | 01:58 | with a single keystroke.
| | 01:59 | Now by default when you create a new Sequence,
it's going to give you a certain look.
| | 02:05 | Let's go ahead and expand our sequence
to full screen by hitting the Tilde
| | 02:10 | key in the upper left-hand
corner of the keyboard.
| | 02:13 | And you'll notice you have three
video tracks and three audio tracks by
| | 02:17 | default, and then there is a lot of icons here,
and that's what I want to actually talk about.
| | 02:21 | We'll cover some of them in this movie
and some of them in the following movies.
| | 02:26 | The most important thing that I
want you to see is this little
| | 02:29 | disclosure triangle here.
| | 02:31 | If you click on that disclosure
triangle, you notice that all that
| | 02:34 | information here has gone away.
| | 02:37 | So I am going to go ahead and open that
up and that's where I actually see the
| | 02:40 | icon at the beginning of the clip,
so I know what shot I am using.
| | 02:44 | There is a yellow line here
and that's actually Opacity.
| | 02:47 | And Opacity is whether the clip is
transparent or not, and that's actually on by
| | 02:52 | default and that's one of the things
that we are going to change at this point
| | 02:57 | because it's very dangerous to
leave on when you are editing.
| | 03:00 | As a matter of fact, I like to turn it
off almost immediately, and that brings us
| | 03:04 | over to a couple of buttons that are over here.
| | 03:06 | If I click on Set Display Style, I get
a dropdown menu and the first thing that
| | 03:12 | I can do is I can switch to if I just
want to see the icon or the picture of
| | 03:17 | the first frame of video or maybe I
want to see both the first and the last
| | 03:21 | frame to see what's happening.
| | 03:22 | Let's go ahead and stretch this
clip out a little bit longer, and as you
| | 03:26 | notice, if we stretch it long enough--
let me go ahead and zoom back way, way
| | 03:30 | out, stretch it really long--we can
actually see that it's changed from the
| | 03:36 | very first frame to the very last
frame, where he's looking at a different
| | 03:40 | screen on his iPad.
| | 03:42 | Now I can go here, and I can say show
every single frame, and this some editors
| | 03:49 | like, and it's really good if you need
to find one shot where maybe there is a
| | 03:52 | bump or a flash frame, as I stretch this
out or zoom in to get more detail, I am
| | 03:58 | going to see more and
more frames to choose from.
| | 04:02 | I actually find this rather cluttered,
and I generally don't use that view.
| | 04:07 | Some editors really don't like to be
distracted at all by the images, and you can
| | 04:11 | go ahead and you can turn off all
poster frames at the beginning and the end.
| | 04:16 | Let's go back to the default
setting which is at the Head Only.
| | 04:21 | Now there is also one whether we choose
to show markers or not, and we'll explore
| | 04:25 | that in the movie on markers.
| | 04:28 | This dropdown window here is critical,
because it allows me to hide that Opacity slider.
| | 04:33 | This is a big problem when I'm editing.
| | 04:36 | If I go ahead and I grab a clip, and I
want to move it, sometimes if I grab it in
| | 04:40 | the middle, I'll grab that Opacity
slider and make my clip transparent.
| | 04:44 | So I'll see it on my timeline,
but I won't see it in my final show.
| | 04:48 | So to keep me out of trouble, I am
going to go ahead and turn that off and
| | 04:51 | simply say Hide Keyframes,
and now I can't grab it.
| | 04:56 | And only when I'm ready to work with
the Opacity or work with other keyframes
| | 05:00 | would I then go back and turn that on.
| | 05:03 | And what's really nice about Premiere Pro
is it actually has a big circle with a
| | 05:07 | line through it, so with a quick look
I can see that I'm not seeing any of my
| | 05:12 | keyframes, because they are hidden.
| | 05:14 | Now what would happen if I bring a
second clip onto video 2? And we learned how
| | 05:19 | to do that in an earlier movie.
| | 05:21 | I am going to go ahead and press the
Tilde key and bring us back to our original
| | 05:24 | look, and I'll grab the fan B-roll
and just drag it onto track 2.
| | 05:30 | And as you notice, if I scroll up here,
we have little scroll wheels, you have
| | 05:34 | seen me use this before, but if you
skipped ahead right to this movie, I want
| | 05:37 | to make sure that you know that if
your are not seeing all of your clips, you
| | 05:41 | can't scroll up and down to see more
detail, but by default this disclosure
| | 05:46 | triangle is closed.
| | 05:48 | So that's why I'm seeing the
little icon here but nothing here.
| | 05:52 | And as a matter of fact, if I look
at my audio tracks, they are closed by
| | 05:56 | default, so let's go ahead and bring
this full screen one more time so it's
| | 06:01 | easier to see, open up the video tab,
so now it looks a lot like video 1, and I
| | 06:07 | want you to note that just because I
turned off the Opacity on track 1, I have
| | 06:12 | to manually go through and turn it off
on any other track that I open up if I
| | 06:17 | don't want to accidentally
grab that little slider.
| | 06:20 | So let's go ahead and Hide Key Frames.
| | 06:24 | I want a flip down the disclosure
triangles for my audio, because this is
| | 06:28 | critical if you want to
see your audio waveforms.
| | 06:31 | Once this is open, again, I can go
over here to Set Display Style, and I can
| | 06:36 | choose whether to Show the
Audio Waveforms or just the name.
| | 06:41 | Now I really don't see a lot of audio
happening here, and that's because it's so small.
| | 06:48 | If we had the narrator talking, you
might see a little bit more spikes, but
| | 06:51 | there is a lot of times when this line
is going to be really thin or that you
| | 06:56 | can't see what's happening in this little icon.
| | 06:58 | And what I want to point out that if I
hover my mouse between any two tracks, I
| | 07:03 | can click and drag and make that track
higher, and this would let me see more of
| | 07:09 | what's going on with my Audio
Waveforms if I had narration.
| | 07:12 | I can do the same thing here with video.
| | 07:16 | So the fact that I can easily adjust
different tracks when I'm doing different
| | 07:19 | types of work is very efficient.
| | 07:22 | I am going to press the Tilde key just
so we can see this full screen. And as
| | 07:26 | you see, this is great, I can really see
what's happening on tracks 1 and 2, but
| | 07:30 | I don't see my other track, so I
can simply scroll down or scroll up.
| | 07:34 | And as we learned earlier on, if I
needed to adjust my workspace, I can always
| | 07:39 | resize my windows so I'm giving a
lot more real estate to my timeline.
| | 07:45 | Being able to see what you want to
see and what you need to see is very
| | 07:50 | important when editing, so controlling
the look of your Timeline is very important.
| | Collapse this transcript |
| Adding video and audio tracks| 00:00 | Now if you use the default settings,
Premiere Pro will give you three video
| | 00:04 | tracks and three audio tracks to add
it within, and a lot of times that's
| | 00:09 | perfect, that's all the tracks you need.
| | 00:11 | But there's times when you want maybe a
fourth or fifth video track, if you're
| | 00:15 | doing some sort of complex layers, or
you are doing pictures in pictures, or
| | 00:18 | maybe you are doing a complex audio
mix where you have lots of voiceovers and
| | 00:22 | sound effects and narration and music,
and you need to be able to easily add and
| | 00:27 | remove track and even rename them.
| | 00:29 | And that's what we are going to
quickly look at in this movie.
| | 00:32 | To give us a little more real estate, I
am going to go ahead and I am going to
| | 00:36 | change my layout, because what's
important to me is the sequence area, and I want
| | 00:40 | to be able to grab some
video from my project pane.
| | 00:43 | So I've resized my Window so it's a
little easier for you to see, and there we
| | 00:47 | go, we have our three video and our
three audio tracks, and we've learned in
| | 00:51 | previous movies that I can open and
close these tracks, but how do I add
| | 00:55 | tracks? And there's lots of different
ways to do it, depending on where you are
| | 01:00 | in the editing process.
| | 01:02 | One of the easiest ways to add a track
if you're dragging and dropping--and I am
| | 01:06 | going to just do it from the project pane,
but you're aware that you can also do
| | 01:09 | this from source monitor--is I can
just grab any clip, and let's go ahead and
| | 01:13 | grab the microwave clip, and we are
going to be doing a quad split or something.
| | 01:17 | And I can just throw it onto 3, and now I filled
up all my space, what do I do when I need track 4?
| | 01:22 | Well, I am going to go ahead and I'll
grab the smartphone shot, and when I drag
| | 01:27 | that onto where the fourth track
would be, as you see, Adobe Premiere Pro is
| | 01:33 | smart enough when I let go of my mouse
to actually create that fourth track.
| | 01:38 | So I can keep dragging things on and
create tracks that way or if I want I
| | 01:43 | can go ahead and add tracks before I even
bring clips in if I need to do track targeting.
| | 01:49 | And we learned about track targeting
a little bit in an earlier movie.
| | 01:53 | So let me go ahead and delete or undo this.
| | 01:57 | I am going to hit Command Z and not only
does it remove the clip, it removes the
| | 02:01 | track that it created.
| | 02:03 | If I want to very quickly create a
track while I'm editing, I can simply
| | 02:07 | right-click on my timeline, and look at that,
I can add and delete tracks right here.
| | 02:14 | So I am going to go ahead and click
Add Track, and I get a dialog box, and I
| | 02:18 | don't have to add just one track, I
can actually add Multiple Video Tracks,
| | 02:22 | Multiple Audio Tracks and then there is
something called Sub Mix Tracks, and that
| | 02:27 | really takes us to another level of
editing, and we are not going to get there in
| | 02:30 | this Essential Training Course.
| | 02:32 | But the choices I have when I add the
new tracks is I can add them After the
| | 02:38 | top track, which is the default, or I
can actually add them in between tracks or
| | 02:42 | if I need to put something in on the
bottom layer, perhaps I am doing a Chroma
| | 02:46 | Key, and I forgot to put in a track in
for the background, I can sneak a track in
| | 02:51 | underneath the existing
track that's already there.
| | 02:54 | And I can do the same thing with audio.
| | 02:57 | Now in the audio section, there are
different Track Types, and we're going to
| | 03:01 | address that in the audio section of this
training, so for now just leave that at standard.
| | 03:07 | So we are going to go ahead Add say two
video tracks, and I can simply type in 2
| | 03:11 | there, and we'll Add in two more Audio
Tracks and press OK, and there we go.
| | 03:16 | We have plenty of tracks to work with
and we can easily add more if necessary.
| | 03:20 | By the way, you can also add tracks at the
very bottom of the Sequence dropdown menu.
| | 03:26 | There you go, Add and Delete Tracks.
| | 03:29 | Another thing you can do is Rename
your Track and that's very easy to do, I
| | 03:34 | can rename my track by right-clicking
on it and click Rename, and this becomes
| | 03:39 | instead of Video 5, you can actually see the 5,
I could it a name that's more appropriate.
| | 03:44 | So perhaps I'm am going to call that Bug.
| | 03:46 | Now why would I call a track Bug?
| | 03:48 | Well, perhaps I am going to put
the logo of my company in the bottom
| | 03:52 | right-hand corner on that track as a transparent
layer, and I always want to know where it is.
| | 03:58 | Audio is more critical to label, so I
can go ahead and I can Rename say Audio 1
| | 04:04 | as narration, and then I can go down
and say Audio 2 could be background sound.
| | 04:13 | We'll call that ambience, AMB. It's
pretty quick I can see that that's Ambience
| | 04:18 | and finally we'll Rename Track 3 to be Music.
| | 04:22 | So instead of referring to these as
Track 1, 2, and 3, I can quickly look and
| | 04:26 | say, ah, my Narration Track, my
Ambient Track, my Music Track, and so on.
| | 04:31 | Now to clean house, when you're all
done editing or if you've just created too
| | 04:35 | many tracks, you can simply right-click
and one of the options is Delete
| | 04:39 | Tracks and Delete Track.
| | 04:42 | The difference here is if I hit
Delete Track I can isolate and just delete
| | 04:47 | 1 track, where if I choose Delete
Tracks, I get another dialog box, and this
| | 04:54 | is kind of like the reverse of what
we saw earlier with Adding Tracks, and I
| | 04:58 | can just choose Delete Video Tracks and Audio
Tracks and any track that might be Empty.
| | 05:04 | I can also specify a track that I
might want to remove, and you can
| | 05:08 | actually remove a track that has video attached
to it, so be careful when making the selection.
| | 05:14 | I am going to simply hit OK, all those
extra tracks are gone, my timeline is
| | 05:19 | nice and neat, and I'm good to continue editing.
| | 05:22 | So as you see, Adding Tracks, Removing
Tracks and Renaming Tracks, very easy,
| | 05:29 | but a very important skill to have.
| | Collapse this transcript |
| Performing audio-only and video-only edits| 00:00 | In this movie we are going to take a
quick look at some ways that you can bring
| | 00:04 | in just your video or just your audio from
a clip that has both video and audio.
| | 00:10 | A lot of times people drag in both the
video and the audio and then have to
| | 00:13 | go back and unlink it and delete it,
and it becomes a lot more work than necessary.
| | 00:18 | So you can do this very quickly
and very efficiently in Premiere Pro.
| | 00:21 | Let's go ahead and load a clip into our
source monitor, and we'll just take the
| | 00:26 | top one, the Bulbs at 60 frames per
second. There we go. There is our clip, and
| | 00:31 | just so you can kind of see
everything in the same perspective as me, I am
| | 00:34 | going to stretch out, so we can actually see
this whole clip, and we are ready to bring it in.
| | 00:39 | Now normally, when I drag a clip in,
whether it's over here or directly to the
| | 00:43 | timeline, it brings in
both the video and the audio.
| | 00:46 | Now once again, if it doesn't match
the sequence, I can always simply say
| | 00:51 | Change Sequence Settings and that way at all of
my footage and my sequence will match exactly.
| | 00:57 | This is useful if all your
footage comes from the same source.
| | 01:00 | If all your footage actually came from
a variety of sources, the first clip you
| | 01:04 | drop in should be whichever
media you have the most of.
| | 01:08 | Let's go ahead and drag in just the
video, and this is really cool, because
| | 01:12 | instead of grabbing just the picture,
I can go down here in these two great
| | 01:17 | little icons, a Film Strip
and an Audio Waveform.
| | 01:20 | And that's a pretty dead giveaway of
what's going to happen. If I grab the Film
| | 01:25 | Strip, you see there's a pop-up even
as I touch it that says Drag Video Only
| | 01:30 | and I can drag that and drop that onto
my timeline and the audio does not come along.
| | 01:36 | And the same thing is true for audio,
as a matter of fact, I can drag the
| | 01:39 | audio, and it doesn't even have to be on track 1.
I can put the audio on any track that I want.
| | 01:46 | And that's really great, because now I
don't have to go back and delete extra
| | 01:50 | audio or if I want to just use the ambience
of the audio, I can bring that on by itself.
| | 01:55 | So, dragging and dropping is a very
quick way of doing that, but a lot of
| | 01:59 | you maybe using keyboard shortcuts to bring
your video and your audio into your timeline.
| | 02:04 | Let me go ahead and select all of this
with the marquee, I just lassoed it, I'm
| | 02:10 | going to press the Delete key--that
will be the Backspace key on a Windows
| | 02:14 | machine--and now I have a clean timeline.
| | 02:16 | So, if I want to go ahead and use either
the keyboard shortcut of, say, the Period
| | 02:20 | key or even just dragging it left and
right, it's going to again bring in both
| | 02:25 | the video and the audio.
| | 02:27 | If I want to just bring in the video, I
need to turn off my audio track, and if
| | 02:32 | I want to just bring in the audio,
I need to turn off the video.
| | 02:36 | Let's go ahead and bring the
audio in first, and I do that by simply
| | 02:41 | deactivating this track.
| | 02:43 | Now you need to be careful, because if
you have other tracks that are turned on,
| | 02:47 | it's going to put the video on those tracks.
| | 02:50 | So let's take a look at a perfect
situation where nothing is turned on, and
| | 02:54 | I drag that over, and as you see,
because nothing is highlighted here, only
| | 03:00 | the audio comes in.
| | 03:02 | If Video 2 had been highlighted, when
I drag it over, even though I turned off
| | 03:08 | video 1, Adobe Premiere Pro thinks, oh
well, he just doesn't want it to go onto
| | 03:13 | track 1, he wants it to go onto track 2,
and it does bring in that clip with
| | 03:16 | both the video and the audio,
and they are still linked together.
| | 03:19 | Let's go ahead and hit Undo.
| | 03:21 | The reason I go into such detail about
that is because audio by default has
| | 03:26 | three tracks that are turned on, so let
me go ahead and set it to the way it was
| | 03:31 | when we first started this movie with
one video track activated and three audio
| | 03:35 | tracks activated, and if I think, oh, I
just want the video, and I turn off this
| | 03:39 | one audio track, as you see, just like
when we dragged it to the timeline, it
| | 03:45 | puts it in the second location.
| | 03:47 | So, you need to turn off all of
these tracks, and I'll tell you if all
| | 03:50 | your tracks are turned on, that can be kind
of cumbersome, time consuming, and frustrating.
| | 03:57 | Well, here's the trick, instead of
clicking on the tracks one at a time, hold
| | 04:01 | down the Shift key and then click,
that will deactivate all of your audio
| | 04:06 | tracks, and then I can either target the
specific track I want, or in this case,
| | 04:10 | just go ahead, Select my Source Monitor,
I'm going to press the Period Key to do
| | 04:15 | an overwrite edit, and I bring in just my video.
| | 04:19 | Another really good use of this
skill set is sometimes you'll have video
| | 04:24 | where you only have good audio on
track 1, and track 2, nothing might have
| | 04:28 | been recorded or it might have been a scratch
track or you might have heard the producer.
| | 04:33 | Well, that way you can actually bring
in just the tracks that you want to work with.
| | 04:38 | So as you see, being able to bring in
the exact tracks that you want, whether
| | 04:43 | it's video or audio, will save you a
lot of time and energy down the road.
| | Collapse this transcript |
| Changing track visibility and locking tracks| 00:00 | When you're editing, it's really
important to be able to sometimes isolate a clip
| | 00:05 | or turn entire tracks on and off so
can see what's happening underneath.
| | 00:09 | To explore this, I'm going to go ahead
and change my workspace a little bit, so
| | 00:13 | you can actually see what I'm doing here,
and I have very basic edit, as matter
| | 00:17 | of fact, this is an early Rough Cut,
where I have three types of tracks.
| | 00:21 | I have my Narration Track, which has,
actually, both my narrator and my interviews.
| | 00:25 | A B-roll Track and then a Title Track
with some overlays such as a Temp Title on
| | 00:31 | my speaker as well as a logo.
| | 00:33 | Let me go ahead and bring that down a
little bit so you can see, so I just wrote
| | 00:36 | in Bill Smith for the time being just as
a placeholder, and we have the kinetECO
| | 00:41 | logo. So we're good to go, and I have
music, but the music isn't even balanced,
| | 00:45 | as a matter fact if you take a listen
it's really fighting with the narrator as
| | 00:49 | well as the ambient sound on the B-roll.
| | 00:51 | (video playing)
| | 00:55 | So, I'm not ready to do my audio mix,
but I might want to be able to play
| | 00:59 | something for my producer, and I don't
want them to have to fight the music, so
| | 01:05 | it's very easy to turn off the
Visibility of tracks, and by Visibility that can
| | 01:10 | also work with audio.
| | 01:11 | So, think of visibility as seeing
and think of visibility as muting audio tracks.
| | 01:16 | And to do that I have the little eyeballs
here, and so if I want to, say, Turn off
| | 01:21 | all of my Titles because I just put them
in as placeholders for me, I can simply
| | 01:26 | go ahead and click on the eyeball, and as
you see, it disappears from the viewer.
| | 01:31 | It still is here in the timeline, so I
don't have to worry about if I want to
| | 01:35 | replace that with something
else, but it's not distracting.
| | 01:38 | Perhaps I also want to see what's
happening underneath my B-roll, I can go ahead
| | 01:42 | and turn off that track, too, so now
that's not visible. So being able to turn
| | 01:47 | the visibility off on a track is great
as well as being able to Turn off the
| | 01:52 | Audio. And this is great. I can turn this
off temporarily, and now when I play it...
| | 01:56 | (video playing)
| | 01:59 | I can actually hear what my narrator is
saying and more critically in my case,
| | 02:03 | I can hear the ambience to see if the
ambience is good ambience that I want in
| | 02:08 | my show, and in this case it was just
the director and the cinematographer
| | 02:12 | talking about the shot.
| | 02:13 | So toggling these on and off is very
easy. Just like we learned in the last
| | 02:18 | move, if I hold down the Shift key and
I just want to hear the narrator, I can
| | 02:23 | turn off all my tracks at once and
then click to turn the narrator on again.
| | 02:27 | So, remember the Shift key allows you
to deactivate and reactivate all of your
| | 02:32 | audio tracks and all of your video
tracks when it comes to visibility.
| | 02:36 | There are also situations where you
don't want to turn off the entire track,
| | 02:40 | you may just want to turn off the
visibility of a single clip with the sound of
| | 02:45 | a single audio file.
| | 02:47 | I can do that by right-clicking on any
clip and unchecking the word Enable.
| | 02:54 | Now this whole track is still live, but
as you see Bill Smith is grayed out, so
| | 02:59 | it's not distracting my producer,
but it still is there, and I can easily
| | 03:04 | re-enable it when I'm ready.
| | 03:06 | And we can do the same thing in audio.
I can right-click on the audio track, and
| | 03:11 | I can check or uncheck Enable. And there
we go, I've muted just this music, maybe
| | 03:17 | there was something else on this
track that I didn't want to hear.
| | 03:21 | So as you can see, having complete
control of what you see and what you hear--
| | 03:26 | and what you don't see and what you
don't hear--is important while editing.
| | 03:31 | Now another control that's very useful
is locking tracks. Now you actually don't
| | 03:36 | see a lock here, and that's
because it goes into this empty space.
| | 03:40 | So, if I click on that empty space,
you see a little Lock icon, and you
| | 03:45 | see crosshatching here, this indicates that
this track is locked and can't be changed.
| | 03:51 | This is great if, say, you are cutting
a music video and you don't want to
| | 03:53 | accidentally slice and dice the audio
because you know it's fixed. There's a
| | 03:58 | lot of situations where you know you
don't want to change the audio, or maybe you
| | 04:02 | don't want to change the video. Maybe
you definitely have a background video
| | 04:05 | track that you're keying over, you
don't want to accidentally modify that, and
| | 04:10 | that's were Track Locking comes
in, and it's really very useful.
| | 04:14 | But there is a gotcha. A lot of people
would think, oh, I don't want to bring in
| | 04:19 | my audio on track 1, because I don't
need it, but I want to bring in the video,
| | 04:23 | so I'll just lock that
track and perform my edit.
| | 04:26 | Well, the way Premiere Pro works, it
thinks that you still want to use your
| | 04:30 | audio, because you didn't deactivate it,
and it tries to work smarter than you.
| | 04:35 | So look what happens when I drag in this
light bulb--and I can drag it over here
| | 04:41 | or just drag it straight to the
timeline. Take a look. It doesn't put it on
| | 04:45 | audio track 1, because it's locked, it
puts it on the next available unlocked
| | 04:51 | track and that's an
important thing to keep in mind.
| | 04:54 | It's great if you want to be able to
control where things go by locking your
| | 04:59 | track, but if you're using track
locking because you don't want to bring your
| | 05:02 | audio in, you have to do something a
little more complex, so before we even drop
| | 05:06 | that on, I'm going to go back to my
track locking, and instead of locking them
| | 05:10 | one at a time, I'm going to use that
same trick of holding down the Shift key,
| | 05:15 | now all of my audio tracks are locked,
and I can go ahead and bring it over, and
| | 05:19 | wait a second, I thought I locked all my tracks.
| | 05:22 | Well, again, Premiere Pro is trying to
help you, so it actually created a brand-new
| | 05:27 | track for that audio.
| | 05:29 | So keep in mind, if you don't want the
audio or the video to come in, locking
| | 05:35 | a track is not the solution. It's track targeting,
which we covered in an earlier movie.
| | Collapse this transcript |
| Rendering| 00:00 | In this movie we are going to address
the concept of rendering, and first let me
| | 00:04 | explain what rendering is all about.
| | 00:06 | When you're editing and you're adding
layers and layers of video and you are
| | 00:10 | adding effects and you are adding
audio and you have big files, even the
| | 00:14 | fastest computers can't do it all.
| | 00:17 | So sometimes it actually has to take
some time to calculate what a scene will
| | 00:21 | look like and actually write it down to the
hard drive so it can refer to that later.
| | 00:26 | That's what rendering is all about.
| | 00:27 | Now, the great thing about from
Premiere Pro 6 is that you barely ever have to
| | 00:32 | render. As a matter of fact,
to show you how to render,
| | 00:36 | I had to create a sequence which was
way more complex than I ever would.
| | 00:41 | So let's go ahead and take a look at a
couple of key things you need to use and
| | 00:45 | know when it comes to rendering.
| | 00:48 | The first thing is if you'll notice,
there's a yellow and a red bar right at the
| | 00:53 | top of my timeline, and the scary thing
is is that you assume traffic light's
| | 00:58 | green is go, yellow is warning, and red is stop.
| | 01:02 | So you think, oh my gosh, that means
I'm not going to be able to playback this
| | 01:05 | yellow stuff very well, and when I get
to red, my machine is going to choke.
| | 01:09 | Not the case at all. As a matter of fact,
yellow plays back great and red just
| | 01:14 | says we may drop a few frames,
but we are still going to play back.
| | 01:19 | And as a matter of fact, if I go ahead
and hit the spacebar, you'll see that
| | 01:22 | this yellow will play.
| | 01:23 | (video playing)
| | 01:23 | And even that red plays, and it may or
may not be dropping a frame in, and I
| | 01:31 | actually don't know.
| | 01:32 | So this is a really great feature in
Premiere Pro 6 where I can actually turn
| | 01:36 | on an overlay--and it's this flyout
menu in the upper right-hand corner of my
| | 01:41 | program monitor. And I'm just going to
go down here, and I'm going to say
| | 01:44 | Show Drop Frame Indicator.
| | 01:46 | And you'll see a little green dot that
appears, and this dot will change from
| | 01:50 | green to yellow to red.
| | 01:53 | When it's green it means that everything is good,
no problem. You're not dropping any frames.
| | 01:59 | If it starts dropping frames, you may
get a warning, and that's the yellow, and
| | 02:04 | if it really starts choking, it turns red.
| | 02:06 | Now let me go ahead and hit
Play, and you see even on this red...
| | 02:10 | (male speaker: --from my house. What I
feel right now, coming through this pipe--)
| | 02:14 | I am not dropping any frames.
| | 02:17 | Now I really, really put
a lot of effects on here.
| | 02:20 | I am going ahead and change my workspace
so you can see all the layers that I have.
| | 02:24 | And I put a lot of Filters and Effects.
I put this Title Sequence over here with
| | 02:30 | a lot of effects. As a matter of fact,
I disabled it because I wanted to be
| | 02:34 | able to show you the yellow and the red
lines, but I'm going to go ahead to turn
| | 02:38 | this on, and there is probably six or
seven really complex filters all over this
| | 02:44 | bug, just so I could make the machine choke.
| | 02:47 | And I'm going to go ahead
and hit the spacebar again
| | 02:49 | (male speaker: --is 35 gallons of mineral
water that's taking care of my avocados--)
| | 02:53 | Still green. So I had a real hard time
breaking real-time playback.
| | 02:59 | I am going to do one more thing, and
please take note of this because if you've
| | 03:03 | skipped the earlier movies, you may not
be aware of this, but when it comes to
| | 03:06 | the Mercury Engine, there are three
things that give you that real-time playback.
| | 03:11 | Your Processor Speed, the Amount of
RAM you have--and we can look it under our
| | 03:16 | Project Settings under General. There
is Video Rendering and Playback, whether
| | 03:22 | it uses the Graphics Card or not.
So that Graphics Card is important.
| | 03:26 | So make sure this is turned on if it's
available, or if you don't have a fast
| | 03:31 | enough Graphics Card, your
only choice will be Software Only.
| | 03:35 | And that's going to put more stress on
the processor and more stress on your RAM,
| | 03:40 | and you may get to the point
where you will need to render.
| | 03:43 | Let me go ahead and delete Previews.
I have this turned on. There is my green dot.
| | 03:48 | Let's see if we can break it.
| | 03:50 | (male speaker: This is being pumped
right now with solar technology--)
| | 03:53 | (male speaker: The benefits of--)
| | 03:55 | I think I have a flair on this farmer
here, so let me go ahead and play that.
| | 04:00 | (male speaker: --about a mile from my house.
What I feel right now, coming through this pipe
| | 04:03 | is 35 gallons of mineral water that's
taking care of my avocados and my home.
| | 04:08 | This is being pumped--)
| | 04:10 | As you see, this machine which only has
6 GB RAM is still not dropping frames,
| | 04:15 | so I want to point out one more thing
that you can control if you start getting
| | 04:19 | dropped frames--or in my
case, to make it drop frames.
| | 04:22 | And that is when I play it back, am I doing
it at a Full resolution, half, a quarter?
| | 04:26 | And then if you're working with really
high-def footage or some of that 4 or 5K
| | 04:30 | footage--and that's jargon for really
big footage for movies--you can drop to an
| | 04:35 | 8th or a 16th resolution.
| | 04:36 | So let's bring it up to Full resolution
and see if we can drop our frame there.
| | 04:40 | So take a look at that green dot.
| | 04:42 | (male speaker: --well, about a mile from my house.)
There we go!
| | 04:45 | (male speaker: What I feel right
now, coming through this pipe--)
| | 04:47 | And you see it's a little stuttering
here, so if you get to the point where
| | 04:51 | you're actually seeing some stuttering
playback--and you saw how hard it was for
| | 04:56 | me to make my playback stutter--you
have to do something called Rendering.
| | 05:00 | And that's what I want to show
you how to do, and it's really easy.
| | 05:03 | You just need to know a couple
of key pieces of information.
| | 05:06 | If you've worked with any other Adobe
product before, you might be familiar
| | 05:10 | with the term Workspace, and that's that
area with the yellow line here and the
| | 05:15 | little yellow line here.
| | 05:16 | So that's kind of like the
range of where your workspace is.
| | 05:19 | It can go beyond your timeline, or
it can be only part of your timeline.
| | 05:23 | Now for an editor, I usually like to control
what I render from, say, an in to an out point.
| | 05:30 | So one of the things I'm going to change
is in this flyout menu is I am going to
| | 05:34 | turn off the Work Area Bar.
| | 05:36 | Before I turn that off, let me just
slide right over, because I am going to show
| | 05:40 | you where we render from. And there we
go, Render and Render Effects in Work Area
| | 05:45 | or Render Entire Worker.
| | 05:47 | That's the default.
Okay?
| | 05:49 | Now as soon as I turn this off, and I say
Don't Show me my Work Area, there it disappeared.
| | 05:55 | Now if I go to my Sequence >
Render Effects In To Out is my option.
| | 06:01 | And then there's Render In To Out.
| | 06:03 | Now it seems kind of confusing,
but this will render only effects.
| | 06:07 | So if you put Filters and Effects on your clips,
it only will render those parts of the clip.
| | 06:12 | Render In To Out is everything, and
that may be really useful if you're doing
| | 06:16 | multicam or you're in a situation where
your video footage even without effects
| | 06:22 | is causing stuttering playback.
| | 06:24 | Let's go ahead and simply mark an In and
an Out Point in a very small area where
| | 06:29 | we know we were dropping frames.
| | 06:31 | Go ahead, select Render In To Out.
You can see there is a keyboard
| | 06:35 | shortcut. It's simply the Enter key,
and it's going to go ahead and it's
| | 06:38 | going to render them pretty quick.
| | 06:40 | Now I turned off my GPU or my Graphics
Card, so had that been turned on, Premiere
| | 06:45 | Pro would even used that to
help it render that much faster.
| | 06:49 | So you see it turned now from red to
absolute green, and when I play that back,
| | 06:53 | there won't be any dropped frames at all.
| | 06:55 | (male speaker: --well, about a mile from my house.
What I feel right now, coming through this pipe--)
| | 07:00 | Now don't panic that you're seeing
yellow with the green bar, that's left over
| | 07:06 | because I started playback in the red
section. But because I have the green bar,
| | 07:10 | instead of doing all the calculations on
the fly, it's actually looking at a little
| | 07:14 | file that it created with all of these
effects combined, and it's looking at that
| | 07:20 | little temporary movie instead of
doing all the math as it plays back.
| | 07:24 | So as you see, it's really important to
understand the advantages of rendering.
| | 07:29 | Now as we go forward in the course, we
are going to be learning how to work with
| | 07:33 | Video Effects and Transitions and Color
Correction, and you may find that you'll
| | 07:39 | need to render to see playback at full speed.
| | Collapse this transcript |
| Using the History panel to undo multiple actions| 00:00 | As you've been editing, and as we've
been going through these movies, every time
| | 00:03 | I've made a mistake or you've done
something by accident, we know that we can
| | 00:08 | always undo something by hitting Command+Z,
or Ctrl+Z on a Windows machine, or I
| | 00:14 | can just go onto the Edit menu, and
there we go Undo and Redo so I can step
| | 00:19 | back in time to fix the problem.
| | 00:22 | But sometimes you don't want to sit
there and go Undo, Undo, Undo, and you
| | 00:25 | are not even sure when you made this mistake
or what workflow you did when you edited.
| | 00:31 | Well, there is a wonderful feature in
Premiere Pro called History. You can get
| | 00:36 | to that in the same location where your
Project panel is located, and I'm going
| | 00:40 | to just scroll over to the right here.
I'm just going to grab this little slider
| | 00:44 | and scroll over to the right, and
there you go. You can see there's a History
| | 00:47 | panel, and the beautiful thing about
this is I can look back at everything I've
| | 00:52 | done in my edit, and I can even
go back to when I opened the show.
| | 00:57 | So if I suddenly discover that I've
thrown something out of sync or something is
| | 01:02 | really whacked in my edit, I can go
back and see where that might have happened
| | 01:06 | and just jump to that point in
time and then start moving forward.
| | 01:10 | So for instance, let's say I go back
to Create Smart phone.mp4, I actually got
| | 01:16 | rid of all of these edits, and I can
continue on from there, creating a new
| | 01:20 | timeline or a new history from that point on.
| | 01:23 | If I jump back too far, the beauty is
before I make any changes, I can still
| | 01:28 | jump forward and start modifying
where I want to hop back in.
| | 01:33 | Now, keep in mind, I'm gonna go back here to
Create Smart phone, so I've kind of gone
| | 01:37 | back in time, before I've
made any of these mistakes.
| | 01:40 | If I make a new edit at this point--
I'm just going to grab the narrator and
| | 01:43 | throw her sound bite in--you see all
the history that happened after the
| | 01:50 | overwrite is now gone, and I start
working from that point forward.
| | 01:54 | So understand the advantage of history
and this is absolutely amazing, but also
| | 01:59 | realize you can't just have two parallel
worlds living at the same time. Once
| | 02:04 | you go back to a certain point in time
and start editing, again, that's a new
| | 02:09 | history that's going to be written.
| | 02:11 | So take a quick look at your history.
The history does get reset when you save and quit.
| | 02:16 | So don't think you can come back three
days later, open up a project, and see
| | 02:20 | your complete history from
your previous edit session.
| | 02:24 | When you quit the program, the next
time you start working on that project,
| | 02:28 | think of your history as a fresh start.
| | Collapse this transcript |
| Creating keyboard shortcuts| 00:00 | Throughout this course, I've been
telling you some keyboard shortcuts to help
| | 00:03 | make your editing more efficient.
| | 00:06 | Well, there are some instances where
there is no keyboard shortcut for something
| | 00:10 | you do a lot, or perhaps by reflex
you want a different shortcut because
| | 00:15 | you're used to going to a
certain location when editing.
| | 00:18 | Well, you can easily add or modify any
keyboard shortcuts in Premiere Pro 6, and
| | 00:23 | to do that you need to go to the Premiere Pro
dropdown menu on a Mac, and underneath
| | 00:28 | Preferences you will see this, an
option for Keyboard Shortcuts. And if you're
| | 00:32 | working on a Windows machine, it will be
under the Edit menu at the very bottom.
| | 00:36 | That's where we found the Preferences
option, and that's where you are going to
| | 00:40 | find Keyboard Shortcuts to
change that on a Window machine.
| | 00:44 | Now let's go ahead and open
up the Keyboard Shortcuts menu.
| | 00:48 | Now this will look exactly the same,
whether you're on a PC or a Mac, and what I
| | 00:53 | really like about this is I can find
out what the keyboard shortcut is for an
| | 00:58 | action that I do all the time, or I
can create one if it doesn't exist.
| | 01:03 | Before we go into that, I want to
point out something that's really cool with
| | 01:07 | Premiere Pro 6, and that is if you've
played with another non-linear editing
| | 01:11 | systems such as Final Cut Pro, or the
Avid System, you can actually import those
| | 01:17 | keyboard shortcuts, and if you came
from Premiere Pro 5.5 and you're used to
| | 01:22 | those keyboard shortcuts,
you can import them also.
| | 01:25 | So you can actually switch back and
forth depending on what you've used prior to this.
| | 01:32 | Now, personally, I recommend sticking
to the default keyboard shortcuts and
| | 01:37 | learning those and then adding
ones that you need as you go along.
| | 01:41 | So that's what we're going to do.
| | 01:43 | Now, if I'm looking to change a
keyboard shortcut or find out if there already
| | 01:47 | is one, I can simply type in
what that shortcut might be.
| | 01:51 | So perhaps I'm looking for a trimming
shortcut, so I'm going to type in the word
| | 01:55 | trim, and as you see, it gives me a
list of all the trimming shortcuts that are
| | 02:00 | available, and it's specific to
whether I'm in a certain window or in the
| | 02:05 | sequence or just globally.
| | 02:07 | So remember a lot of shortcuts
are panel or window-specific.
| | 02:12 | Now, there is a great keyboard
shortcut that I use all the time that doesn't
| | 02:16 | exist in Premiere Pro 6 yet.
| | 02:20 | So we're going to go ahead and add that,
and in this case, it's Ripple Trim Next
| | 02:25 | Edit To Playhead, and Ripple
Trim Previous Edit To Playhead.
| | 02:28 | And I'll show you what they do. I'm
going to go ahead--and if you watched an
| | 02:32 | earlier movie, one of my favorite
keyboard shortcuts was to the Extend Edit key,
| | 02:36 | which is E, and so to the left and
right of that are the W and the R key.
| | 02:41 | So, since next playhead is to the
right, and the R key is to the right of E
| | 02:45 | key, I'm going to go ahead and make
this keyboard shortcut of the letter R.
| | 02:50 | And there is nothing assigned to the letter
R, so it didn't give me a warning, and
| | 02:54 | then I'm going to go ahead to the
previous one, double-click that, and type W.
| | 02:59 | Now I want to show you what happens if
I try to create a keyboard shortcut and
| | 03:04 | it's already assigned, and I know for
instance that looping is something I like
| | 03:08 | to do sometimes when I'm editing,
which basically plays the same In and Out
| | 03:12 | Point or the same part of pile of the
clip over and over again so I can adjust
| | 03:17 | my edit. And I like to have a keyboard
shortcut for that, so maybe the L key
| | 03:21 | would be appropriate.
| | 03:22 | Now, again, this is something that is
specific to the different panels, so you
| | 03:26 | want to make sure you pick the right location.
| | 03:29 | So in this case, I'm going to do it in
my source panel, so maybe I just want a
| | 03:32 | loop for my In to my Out.
| | 03:34 | So I'm going to go ahead and select that,
double-click it to make it active, and
| | 03:37 | I'm going to go ahead press the L key.
| | 03:39 | Well, the L key is already in use by J, K,
L, so it warns me it doesn't want me
| | 03:45 | to accidentally overwrite this shortcut.
| | 03:48 | So let me go ahead and try something different.
| | 03:50 | I'm going to go ahead and delete that L.
I'm going to say Clear, just to be
| | 03:55 | safe, open up that loop, and I'm on a
Macintosh so I'm going to go ahead and hit
| | 03:59 | Command+L, and because it's not being
used on my system, it will accept that as
| | 04:04 | a keyboard shortcut.
| | 04:06 | Now you'll notice that I no longer--I
am in the default Premiere Pro 6 keyboard
| | 04:11 | shortcuts, I've modified it.
| | 04:13 | So I can go ahead and I can save
this as one of my favorites, and I can
| | 04:17 | simply click Save As, or I can just leave it
this way, and it will be default as the Custom.
| | 04:22 | Since this is temporary, I'm going to just
leave this as Custom, and I'm gonna press OK.
| | 04:28 | Now let me show you how cool
this keyboard shortcut is.
| | 04:31 | So normally we'd play, and if I didn't Extend Edit,
I need to go ahead and click on the edge.
| | 04:35 | We learned all of that in a previous
movie, but let's say I just wanted to trim
| | 04:39 | off the end of this clip, I play up
to here, and after that I want to delete
| | 04:43 | everything to the right.
| | 04:44 | Well, that's that great new keyboard
shortcut I created which is the letter R.
| | 04:47 | If I press R, it just trims everything
off to the right and closes that space.
| | 04:52 | This is awesome when you just want to
really clean up an edit or you're doing
| | 04:56 | audio work and you need to take out pauses.
I'm going to do the reverse of that.
| | 05:00 | I'm going to go ahead and move my
playhead over here and hit the W key.
| | 05:04 | That's to the left of E, or to the left of my
Extend Edit, and in that case I trimmed
| | 05:08 | off the head of the clip.
| | 05:09 | Let me go ahead and show you that here,
it would probably be a little more
| | 05:13 | dramatic, but I'll park the playhead,
it's going to cut everything off here, and
| | 05:16 | slide it over as a Ripple Delete. I'm
going to go ahead and hit the W key, and
| | 05:21 | the whole beginning of that clip is now gone.
| | 05:23 | So as you can see, creating a custom
keyboard shortcut that increases your
| | 05:28 | productivity is a great thing to think about
and even better a great thing to do.
| | Collapse this transcript |
| Creating buttons| 00:00 | Another great feature of Adobe
Premiere Pro 6 is the use of buttons.
| | 00:04 | Now you can add more buttons or
you can get rid of all your buttons,
| | 00:08 | depending on how you work.
| | 00:09 | So let's take a quick look at how we
can modify the button bar in both the
| | 00:15 | source panel and the program panel.
| | 00:17 | Now it works exactly the same way in both.
| | 00:19 | So we're just going to look at one,
and to do that, if you notice we do have
| | 00:22 | series of transport controls that if
I hover my mouse over them, I can find
| | 00:27 | out what they do, and a lot of people like
having a button that they can just click on.
| | 00:31 | Sometimes they wish they had different
buttons. If you want to modify your
| | 00:35 | buttons, you simply go over to the
plus sign here, click on it, and you get a
| | 00:40 | choice of other buttons that you can
bring in, or if there's a button that you
| | 00:44 | never use, you can throw that away.
| | 00:47 | So for instance, let's say that you
don't ever use either of these buttons here,
| | 00:53 | the Insert or the Overwrite button, so I
can simply drag those off, and they're gone.
| | 01:01 | I also have spacer bars.
| | 01:03 | So if I wanted to add some new buttons,
I'm going to go ahead and put my own
| | 01:07 | spacer bar down there, and I like to be
able to turn on Safe Margins so I want
| | 01:11 | to be able to know if something is
outside of TV Safe, and I also like Looping,
| | 01:17 | we actually created a looping keyboard
shortcut earlier, but I want a button for
| | 01:20 | that, and then I can simply press OK.
And as you see, I have all of my new
| | 01:26 | buttons available to me.
| | 01:28 | Now I can always step back inside and
reset the layout, but what happens if I
| | 01:32 | actually put more buttons on
here than I have space for?
| | 01:36 | So I'm going to just go ahead and just
start dragging a lot of buttons down there.
| | 01:39 | As you see, it will actually create a
second line for me. I think I've used
| | 01:44 | almost all the buttons that I can. I'm
going to put a couple of more spacers in
| | 01:47 | just to really make it look cluttered,
and I'll go ahead and click OK, and as
| | 01:51 | you see, it gives me a second line.
| | 01:53 | If I dynamically start resizing my
window, it will adapt as necessary, and if I
| | 02:00 | stretch this out, we're good to go.
| | 02:01 | So there we go. I'm starting to squeeze
that smaller, and as you see there's only
| | 02:06 | room for six buttons, but it does
give me the option to actually go to a
| | 02:11 | dropdown menu where the other buttons are.
| | 02:13 | Let's go ahead and reset our
workspace, so it looks normal again.
| | 02:18 | And I want to show you that I can
reset this very easily back to the default,
| | 02:22 | and I can click on OK.
| | 02:24 | So making buttons is pretty easy, but
for some of you, you are masters of the
| | 02:29 | keyboard shortcut, and you don't want
to be distracted by these buttons at all,
| | 02:33 | and you can go ahead to the dropdown or
the flyout menu, and you can simply turn
| | 02:38 | off Transport Controls.
| | 02:41 | So you can go ahead and turn the
buttons off completely and not even have
| | 02:46 | them in your interface.
| | 02:47 | So I love the fact you can have as
many buttons as you want, you can have the
| | 02:51 | specific buttons that you want, and
if you don't want to be distracted by
| | 02:55 | buttons at all, you can simply turn them off in either
in the source panel, the program panel, or both.
| | Collapse this transcript |
|
|
7. Basic Audio MixingWorking with audio| 00:00 | In this chapter we're going to explore
working with audio, not only how you can
| | 00:04 | interpret it, but how you can also
work with the levels and mix it together.
| | 00:08 | But before we get deep into working with
audio, I just want to show you a couple
| | 00:12 | of things you may want to be able to check out.
| | 00:14 | One is if you right-click on any clip
in your Project panel, you can actually
| | 00:19 | find out details about that file.
| | 00:21 | So I'm going to click on Properties,
and we can see that the audio here is a
| | 00:25 | compressed stereo format. And
Premiere Pro is very flexible,
| | 00:29 | it can use a variety of audio formats,
whether they're encoded with video, like
| | 00:34 | these files are as MP4 files or if
they are AIFF or WAV or MP3 files,
| | 00:41 | Now all the files we're working with
are stereo, and I want to show you what
| | 00:45 | happens when we actually bring clips
into our timeline, and if it interprets them
| | 00:49 | wrong how you can quickly fix that.
| | 00:51 | So the first thing I want to do is I
want to double-click to load the music file
| | 00:55 | in so you can see that you can
look at a waveform of your audio.
| | 00:59 | Now this is a stereo file, so we have
the left channel on the top part and
| | 01:03 | the right channel on bottom part, and I can
easily scrub through that and listen to it.
| | 01:07 | (audio playing)
| | 01:10 | Now by default, we generally work with
our audio in the same frame rate as our
| | 01:15 | video which is 24 frames a
second or 30 frames a second.
| | 01:19 | So as I step through my audio, it
moves it 1/30th of a second at a time.
| | 01:24 | Some people want a lot more control
over their audio editing, and I can go to
| | 01:30 | this flyout menu, and instead of
viewing my audio as time code or as frames, I
| | 01:36 | can do it as Audio Time Units.
| | 01:39 | If you notice, this changed right
here, and now I am actually looking at the
| | 01:43 | sample rate, and I can do sub-frame editing
of my audio. I can go to incredible detail.
| | 01:48 | For most of what you're doing, you
will probably want to keep it on frames.
| | 01:51 | So let's go ahead and un-check
Show Audio Time Units.
| | 01:54 | But that is important to know if you
really want to do fine-tune editing.
| | 01:57 | I'm going to go ahead and load a video
clip into our source monitor, and you're
| | 02:02 | used to seeing this if you've
been watching all the other movies.
| | 02:06 | But there's another way
I can look at this audio.
| | 02:08 | As a matter of fact, let's
specifically go look at an interview clip.
| | 02:12 | Let's go ahead and double-click on the
interview with Brian on camera and load
| | 02:17 | that into our source monitor.
| | 02:18 | Now we've seen this before, and I scrub
through and listen to him talk and see
| | 02:22 | him speak, but one of the other options
I have is to go to that same flyout menu
| | 02:27 | that we just looked at, and instead of
looking at our composite video, we can
| | 02:31 | actually look at the audio waveform.
| | 02:34 | Sometimes when I'm cutting narration,
it's a lot easier to mark my in and out
| | 02:39 | points against the waveform than it is
to try to watch his lips move, and then
| | 02:44 | I can simply switch back to my composite video,
and I still have the same in and out points.
| | 02:50 | The other thing I want you to notice--
I'm going to go ahead and switch back to
| | 02:53 | the waveform--is his audio is truly stereo.
| | 02:57 | So when it was brought in it came
in as a stereo track, and everything is
| | 03:00 | going to work just fine.
| | 03:02 | What would happen if I bring
that track down into my timeline?
| | 03:06 | Let's go ahead and switch back to our
traditional view, and I'm simply going to
| | 03:10 | grab and drag and drop.
| | 03:13 | Now we know it's a stereo track, and I'm
going to go ahead and hit the Plus key
| | 03:16 | to zoom in a little bit, hit the
Backslash key to fit to window, and it appears
| | 03:21 | as if I only have a single track.
| | 03:23 | But let's go ahead and click that
disclosure triangle, and you can see that
| | 03:27 | both audio tracks are actually brought in
and put as a stereo track onto the first audio track.
| | 03:34 | So Premiere is pretty flexible.
| | 03:36 | It knows it's a stereo track, but it doesn't
want to use up and waste a lot of my space.
| | 03:41 | But what if the track wasn't stereo,
what if it was dual mono, what if I had one
| | 03:46 | microphone pinned to him and the other
one was the camera mic, and I wanted to be
| | 03:50 | able to work with them separately.
| | 03:51 | Well, I'm going to go ahead and cheat a
little bit. I'm going to go back to the
| | 03:54 | second interview, B, and I'm going to
right-click, and before we looked at the
| | 03:59 | Properties, but there's also the
opportunity to modify the audio differently
| | 04:05 | than Premiere interpreted it.
| | 04:06 | So I'm going to simply go to Audio
Channels, and it says use the file and
| | 04:12 | instead of saying Use File, I'm
going to say you switch to Mono.
| | 04:15 | Now, when I select that, I want you to
take a look at what happens down here.
| | 04:20 | It actually assigns the left channel
to Audio 1, and now the right channel to Audio 2.
| | 04:24 | I'm going to go ahead and hit OK and
drag this same clip--I'll load it in the
| | 04:29 | viewer, so you can see what it looks like.
| | 04:31 | This is a wide shot, so it
looks a little different.
| | 04:33 | But if we look at the audio waveform, we still
see these two tracks, but it's not stereo.
| | 04:39 | Let's go ahead and grab that and
drag that and drop it into the timeline.
| | 04:44 | Take a look at what happened here.
I'm going to go ahead and zoom out.
| | 04:47 | It assumed that it was two tracks.
| | 04:50 | I have my lavalier track or the microphone
that I have pinned on him and then
| | 04:54 | I have the second track which was the camera mic,
and I can now work with these independently.
| | 04:59 | So that's the flexibility that
Premiere Pro offers you. You can actually work
| | 05:03 | with stereo, mono, even 5.1 tracks, and
you can export out any type of video that you want--
| | 05:11 | Mono if you're going to the web, and
you want to make sure that it's a small file,
| | 05:15 | stereo, or even a 5.1 mix.
| | 05:18 | We'll look more at mixing
our audio in upcoming movies.
| | Collapse this transcript |
| Adjusting audio levels in the Source Monitor| 00:00 | There are several places that you can
adjust the audio files in Premiere Pro 6,
| | 00:06 | in the source monitor, directly in your
timeline, and then in your audio mixer.
| | 00:10 | Let's take a look at how we can actually adjust
a clip's levels in the source monitor.
| | 00:15 | So once the clip has been placed in
your timeline--and we did this in the
| | 00:19 | previous movie, we actually made both a
stereo version and a dual mono version
| | 00:23 | of this clip--I can simply double-click
to load that clip back into the viewer.
| | 00:28 | Now there is the video, and we have
looked at the audio before, but what I want to
| | 00:33 | introduce is this panel called Effects Control.
| | 00:35 | So we are going to step over into the
Effects Control panel, and as you see,
| | 00:39 | there is two categories:
Video Effects and Audio Effects.
| | 00:42 | And as a matter of fact, these are always
there, no matter what you've done to the clips.
| | 00:46 | So these are there by default, and I can
modify the volume of a clip--and let me
| | 00:51 | go ahead and hit these disclosure triangles.
| | 00:53 | Channel Volume, which basically means
instead of doing globally the level of the
| | 00:57 | entire clip, I could actually control
the volume of the left channel and the
| | 01:01 | right channel, because this is stereo.
| | 01:03 | And I can even control the panning,
which is the balance between is it coming
| | 01:08 | out of the left speaker, the right
speaker, or out of the center speaker.
| | 01:11 | And it's as simple as grabbing this virtual
slider and moving your Panner right and left.
| | 01:18 | Now you may have noticed that a
little diamond has just popped up here, and
| | 01:22 | that's called the Keyframe, and we'll
explore that later because it actually
| | 01:25 | allows you to raise and lower the volume
as he is speaking and kind of roll with
| | 01:31 | it on the fly, but I don't want to do that.
| | 01:32 | So I am going to go ahead and I'm going
to turn keyframing off by just clicking
| | 01:36 | on this little stopwatch.
| | 01:38 | And it tells me it's going to lose
every single one of those keyframes, and
| | 01:41 | that's fine because for right now. I just
want the global level to go up and down
| | 01:46 | of the global volume.
| | 01:48 | So if I hit the Spacebar to play, I
can actually see my audio levels on the
| | 01:54 | bottom-right corner of the screen.
| | 01:56 | (video playing)
| | 02:00 | So if I take this all the way down to
-287.5 dB--which is a rather arbitrary
| | 02:06 | number--we can see from the audio meters,
when we play that one clip, it's only
| | 02:12 | going to hear the right channel.
| | 02:14 | Let me go ahead and reset this back
to 0, because I want to show you what
| | 02:19 | happens if you have a dual mono clip,
and you want to work with the volume.
| | 02:24 | So let's go ahead and move our playhead
on top of that clip, double-click to
| | 02:27 | load it in the viewer and switch
over to the Effects Control tab again.
| | 02:31 | Now you'll notice because this is dual
mono instead of having one single control
| | 02:37 | for one audio track, I actually
control each track independently, and I have
| | 02:42 | different choices because
this is dual mono versus stereo.
| | 02:47 | So that's just something to keep in mind.
| | 02:48 | So you may want to adjust your audio
levels in the Source panel before you start
| | 02:54 | working with them in the timeline.
| | 02:56 | We are going to look at working with
them in the timeline in the next movie.
| | Collapse this transcript |
| Adjusting audio levels in the Timeline| 00:00 | In this movie we're going to look at adjusting
our audio levels directly in the timeline.
| | 00:06 | Now if you take a look at this, this is
a rough cut. I have my B-roll in here as
| | 00:11 | well as the narrator sound bites,
and my interview sound bites.
| | 00:14 | I haven't added any music, and as a
matter of fact, I've even removed all the
| | 00:18 | ambient sound off of my B-roll because
most of that was the director talking to
| | 00:23 | the director of photography
and it was all useless anyway.
| | 00:27 | So by removing that it's better to
have no ambient sound versus ambient sound
| | 00:32 | popping in and out throughout my show.
| | 00:34 | Now we are going to add music in a
moment, but I want to make sure that all of
| | 00:39 | my audio levels are equal.
| | 00:40 | So I'm going to go ahead and
play the narrator's sound bite.
| | 00:43 | (video playing)
| | 00:44 | And notice on the right side we have
our audio level meter, and if you want, you
| | 00:48 | can actually drag and make that bigger.
(video playing)
| | 00:50 | But I'm going to go ahead and leave it
back pretty much at its default size.
| | 00:55 | (female speaker: Every day people are harnessing the power
of the sun, and it's literally lighting up their lives.)
| | 01:01 | Now she is averaging her maximum peak
at about -6 dB, and that's good for this
| | 01:06 | program that I'm going to deliver.
| | 01:08 | It's going to go the web and my
client wanted it to be pretty loud.
| | 01:11 | For some broadcast situations, peaking at
-12 or -18 is going to be what they want.
| | 01:17 | So before you start editing, you
should find out from your client where it's
| | 01:22 | going to be shown so you can choose what
level to mix all your music and audio to,
| | 01:28 | but -6 is perfect for what we're doing.
| | 01:31 | So I like the way she sounds. Let's go
ahead and listen to our next sound bite
| | 01:35 | which is the interview of the installer.
| | 01:39 | (male speaker: I've installed over 100 photo-voltaic
systems in my career, and I'm proud--)
| | 01:44 | Well, I can see immediately
that his audio was too loud.
| | 01:47 | As a matter of fact, if you ever see it
peak into the red, that's a warning that
| | 01:52 | your levels are way too high and that
it is actually going to get distorted.
| | 01:55 | So I need to reduce the volume here.
| | 01:58 | Now I'm going to do two things, I'm
going to go ahead and zoom in a little bit
| | 02:00 | with the Plus key so you can
actually see closer what I'm working on.
| | 02:04 | And I do want to point out that you
should be able to see your audio waveforms
| | 02:08 | and this yellow line.
| | 02:10 | Now if you don't, go over here to the
left side of your timeline and make sure
| | 02:15 | that under Set Display Style, you'll
click on that that it says Show Waveform.
| | 02:20 | If that's unchecked or it actually will
be checked with Show Name Only, go ahead
| | 02:24 | and switch back to Show Waveform.
| | 02:26 | Next to that is another dropdown, and
you want to click on that, and you want to
| | 02:30 | make sure it says Show Clip Keyframes.
| | 02:33 | If it says Show Track Keyframes or
Hide Keyframes, you want to change that
| | 02:37 | because if it says Hide Keyframes, you
don't even see that yellow line here, so
| | 02:42 | you can't adjust your audio.
| | 02:44 | So let's go back here, switch it to
Show Clip Keyframes, and we'll look at Track
| | 02:49 | Keyframes in the next movie.
| | 02:50 | So now that we are all on the same page,
I just want to lower my audio levels
| | 02:55 | and I can simply grab this
yellow line and drag it down.
| | 02:58 | Now if you want to see a little more
detail, you can actually change the height
| | 03:02 | of this by clicking in-between Audio 1
and Audio 2 and just dragging it down,
| | 03:07 | and now I can really see more detail,
and I can have more fine control.
| | 03:12 | Let me go ahead and bring this down,
I don't know I'm going to take it,
| | 03:14 | an arbitrary guess of about 3 or 4 dB,
and let's listen and look at our audio meters.
| | 03:23 | (male speaker: I've installed over 100 photo-voltaic
systems in my career, and I'm proud to get up--)
| | 03:28 | Well, sometimes when you're editing,
serendipity happens and that was actually
| | 03:32 | the perfect amount to bring it down.
| | 03:34 | If you noticed, it doesn't peak into the
red, and it actually cuts perfectly with
| | 03:38 | the next sound bite of the
close-up of Brian's interview.
| | 03:42 | So this is perfect, and I'm going to move
ahead to the next clip which is the farmer clip.
| | 03:46 | Now if I press the H key, which
switches my cursor to a hand, I can simply grab
| | 03:52 | my timeline and scroll down and find
exactly where the farmer starts talking.
| | 03:56 | And now I'll go ahead and hit the V key,
our selection tool, so we can go ahead
| | 04:01 | and listen and adjust the farmer's levels.
| | 04:03 | (video playing)
| | 04:06 | He has the same challenge that I did
with Brian's interview, so I'm going to--
| | 04:10 | again--go ahead and bring this down and listen.
| | 04:13 | (video playing)
| | 04:15 | Now one thing you can do in Adobe
Premiere Pro 6 is I can actually play and move
| | 04:20 | this line at the same time, so I
don't have to keep going back and forth.
| | 04:23 | So let's go ahead and hit the spacebar to play,
and I'll adjust my audio level on the fly.
| | 04:28 | (male speaker: --here at my well,
about a mile from my house.
| | 04:31 | What I feel right now, coming through
this pipe is 35 gallons of mineral water)
| | 04:35 | And that sounds and looks pretty good,
and I can continue to go ahead and adjust
| | 04:39 | all my audio, and feel free to do this
if you have the exercise files. So I would
| | 04:44 | go through and adjust to make sure
everything peaks at about the same level,
| | 04:47 | which in this case is hovering a little
bit above and a little bit below -6 dB.
| | 04:53 | I'm going to press the Backslash key so
we can see our whole timeline, and I can
| | 04:58 | go through, and I can adjust the audio
level in each of these cases to be exactly
| | 05:03 | what I need it to be.
| | 05:05 | So once you get all these audio
levels neutral, we're going to go ahead and
| | 05:10 | we're going to bring in our music, and
we're going to make that neutral also.
| | 05:14 | So let's go ahead and grab the edge
here, and I'm going to bring that up so we
| | 05:18 | have a little space on Audio 2.
| | 05:20 | And I can bring the audio in and of our
music, go ahead to the Media Browser and
| | 05:25 | import the music from the Media folder.
| | 05:27 | So we'll go back to the Media Browser,
we will find the folder where the media
| | 05:32 | is stored in, we'll go to our home
directory. I put it on my desktop, in the
| | 05:38 | Exercise folder, down under Media.
| | 05:41 | If you watched the movie on how to
use the exercise files, you'll know that
| | 05:44 | everything is stored in the Media folder,
which may have placed on your desktop
| | 05:47 | or on your media drive.
| | 05:49 | So I'm going to go into the Media folder,
I'm going to find that audio file of
| | 05:54 | the music, which is right
here, double-click on it.
| | 05:59 | Now when you double-click on a file in
the Media Browser, it loads it into the
| | 06:03 | source monitor so you can preview
it, and this is the piece that I want.
| | 06:07 | So as soon as I drag this from the
source monitor into my timeline, it's going
| | 06:14 | to create a copy of this
clip in my project file.
| | 06:18 | So there we go. There it is, Hope Environment,
and I now have the audio file in my timeline.
| | 06:23 | Now I don't see the waveform, and I don't
see the yellow line. And primarily, this
| | 06:27 | is because I do not have this track expanded.
| | 06:31 | So I'm going to go ahead, click on
Expand Track, and I'm going to move my slider
| | 06:35 | up a little bit so we can see the
waveform of both the video with attached audio
| | 06:40 | and our music only clip.
| | 06:41 | We're going to go ahead and hit
the Spacebar to hear how the music
| | 06:45 | sounds against the voices.
| | 06:48 | (video playing)
| | 06:54 | Well, obviously, it's competing with
the audio of them speaking, so I want
| | 06:58 | to bring the level down, and I can do
that exactly like we did earlier by
| | 07:02 | simply clicking and dragging and
bringing the audio down 'til it's
| | 07:06 | underneath their voices.
(video playing)
| | 07:13 | And once again, we can do that on the fly.
| | 07:16 | (male speaker: --here at my well,
about a mile from my house.
| | 07:19 | What I feel right now, coming through
this pipe is 35 gallons of mineral water--)
| | 07:24 | Well, that actually sounds pretty good.
It's not competing with them, it's kind
| | 07:27 | of supporting them, it moves the
piece along, but there is one problem.
| | 07:32 | It's perfect when people are talking,
but when I'm just looking at the B-roll,
| | 07:38 | that's pretty soft. I want the volume
to come up, and that's where keyframing
| | 07:42 | comes in and keyframing actually
allows me to ramp the audio up and down so
| | 07:48 | that when nobody is speaking, I can
make it louder and when people are speaking
| | 07:52 | I can bring it down.
| | 07:54 | Well, to create a keyframe you can
switch to the Pen tool or on the Macintosh
| | 07:59 | hold down the Command key, or in Windows
hold down the Ctrl key, and then when you
| | 08:03 | click on the line, you
actually see a small diamond.
| | 08:07 | So I'm going to go ahead and click and
create actually several small diamonds.
| | 08:10 | I'm going to create four, because I
want to have break points, and once I create
| | 08:15 | four of these little dots, I can
actually put my cursor in the middle and bring
| | 08:19 | up the volume of just that area
underneath of the B-roll, so I can make this
| | 08:25 | much louder when no one is speaking.
| | 08:28 | Now let's go ahead and listen to our audio.
| | 08:31 | (video playing)
| | 08:50 | Now that I got the volume up where I
want it to be, I could actually control
| | 08:54 | how I ease in and ease out of that by
simply grabbing any of these keyframes
| | 08:58 | and I'm going to have ramp up as she is
finishing speaking so that it's up to full volume.
| | 09:03 | So you see you can not only move the
volume levels up and down, but once
| | 09:07 | you've created keyframes, you can
move them left and right to control the
| | 09:10 | ramping of volume up and down.
| | 09:13 | Let's go ahead and listen
to that ramp one more time.
| | 09:15 | (video playing)
| | 09:20 | Much better, the music comes in just
as she is finishing, and that really
| | 09:23 | smoothes out the edit.
| | 09:25 | So as you can see, it's very easy to
add keyframes and reposition keyframes, and
| | 09:30 | this is something that you may also use
in an interview section. For instance,
| | 09:34 | I'm going to zoom in just a little bit
here, so if I was interviewing the farmer
| | 09:39 | and at one point it got really soft,
and I didn't quite hear what he said, or
| | 09:43 | maybe he coughed, I could go ahead and
again, hold down the Command key, put in
| | 09:48 | a couple of keyframes, and bring down
the audio of this little background noise,
| | 09:55 | and I can make the audio
sound exactly how I want it to be.
| | 09:59 | So keyframing audio in your timeline
is the best way to manipulate the levels
| | 10:05 | between, say, your narrator,
your ambience, and your music.
| | Collapse this transcript |
| Adjusting the audio mix on the fly| 00:00 | Now in the previous movie we learned
how to keyframe our audio directly in the
| | 00:05 | timeline, but you can also mix your
audio using what's called the Audio Mixer.
| | 00:10 | Now this is in the upper left-hand
corner of your screen where you are
| | 00:13 | finding the source monitor, and you can
click on a tab called Audio Mixer and
| | 00:18 | then this is our edited sequence
that is just the sequence that we are
| | 00:20 | looking at, and I see sliders.
| | 00:22 | And I will see sliders for every
audio track that is in my show.
| | 00:27 | So in this case, we are only working
with two tracks to keep it simple, but if
| | 00:31 | you have five or six tracks, you'll
actually see sliders for every track that's
| | 00:36 | available in your final timeline.
| | 00:38 | Now I can go ahead and I can hit the
Spacebar and play this and take a look
| | 00:42 | at what happens here.
| | 00:44 | (female speaker: --and it's
happening all over the world.
| | 00:46 | Every day people are harnessing the power of the
sun, and it's literally lighting up their lives.)
| | 00:56 | So if you notice, we can look at our
levels, and we see where she is speaking and
| | 01:00 | we see what the general volume
level of our entire timeline is.
| | 01:04 | Now I want to mix this in another way,
so I am go ahead and I'm going to reset
| | 01:09 | these sliders all the way back to
their default. And to do that, I am simply
| | 01:13 | going to double-click to load that back
into the viewer go over to our Effects
| | 01:18 | Control--we saw this in an earlier movie--and
switch to Volume, and just bypasses this.
| | 01:23 | If I toggle the animation off, it's
going to warn me that I'll lose all my
| | 01:27 | keyframes, and that's exactly what I want to do.
I want to just reset it.
| | 01:30 | Let's say OK, and now we have
our levels back at their default.
| | 01:35 | Switching back to the Audio Mixer.
Now if I go ahead and play the sequence...
| | 01:38 | (video playing)
| | 01:42 | ...we can see that the music is at a full
level, and what I want to do is I just
| | 01:47 | want to watch my show and write my levels.
| | 01:49 | So, I am going to switch this over here
from Read, which is like I just want to
| | 01:54 | look at what is happening, to actually Write.
| | 01:58 | And now we will go back, we'll simply
hit the Spacebar to play. I am going to
| | 02:02 | make sure we go back all the way to
the beginning, and I am going to bring my
| | 02:05 | levels down just a little bit to start
and keep my mouse right on this slider
| | 02:09 | because that's one I really care about.
| | 02:10 | (female speaker: --and it's
happening all over the world.
| | 02:12 | Every day people are harnessing the power of the
sun, and it's literally lighting up their lives.)
| | 02:23 | And I can actually listen, and I
wouldn't do this in real life, but just to show
| | 02:26 | you I can move this up and down, and it's
going to record the automation of those sliders.
| | 02:35 | Now as soon as I stop, there is this,
all my animation. Or is it? This is the
| | 02:40 | tricky thing that confuses a lot of folks.
| | 02:43 | If you saw in the earlier movie, when
we said Show Keyframes, we showed the
| | 02:47 | keyframes for the clip.
| | 02:48 | What I want to do is I want to
show the keyframes for the track.
| | 02:53 | There is all my animation.
| | 02:55 | You may be asking yourself, why would I
want to keyframe the volume on the clip
| | 03:00 | and then go and keyframe the
volume on the track afterwards.
| | 03:04 | Well, this is actually a really
cool feature for a couple reasons.
| | 03:08 | First of all, you do a preliminary mix
in your timeline by keyframing all the
| | 03:13 | clips and then you can do a global mix
when working with the tracks kind of as
| | 03:18 | a last pass. But another thing that's
really cool is suppose I wanted to swap
| | 03:24 | out this music, and I mix my levels perfectly
to go against my narration and my ambience.
| | 03:30 | Well, what I can do is simply put a
new cut of music in, and Adobe Premiere
| | 03:36 | Pro remembers all the key framing for that track,
so I don't have to do that work over again.
| | 03:43 | Here is another really cool thing I can do:
| | 03:45 | the music is perfect in that I like
the choice, but I really want it to end
| | 03:51 | when the show ends.
So, I need to do a slip edit.
| | 03:54 | So, I'm going to go ahead and perform a
slip edit, and I want to see what happens
| | 03:57 | to these keyframes that are on the trackside.
| | 03:59 | I am going to double-click this to load
this into the viewer and switch over to
| | 04:04 | the viewer so we can actually see our audio.
| | 04:06 | So we are looking at the beginning of
the clip, and if I want to do a slip edit,
| | 04:09 | I am just want to go ahead and grab
these three little vertical lines, and I'm
| | 04:13 | keeping the same in and out points,
but I'm choosing a different part of my
| | 04:17 | music, and its going to end when the
music fades out. And you saw down here the
| | 04:22 | audio jumped, so now if I play the end...
(video playing)
| | 04:28 | ...it times out beautifully, but I
haven't lost those really cool keyframes.
| | 04:32 | Well, actually, they are
probably not really cool keyframes.
| | 04:34 | It's a little bit crazy, but take a listen.
| | 04:36 | (video playing)
| | 04:43 | So being able to control Track keyframes
as well as Clip keyframes is very
| | 04:50 | powerful and something you should
take advantage of in Adobe Premiere Pro.
| | Collapse this transcript |
|
|
8. MarkersInserting markers| 00:00 | Markers are an extremely useful tool
when editing, if you want to make notes
| | 00:04 | directly on the video to either say
color correct something or go back and
| | 00:10 | make a change or for instance, even
if you want to line up video with other
| | 00:14 | video or with audio.
| | 00:16 | Now let's create a marker, and you'll
have a better sense of what a marker is.
| | 00:20 | So I am going to go through it.
I'm watching this video.
| | 00:23 | (video playing)
| | 00:25 | When she says literally lighting up, I
want to pick a little note of my timeline
| | 00:29 | that that's where I want to bring in a
video clip. I want to bring in a video
| | 00:33 | clip of the light bulb.
| | 00:34 | So I want to create a marker there. I
can do it very easily by pressing the M
| | 00:38 | key, which creates a marker, or if I
like buttons, I could go ahead and click on
| | 00:42 | this little Add Marker button and when
I do that, it's going to go ahead and
| | 00:46 | create a marker in my timeline. And I
see that little green triangle here, it
| | 00:51 | kind of looks like home plate in baseball.
| | 00:53 | Now I can modify or edit that marker
by simply double-clicking on it, and it
| | 00:58 | opens up a dialog box, and I can do a
couple of things here. I can give the
| | 01:01 | marker a name if I wanted to, and the
name can be, you know, Start B-roll and
| | 01:10 | under comments, I think is bulb shots. I am going
to go ahead and I am going to say Light bulb.
| | 01:16 | Now you don't have to fill these in, but it's
kind to nice to give yourself some notes.
| | 01:20 | I want to point out that we're using
markers here in the editing capacity to
| | 01:24 | write ourselves notes, but you can
actually use markers if you're creating or
| | 01:27 | authoring a DVD for chapters, and you
can actually create web links and Flash
| | 01:34 | Cue points if you are creating
video that's going to go to the web.
| | 01:38 | But for now Comment markers
are what we're going to focus on.
| | 01:41 | So I am simply going to press OK,
and I've labeled this marker, and when I
| | 01:46 | bring my cursor over that marker, I
can actually float my cursor, and it says
| | 01:53 | Start B-roll. That's the note for me that I
wrote above, and it also says what my B-roll is.
| | 01:58 | So you can actually see both
of those notes that I wrote.
| | 02:01 | Now the thing about timeline marker is
if I grab this clip, and I move it,
| | 02:06 | that still stays there.
| | 02:08 | So now it's kind of obsolete,
because she says light down here.
| | 02:13 | So another place I could put a
marker if I didn't want to put it in the
| | 02:16 | timeline is I can actually put it on a clip.
| | 02:19 | Now to put it on a clip, you need to
double-click to load the clip back into
| | 02:23 | your Source Monitor, and then I can find
the spot where she says light, and I can
| | 02:28 | do that by listening and watching. But
we learned earlier that you can also look
| | 02:32 | at the audio waveform, and it might be easier
for me to find the spike where she says light.
| | 02:38 | (video playing)
| | 02:40 | There we go. That's the spike where she
says light, and I am going to do the same
| | 02:43 | thing, I am going to hit the M key.
| | 02:45 | I could hit the little button right
here, but this time I'm going to use the
| | 02:48 | keyboard shortcut M, and it creates a
marker, and I am going to go ahead and
| | 02:53 | double-click on that, and I can write
myself the same note, which is the word
| | 02:57 | light, and I'm going to write
good cut point and simply say OK.
| | 03:04 | So as we see, that is now
revealed down here in the timeline precisely
| | 03:09 | where she says the word light.
| | 03:11 | Now, if I wanted to remove any markers,
I can either double-click the marker
| | 03:15 | select it and go Delete and underneath
the Marker dropdown menu, I could also
| | 03:20 | go ahead and Clear All Markers, and in this case
I don't have any or just the current marker.
| | 03:27 | Now you'll notice that this is grayed
out, and you may be asking yourself, well, he
| | 03:31 | does have a marker down here.
| | 03:33 | Markers are independent
between the timeline and clips.
| | 03:36 | So if I needed to clear the clip marker,
either I double-click on it or select
| | 03:42 | the clip, and now I can go down here and
Clear the Current Marker or all markers.
| | 03:48 | So remember, it's context-sensitive
based upon whether you working in the
| | 03:51 | timeline or have an individual clip selected.
| | 03:55 | So as you can see, creating markers
and removing markers is pretty easy.
| | 04:00 | We are going to go ahead and leverage
those markers in the next movie to show
| | 04:04 | how you can make some
really precisely timed edits.
| | Collapse this transcript |
| Snapping markers to each other| 00:00 | In the previous movie we learned how to
create markers in both the timeline and
| | 00:04 | in individual clips.
| | 00:06 | Now, we are going to go ahead and
create a couple of additional markers and use
| | 00:09 | these markers beyond just writing
notes to yourself, and use them to fine tune
| | 00:15 | and make precise edits.
| | 00:17 | We placed a marker in the narrator on
the word light, so what I want do is go
| | 00:21 | to the bulb clip, and I am going to
double-click to load that into the Source
| | 00:24 | panel, and then I am going to scrub
through right until the light turns on.
| | 00:29 | Just as the light turns on, I am going
to hit the M key and create a marker.
| | 00:33 | Now I know where I am going use that for
so I am not going to go ahead and label
| | 00:36 | that. I'm just using it as a point of
reference, so when I look at this clip in
| | 00:40 | my timeline, I know
exactly when the light turns on.
| | 00:44 | The other thing I want to do is I
want to put a marker inside my music, and
| | 00:48 | that's really useful also.
| | 00:50 | So I am going to double-click to load
the music in and go over here to where
| | 00:54 | we have a little bit of a spike. I
am going to go ahead and just place my
| | 00:58 | cursor there and hit Play.
(video playing)
| | 01:03 | I like where that music picks up, and
I am going to actually make an edit on
| | 01:06 | that, I could zoom in and get a lot more detail.
| | 01:12 | Right there is where it picks up, so
again, I am going to hit the M key, and I am
| | 01:15 | going to leverage the fact that I
know exactly where the music spikes for
| | 01:19 | cutting this first little sequence together.
| | 01:22 | Let's go back to the light bulb, and we
want to bring the light bulb in right
| | 01:25 | where she says light. And I am going
to just arbitrarily mark an end point,
| | 01:29 | before, and out point after. The length is
about 5 seconds--probably little bit
| | 01:36 | too long, but we'll fix that in a moment.
And I am going to drag this right down
| | 01:39 | to the timeline and just
kind of drop it anywhere.
| | 01:42 | So that's where the light turns on, and
that's where she says the word light.
| | 01:46 | So this is pretty cool. I don't have to
sit there, and I don't want to cut to it
| | 01:50 | as the light turns on.
| | 01:51 | So I am going to go ahead and stretch
that a little bit and stretch that a
| | 01:54 | little bit longer, and my goal is to
grab this little marker and have it snap
| | 02:00 | to the other marker.
| | 02:02 | I am going to move this out of the way,
so we can really see our markers. I am
| | 02:06 | going to ahead--and if I drag it,
you'll notice, if snapping is turned on, it
| | 02:11 | like a magnet pops right there.
Now let's play that back and see how it looks.
| | 02:15 | (video playing)
That's cool.
| | 02:18 | It lights up just when it she says lights up.
| | 02:20 | Now, I do have a little problem here. I
did forget and brought in the ambient
| | 02:25 | sound. So we learned earlier that if
you hold down the Option key on a Mac, I
| | 02:29 | can select just my audio
and go ahead and delete that.
| | 02:32 | So now we actually have a light bulb
turning on without the director talking.
| | 02:36 | (video playing)
So that's pretty cool.
| | 02:39 | I have the perfect timing for lighting
up their lives, and I can start or end
| | 02:43 | this whenever I want, but I have
matched the action of what she is saying.
| | 02:47 | Now the other thing I did was I added
a marker to my music right at the crescendo.
| | 02:53 | So again, double-click to
load this into the viewer.
| | 02:55 | I am going to mark an end point right
before the music comes up. I don't care
| | 03:00 | about the out point. I am going to add
a lot of the B-roll there, and I want to
| | 03:03 | bring this into my timeline, so I am going
to simply grab the audio and drop it down there.
| | 03:07 | If you notice, even when I bring it
to the timeline, because I have that
| | 03:11 | marker there, I could let go and have the music
crescendo when she says the word light.
| | 03:18 | So let's see what that sounds like.
| | 03:20 | (video playing)
| | 03:25 | Well, not exactly what I wanted,
because it's the crescendos coming, but it's
| | 03:30 | different than what I hear in the
music, and it's not working for me.
| | 03:34 | So watch what I can do.
| | 03:38 | Well, I like that crescendo
right there for the cut.
| | 03:41 | I am going to go ahead--going to go
ahead and double-click on this load it into
| | 03:44 | the viewer, put a new marker in, and now
I can go ahead and I can slide this over
| | 03:50 | and lock this marker here, the
crescendo to where we are going to cut to this
| | 03:55 | really cool time lapse shot, mark an end
point. I love the shot. We are going to
| | 04:03 | take as much of it as possible, mark
an out point. I'm going to go ahead and
| | 04:07 | grab just the video in this case.
Before you grab just the audio and drag that
| | 04:12 | right to my timeline, so we have this
beautiful sunset shot, and let's take a
| | 04:16 | look and listen to our cut.
| | 04:18 | (video playing)
| | 04:24 | I like that just as this blooms, that's
right here that crescendo, and probably
| | 04:29 | what I'll do is I would go to this
audio and bring down the audio levels so it
| | 04:32 | doesn't step on what she's talking
about, and I am going to just latest uses
| | 04:35 | this as a Trim option here, and now we just
trim off the beginning, and we're good to go.
| | 04:41 | (video playing)
| | 04:45 | As you see, using markers in both your
clips and on the timeline allows you to
| | 04:51 | precisely edit what you want where you want.
| | Collapse this transcript |
|
|
9. Working with Stills and GraphicsWorking with stills| 00:00 | In this chapter we're going to
explore working with still images such as
| | 00:04 | photographs, and there's a couple of
key preferences you need to be aware of
| | 00:09 | before you start importing photographs
or pictures into Adobe Premiere Pro.
| | 00:14 | To find your preferences on a Macintosh,
you'll look underneath the Premiere Pro
| | 00:19 | setting, and there's your Preference
setting, and if you're a Windows machine,
| | 00:23 | that would normally be under the Edit
menu. At the very bottom, you would see
| | 00:26 | Preferences. Once inside, they are
exactly the same between systems.
| | 00:31 | So we're going to go to Preferences
and select General, and there's two things
| | 00:35 | we're going to look at. The first
is Still Image Default Duration.
| | 00:40 | Now by default, it's 150 frames, so if
you're cutting at 30 frames a second--
| | 00:45 | which is pretty much the standard--you
get 5 seconds of a still image when
| | 00:51 | you bring in any of your photographs.
Now don't panic, if you need 6 seconds
| | 00:55 | or 4 seconds, because it's a
photograph or a still image, you can make it as
| | 01:00 | long or as short as you
need once it's in your project.
| | 01:04 | The advantage of changing this is that
if you know you're going to be needing
| | 01:08 | your images to be, say, 10 seconds long
in every instance, go ahead and change
| | 01:13 | that to 300, and you won't have to do as much
manipulation once you're inside the application.
| | 01:19 | Another thing to keep in mind is that
some people are shooting 24 frames per
| | 01:24 | second, for instance, on their DSLR
cameras, so in this case it won't be a
| | 01:29 | 5-second clip, it'll be a
little bit over 6 seconds.
| | 01:33 | We're going to leave that at the Default.
| | 01:35 | The other thing I want you to look at
is this check box right here, which is
| | 01:39 | Default scale to frame size. Now
this can be a really good thing or a
| | 01:44 | really dangerous thing.
| | 01:45 | By default, it's left unchecked,
and that's how I like to keep it.
| | 01:50 | Now if you check Default scale to frame
size, whenever you import a still image
| | 01:56 | or even a piece of video, if it's
larger than your sequence setting, Adobe
| | 02:01 | Premiere Pro is going to
actually down sample it.
| | 02:04 | So if you have a very large image,
say 5000x3000 pixels, and you check
| | 02:10 | Default scale to frame size and bring
it in, it's going to down sample that to
| | 02:14 | fit into your sequence's size, and in
this case it's 1280x720, or 720p as it
| | 02:21 | normally referred to.
| | 02:23 | Now that's a good thing if you don't
plan to do any moves on your image, but if
| | 02:28 | you plan to zoom in or blow it up a
little bit to crop it or do any kind of a
| | 02:33 | pan or scan on it, you're
going to actually lose resolution.
| | 02:38 | So by leaving it unchecked, you'll have
this nice large image, and you can zoom
| | 02:42 | in without losing any detail or any resolution.
| | 02:47 | So we're going to stick with the default,
and I'm going to click Okay.
| | 02:50 | You can actually click Cancel if you want,
since we haven't made any changes, and let's
| | 02:55 | go back to importing our photographs.
| | 02:58 | Now we did look at importing in an
earlier chapter, but we're going to expand
| | 03:03 | a little bit upon it now.
| | 03:04 | Of course, you can import using the
Import command, but the media browser is much
| | 03:09 | more robust, and it's going to allow
you to do something pretty special when
| | 03:12 | importing still images.
| | 03:14 | So I'm going to switch over to the
Media Browser, and I'm going to press the
| | 03:18 | Tilde key in the upper left-hand corner
of my keyboard, just to make this full
| | 03:22 | screen. It's easier for you to see
when watching this movie, and you may even
| | 03:27 | want to do it yourself so you
can actually see all the images.
| | 03:30 | If for some reason you have switched
over to List view, make sure you click
| | 03:34 | on the Thumbnail view so you can
actually see a representation or a thumbnail
| | 03:40 | of all of your media.
| | 03:41 | Now that's the problem is I'm seeing
all of my media. I'm seeing not just my
| | 03:46 | pictures, but I'm seeing all my camera
footage, I'm seeing all my graphics, I'm
| | 03:50 | seeing my audio file, I just want
to see my photographs, and all of my
| | 03:54 | photographs are JPEGs.
| | 03:56 | So I go to the upper right-hand corner
of my media browser and actually filter
| | 04:00 | what I'm looking at. So in this case,
I'm going to filter and just look at JPEG files.
| | 04:05 | Now some of you may be using both JPEGs
and TIFFs. You can actually select and
| | 04:11 | check and look at multiple types of
images and just filter so you can see
| | 04:16 | say TIFF files, JPEG files, and maybe even
Photoshop files. But for now let's just go to JPEGs.
| | 04:22 | I'm going to select all of these for now,
and I can simply do that by pressing
| | 04:27 | Command+A on a Macintosh or
Ctrl+A on a Windows machine.
| | 04:34 | Once they're selected, I'll right-click,
select Import, and these files would be
| | 04:38 | brought into my Project pane, and
there you see all of my images, and if I
| | 04:44 | look at their duration, they're all
5 seconds long, and they've maintained
| | 04:49 | their original size, which is great
because we're going to be doing some moves
| | 04:52 | on these in a later movie.
| | 04:55 | Now it's your choice whether you leave
this as a list view or as an icon view.
| | 05:00 | I generally like to work in my Project
pane in an icon view or a thumbnail view
| | 05:05 | because it's much easier
to work with still images.
| | 05:08 | But I do want to point out if there is
a reason that you want to work in List
| | 05:11 | view, because of the way you like to
sort it, you can go here to this dropdown
| | 05:15 | menu, and you can select Thumbnails, and
now in List view you'll actually see a
| | 05:22 | little image. And if it's too small,
go ahead to the Mountain slider at the
| | 05:26 | bottom, and you can make them bigger.
| | 05:29 | So again, the versatility of Adobe
Premiere Pro allows you to work in any view
| | 05:34 | that you're most comfortable with.
| | 05:36 | I'm going to go ahead and press the
Tilde key and return to my original layout.
| | 05:40 | I'm going to load the first
image into my Source panel by simply
| | 05:44 | double-clicking it, and there we have
the gentleman with the wind turbines in
| | 05:48 | the background. And if I drag, and I
drop this into my timeline, it's going to be
| | 05:52 | the default duration of 5 seconds.
| | 05:54 | I can change that before I bring it into
the timeline, or I can change it once I
| | 05:59 | drag it in just like any other clip.
| | 06:02 | So I'll drag it into the timeline, and
wow, all I'm seeing is the brim of his hat.
| | 06:07 | Not quite the shot I was expecting.
| | 06:10 | Well, I actually really was expecting
this because remember this image was
| | 06:15 | brought in full resolution, which was
over 5,000 pixels. As a matter of fact,
| | 06:19 | if we scroll over here, I can see
specifically the size of this image, it's
| | 06:27 | 5000x5000 pixels, and my sequence is
1280x720. That's why I'm only seeing
| | 06:34 | part of his head.
| | 06:37 | So what I want to do is I want to
scale this down, and I can do this one of two
| | 06:42 | ways. If I want to do it very quickly,
I can simply right-click on any image
| | 06:48 | down here, and I'm going to go ahead and
hit the Plus key a few times just so we
| | 06:51 | can really see what I'm working on, and
I'm going to right-click, and there's an
| | 06:55 | option here to Scale to frame size, and
when I click it, it will automatically
| | 07:00 | shrink the image so I see the
entire photograph within my frame.
| | 07:05 | Now because it's a square image, a
different aspect ratio than the 16x9 of
| | 07:10 | television, I have black bars on either side.
| | 07:13 | Now perhaps you want that. Perhaps you
need to see the whole image or maybe you
| | 07:18 | want to reframe the image, in which
case you need to either scale it up from
| | 07:23 | what we see now or scale it
down in the Effects Control panel.
| | 07:28 | Now some of you probably have
question marks over your head, because you're
| | 07:31 | going: scale it up, scale it
down, what's the difference?
| | 07:34 | There actually is a very big difference.
Because I chose to scale this to the
| | 07:40 | sequence, when I go over to my Effects
Control panel, and I look to scale it up
| | 07:46 | and I need to do that in the Motion tab.
| | 07:50 | It says my scale is 100%, it down
sampled my image, so if I blow it up at this
| | 07:57 | point, by just grabbing this virtual
slider and blowing it up--and if you don't
| | 08:01 | want to work with this virtual slider--
just go ahead and hit the disclosure
| | 08:04 | triangle and you have this great
little slider that you can work here.
| | 08:08 | But there's my wall. Can't make it more than
100%. It's trying to keep me honest, so
| | 08:11 | I'm going to go ahead and blow it up.
| | 08:14 | I've scaled it down, I've
blown it up, I've lost resolution.
| | 08:18 | So this is not necessarily the best
workflow if you know that your images don't
| | 08:24 | quite fit within the aspect ratio of television.
| | 08:27 | So let's go ahead and undo what we just
did. I can click on this Reset button.
| | 08:31 | Takes it back down to 100%, and then I'm
going to go over here, right-click and
| | 08:36 | I'm going to un-check Scale to frame size.
| | 08:39 | Now you'll notice something very
interesting. Take a look at the Scale Setting
| | 08:44 | under the Effects Control panel.
| | 08:47 | My picture gets bigger, but this is
still 100%, and at first, that can be very
| | 08:52 | confusing. But what it's doing is
it's now looking at 100% of its original
| | 08:58 | size, which is 5000x5000 pixels, and
if I grab this slider and shrink it, we
| | 09:05 | can see that it does update. And I'm going
to make this pretty small, there we go.
| | 09:10 | I can just adjust it perfectly within the
frame, so it's now 25% of its original size.
| | 09:17 | So the end result looks the same, but
the second way of doing things actually
| | 09:23 | maintains the resolution of the
original image, so in your final movie the
| | 09:29 | picture will be sharper.
| | 09:31 | So we've scaled it, and it fits, but I
really don't like the framing. I mean, it's
| | 09:36 | the right size, but I think these are
little too close to the bottom. And as a
| | 09:39 | matter of fact, on some television sets
there is something called overscan, his
| | 09:43 | chin might even be cut off, so I want
to reposition this, and again, this is
| | 09:47 | something I would do in the Motion tab.
And if you look down here, this is a bunch
| | 09:52 | of options, not only for scale, but
there's also position, and I can go ahead and
| | 09:57 | play with these. And you see I can move
them left and right. Let me go ahead and
| | 10:00 | undo that because left and
right is not what I want to do.
| | 10:03 | I can also move it up and down, and
this is nice, but it's kind of clumsy.
| | 10:09 | I'm not really a math kind of person.
I'm what you see is what you get, so I want
| | 10:14 | to be able to grab the image and
reposition it actually in my program monitor,
| | 10:19 | and that's very easy to do if you click on
this little icon here to activate the motion tab.
| | 10:25 | Take a look at what just appeared here.
We now have a bounding box and a little
| | 10:29 | center frame, and if I click anywhere on
here, I can actually move it around in
| | 10:34 | my Program Monitor and frame
it exactly the way I want.
| | 10:38 | So that's a lot easier and a lot
faster than trying to play with numbers.
| | 10:44 | If I click it again, it will deactivate,
and now I can't accidentally move it,
| | 10:49 | so this is a very quick way to scale and
position a photograph in Adobe Premiere Pro.
| | Collapse this transcript |
| Moving on stills| 00:00 | In the last movie we learned how to
bring photographs into Adobe Premiere Pro
| | 00:04 | and the proper way to scale
them up and scale them down.
| | 00:08 | Now let's take a look at if I wanted to
actually move our pan from one part of
| | 00:12 | an image to another part of the image.
| | 00:15 | So we're good here with this shot. We
are going to go ahead and just scale this
| | 00:18 | down. I am going to hit the
Minus key in my Photo Rough timeline.
| | 00:23 | Just give me a little space to show
the next clip in, and I am going to switch
| | 00:26 | over to the Icon view so I
can actually see my images.
| | 00:29 | I think there is a nice
one that I can zoom in on.
| | 00:31 | It's this shot here of the solar
panels perhaps, in the nice big field.
| | 00:36 | So let's go ahead and we'll double-click, and
I like that image, and we are going to work with that.
| | 00:39 | So we'll go ahead, I am going to drag
it to my timeline, and 5 seconds is
| | 00:44 | good, but I want it to be a little bit
longer, so as I said before, I can make a
| | 00:48 | photograph any length I want just by
stretching it out, and now we want to be
| | 00:52 | able to do a move on it.
| | 00:54 | Now I know immediately looking to left
and looking to the right that my image
| | 01:00 | was not scaled when I brought
it in, and that's a good thing.
| | 01:04 | I'm already way zoomed in, and I can see
that because this is the original size.
| | 01:08 | So let's go ahead and double-click to
load this clip from on the timeline back
| | 01:12 | into the viewer, and I know I am
successful in that because look, there is the
| | 01:16 | zoomed-in version, and then I can go to
my Effects Control panel, and I can start
| | 01:20 | playing with the motion tab to
position this exactly the way I like it.
| | 01:25 | So I want to start off pretty much
full screen and zoom into the solar panel,
| | 01:30 | because that's the story that I am
telling. We are talking about solar panels.
| | 01:34 | So I am going to go ahead and
I can start scaling this down.
| | 01:40 | But I want to show you
something that's very important.
| | 01:42 | Right now I'm not seeing the edges of
my frame, I am not seeing the edges of
| | 01:46 | the picture, and that's
because right now it's set to fit.
| | 01:50 | So it's always going to keep
the frame as large as it can.
| | 01:53 | But I want to see outside the edges.
| | 01:55 | Now this is going to vary. The number
you choose depending on the resolution of
| | 01:59 | your computer monitor, and mine's pretty small.
| | 02:01 | So I am going to choose 10%.
| | 02:03 | And I still don't see the edges, and
that's because I need to go back over here
| | 02:08 | just like we did in the last movie and
click on the tab that says Motion, and now
| | 02:12 | I see the original outline of my photograph.
| | 02:17 | So as I go ahead and scale it down,
I can position it just so we see
| | 02:22 | the ultimate wide shot.
| | 02:24 | If I want to see what that looks like
really clear, I can toggle back and forth
| | 02:28 | between fit and 10%.
| | 02:30 | So that's what my viewer is going to
see, and if my eyes are a little bit
| | 02:34 | sharper, I could actually switch
back to 10% and see really small.
| | 02:37 | But the important thing is I framed
it exactly where I want it to be at the
| | 02:42 | beginning of my move.
| | 02:44 | Now, when I come to the image--and I am
just scrubbing across the timeline here.
| | 02:48 | I do want to establish it as a static shot.
| | 02:51 | I don't want it to start
moving as soon as my viewer sees it.
| | 02:54 | But take a look. As I move my cursor
or the playhead in the timeline, it also
| | 03:00 | moves up here in the Effects Control panel.
| | 03:02 | It matches it--and this is important,
so keep this in mind as we start marking
| | 03:07 | keyframes of where we want the picture
to be at certain points in our timeline.
| | 03:12 | So here we are few seconds in, perfect
framing. I want to lock it in that position.
| | 03:18 | And to do that I go over here, and
I click on these little stopwatches.
| | 03:22 | So I want to make sure that my scale is
locked, so I am going to click on that,
| | 03:26 | and you'll notice immediately
that I have a little diamond.
| | 03:29 | Now if you don't see these lines, it's
probably because your scale is closed, so
| | 03:34 | go ahead and open that up, and you'll
actually see the animation lines down here.
| | 03:39 | Now I know I want to zoom in to this
area to the right, so I better lock, not
| | 03:44 | just my scale, but also my position.
| | 03:46 | So I am going to click on that keyframe.
| | 03:48 | So now at this point in time, it's going to
be exactly in this position and at this size.
| | 03:55 | Now I am going to move down the
timeline, and I want to zoom in.
| | 04:00 | To zoom in I am basically going to stretch out
my canvas and frame it up so I see just this.
| | 04:06 | So as I zoom back, or I stretch it,
you see it's updated in my Effects Control panel.
| | 04:12 | And then as I move the position,
Premiere Pro automatically creates new
| | 04:19 | keyframes to lock it into this position.
| | 04:22 | I want to position just about there, and
if I really wanted to make sure I am in
| | 04:27 | the right spot, I can actually take
it back to the fit size and position my
| | 04:33 | framing exactly how I want the shot to end.
| | 04:36 | You'll notice there is a little line
here. That's actually the motion path that
| | 04:40 | it's going to follow.
| | 04:42 | If I want to see it playback, I simply
reposition my cursor to the beginning of
| | 04:46 | the shot. And you can watch here, as
the playhead moves along and see what
| | 04:50 | happens in the image.
| | 04:52 | I am going to press the spacebar to play.
| | 05:01 | As you see, there is my zoom. It's pretty
quick. I could stretch it out if I want.
| | 05:06 | I can't play with other sliders, such as
the velocity or the acceleration, as we
| | 05:10 | go into this move and come out of that
move, but for now I want to do something
| | 05:14 | very quick and easy.
| | 05:16 | Now the one thing you may want to do is
you may want to stretch out the duration
| | 05:19 | of the move, and I just want to point
out that you can grab any keyframe and
| | 05:23 | simply move it further down the
timeline. And this is going to make the move
| | 05:28 | slower and probably a little more
relaxing for your viewer to see.
| | 05:32 | Now we blew the picture up to zoom in.
You can use the same technique to shrink
| | 05:37 | a picture if, for instance, you wanted to
place it on top of another image and do
| | 05:42 | a picture-in-picture move.
| | 05:44 | So moving on still images is pretty easy.
It takes a couple of times practicing
| | 05:49 | with it to get the feel of it,
but you'll have it down in no time.
| | Collapse this transcript |
| Exporting and re-importing stills| 00:00 | Now a lot of times, when you're working
on a program, you'll need to get a still
| | 00:04 | image from your video, and it's
extremely easy to do in Adobe Premiere Pro.
| | 00:11 | And you can export an image either from
your Source panel as long as an image is
| | 00:15 | loaded in, or from your Program panel.
| | 00:18 | Now, the Source panel is the original
footage, so it's probably not modified at
| | 00:22 | all, but a nice thing about exporting
from the Program panel is if I've created
| | 00:26 | some sort of layered file with maybe
a logo or a bug or a composite of some
| | 00:31 | sort, I can export that image out also.
| | 00:34 | In this case, it's six of one, one
half dozen of the other, they are both the
| | 00:37 | light bulb, pretty easy to do.
| | 00:39 | I am going to simply go over to the timeline. I am
going to scrub over to the frame that I wanted.
| | 00:43 | It's right when the light bulb kind of
glows. That's a little too blown out.
| | 00:47 | I want to actually see a little
detail there. That's kind of cool.
| | 00:50 | So that's the frame I want to export.
Now don't blink, because it's pretty quick.
| | 00:55 | I simply go over to my button
bar, and I press the camera.
| | 01:00 | Now if for some reason you've hidden
the button bar, you can use the keyboard
| | 01:04 | shortcut on our Mac--it's Shift E, as in export.
| | 01:08 | And when I click that I'll get a pop-up,
and I can name this image. By default
| | 01:14 | it's going to be named after the sequence.
| | 01:17 | So we are going to go ahead and just call
this Bulb, and I can also choose the format.
| | 01:23 | Now I am on a Macintosh, so these are
the six formats I can work with, DPX,
| | 01:28 | JPEG, PNG, Targa, and TIFF, lots of
funny acronyms if you have never seen them.
| | 01:33 | If you're on a Windows machine, you'll
also be able to export bitmap and GIF files.
| | 01:39 | The rule of thumb that I use is if I'm
going to be bringing it back into a video
| | 01:44 | program, and I don't need a lot
of resolution, JPEGs are great.
| | 01:49 | If I'm giving it to somebody for print,
I'll probably do a PNG file--which
| | 01:53 | stands for Portable
Network Graphics--or a TIFF file.
| | 01:57 | These will be larger but they will
have less compression so they will be
| | 02:00 | sharper if it's going to be printed.
| | 02:02 | Either way, I just select the type of
file that I want. I can then browse to
| | 02:07 | where I want to save it.
| | 02:09 | I am going to go ahead
and save it on my desktop.
| | 02:10 | So I am going to click Browse, and we
are already on my desktop, so I will hit
| | 02:14 | Choose, and I am going to hit OK.
| | 02:18 | I am going to go ahead and hide
Premiere Pro, and there it is. There is my bulb
| | 02:23 | shot right on my desktop.
| | 02:25 | If I double-click it on a Macintosh,
it will open it up in a program called
| | 02:28 | Preview, and there I have my freeze-frame.
| | 02:32 | Now if I do a Get Info on this--and
this is kind of important to realize and
| | 02:36 | that's Command+I on the Macintosh--I
can see that my image is 1280x720.
| | 02:43 | So it matches the exact size of my video format.
| | 02:47 | So by default, when you grab an image
from video, it is actually pretty low
| | 02:52 | resolution. This is actually
less than 2 megapixels.
| | 02:56 | But this is the best we can do. You
can send it over to whoever needs it and
| | 03:00 | they can up res it as necessary.
| | 03:02 | Another thing I can do with this image
is if I want to use this in my show, I
| | 03:06 | can go ahead and re-import it.
| | 03:08 | Let's step back into Premiere Pro.
Click on the Media Browser. I am going to go
| | 03:14 | ahead and look at my desktop, and
there in my Media Browser is my bulb shot.
| | 03:20 | And I am going to simply right-click on
it, import. There it is, the bulb shot.
| | 03:26 | It's a still image, and I can
use that anywhere in my program.
| | 03:30 | So I can double-click and load it into
my Source Monitor and then load it into
| | 03:34 | my timeline, or just drag it
directly from the Project file.
| | 03:38 | As you can see, exporting an image is as
simple as clicking on the camera, naming it,
| | 03:43 | and re-importing it is just as easy.
| | Collapse this transcript |
| Working with still and animated graphics with transparency| 00:00 | A lot of times when creating a program,
you may be given graphics and animation.
| | 00:05 | And for the most part, a graphic is
just like any other clip unless it has
| | 00:10 | transparency information, and the
jargon you will hear is an Alpha Channel.
| | 00:15 | An Alpha Channel is just another
way of saying that part of the clip is
| | 00:19 | invisible or transparent.
| | 00:21 | Let's go ahead and we have
two clips in our Project Pane.
| | 00:25 | One is a still, and one is a movie.
| | 00:27 | And I am going to go ahead and launch
the still into our source monitor, and as
| | 00:31 | you can see, there's black elements right here.
| | 00:33 | It looks like it's over black.
| | 00:35 | But in reality this is over a transparent
channel, and if I open this up in a
| | 00:40 | program such as Photoshop, I would
actually see this is clear and not black.
| | 00:46 | Now, if you go to the flyer, to the
dropdown menu, you see there is an option
| | 00:50 | that says Alpha, and if I click
that, you notice this all goes white.
| | 00:53 | This is actually showing me what the cutout is.
| | 00:56 | Anything that's white is what we're
going to see, and anything that's black is
| | 01:01 | going to be transparent.
Let's see this in practice.
| | 01:03 | I am going to go ahead and switch to
Composite Mode, simply grab this and put
| | 01:07 | this onto the second layer, onto the
layer that's directly on top of this really
| | 01:12 | cool Time_lapse footage.
| | 01:14 | And as you see, when I go ahead and
hit Play, I have this great logo in the
| | 01:18 | foreground, and I have my
wonderful time-lapse in the background.
| | 01:23 | So this is pretty cool, and this
is a clip with an Alpha Channel.
| | 01:26 | Now, only some types of still images can
actually contain an Alpha Channel, and a
| | 01:31 | TIFF or a PNG are those types of files.
| | 01:34 | A regular JPEG, you would never
see any transparency information.
| | 01:38 | Let's go ahead and delete this and take
a look at a moving graphic, or sometimes
| | 01:43 | referred to as an animation
with an Alpha Channel.
| | 01:46 | I am going to select the TIFF in my
Timeline and Delete and scroll down, and here
| | 01:52 | we have our kinetECO Alpha movie,
and I'll double-click to load that in.
| | 01:57 | And just like before, it looks like
it's over black, but when I drag that and
| | 02:01 | drop that onto my Timeline, I can go
ahead and scrub through, and you see that
| | 02:07 | it is actually transparent in the background.
| | 02:10 | So as you can see, working with a
still image or an animation with an Alpha
| | 02:15 | Channel is just like working with any
other type of clip in Adobe Premiere Pro.
| | 02:19 | The thing to remember is whether you
create this animation or this still, or
| | 02:24 | whether you have a graphic artist do it,
is that when they save this file, they
| | 02:28 | have to save it in a format that can
hold an Alpha Channel, and they have to save
| | 02:33 | it with the Alpha Channel, otherwise
your background will be totally black.
| | Collapse this transcript |
| Working with layered Photoshop files| 00:00 | In this movie we're going to take a
look at working with Photoshop files,
| | 00:04 | because Adobe Premiere Pro talks
wonderfully with Adobe Photoshop.
| | 00:09 | So let's go ahead and start importing
a single Photoshop file, and you can see
| | 00:14 | there's lots of different ways to
import it depending on how you're
| | 00:17 | ultimately going to use it.
| | 00:18 | We are going to switch over to the
Media Browser, and I am going to make this
| | 00:22 | full screen by hitting the Tilde key
just so you can more easily see and more
| | 00:26 | easily find the Photoshop file.
| | 00:28 | Now, we learned in an earlier movie
that I can actually filter out exactly the
| | 00:33 | files I want to look at, so I am going
to simply click on this dropdown menu and
| | 00:37 | say only show me the
Photoshop files inside my Media folder.
| | 00:42 | And there is only one,
it's the Solar_Panels.psd.
| | 00:44 | As a matter of fact, keep in mind
anytime you see a file that's .psd, that's
| | 00:48 | a Photoshop document.
| | 00:50 | Now, when this Photoshop document
was created, it was built with lots and
| | 00:54 | lots of layers, and when the graphic artist
saved it, they saved the individual layers.
| | 01:00 | And if they flatten the document--
which means they didn't save the original
| | 01:04 | layers--the import would be
just like importing a photograph.
| | 01:07 | So keep in mind this works only when
the Photoshop document has been saved
| | 01:12 | with all of its layers.
| | 01:14 | So I go to the Media Browser,
I right-click, and I say Import,
| | 01:19 | I'll be greeted with a dialog box, and I
get to make some choices here on exactly
| | 01:22 | how I want to work with this file.
| | 01:24 | This dropdown menu gives me four
different ways I can bring this footage in.
| | 01:29 | I can bring it in Merge All Layers,
which means even if they didn't flatten
| | 01:34 | it I can bring it in as a single file,
as a single image, and I am going to go
| | 01:39 | ahead and hit OK--and as a matter of
fact, I am going to import this three or
| | 01:43 | four different ways, and you are going
to see the result when we switch back
| | 01:46 | into the Project panel.
| | 01:47 | So I am going to say
Merge All Layers and click OK.
| | 01:50 | Now, there is something I can't change here,
and that's okay. And that says Document Size.
| | 01:54 | It's going to automatically flatten
the image and make it the right size to
| | 01:59 | bring into my program.
| | 02:01 | So it will go ahead and scale it
up or scale it down as necessary. I'll say OK.
| | 02:07 | Now, the file has been imported and
we'll look at that in just a moment, but
| | 02:10 | let's go ahead and right-click
and import it a couple of more ways.
| | 02:13 | Another thing I can do is Merged Layers.
| | 02:17 | Now, here it looks almost the same,
but I have little check boxes, and I can
| | 02:21 | actually scroll down, and you can see
this image is made up of lots and lots
| | 02:25 | and lots of elements.
| | 02:27 | And maybe I don't want to bring all the
elements in. Maybe it's important for me
| | 02:31 | not to have high population, lots of
sunlight in my graphic, because I am going
| | 02:36 | to put my own title on it.
| | 02:38 | So I can go ahead and turn Elements off,
and I say I don't want to bring in that
| | 02:43 | High Population Overlay or
the Southwestern US Overlay.
| | 02:47 | Another really great little secret
is I can click on Select None, which
| | 02:53 | deselects everything, and just maybe
bring in the Map, because I only want to
| | 02:56 | grab the Map in my show.
| | 02:58 | So let's go ahead and just bring in the Map,
and I am going to go ahead and click OK.
| | 03:02 | Once again, I have a choice here, and
this time it's not grayed out as I can
| | 03:06 | bring it in document-sized, which
means it's going to be the size of my
| | 03:10 | sequence or the Original Size of this layer.
| | 03:14 | Let's go ahead and choose Layer
Size so you can see the difference.
| | 03:16 | And we'll--again--hit OK.
| | 03:18 | I'm going to import it one more
time, and this time I'm going to
| | 03:22 | choose Individual Layers.
| | 03:24 | Now, I can actually bring in all of
these bits and pieces, and this is
| | 03:28 | great because sometimes when a
graphic artist designs something, they put
| | 03:32 | it all in one giant Photoshop file,
and you need to be able to pick and
| | 03:36 | choose those elements.
| | 03:37 | So by bringing them in as Individual
Layers, I am actually going to have
| | 03:41 | individual graphic files
of each of these elements.
| | 03:44 | And we're going to go ahead and bring
that in too, and again, we have the choice
| | 03:47 | of scaling it up or keeping its
original size, so we'll do that.
| | 03:51 | And our final import is as a Sequence,
and what Adobe Premiere Pro will do now
| | 04:00 | is it will actually bring in anything
that I checked and place it already into a
| | 04:06 | sequence, creating a new sequence
within my project, so I can use this sequence
| | 04:11 | to actually animate my graphic.
And that's pretty cool.
| | 04:15 | So let's go ahead and make it a Sequence,
and I am going to make it the document size.
| | 04:21 | Now, let's step back into our Project Pane,
and there we go. We have a bunch of graphics here.
| | 04:26 | I am going to make this into a List
so you can see it a little easier.
| | 04:29 | So there is our original sequence.
There is the file that we brought in that
| | 04:33 | was just flat, and I am going to go
ahead and double-click this, and we are
| | 04:35 | going to shrink out of the zoomed-in mode from
the Tilde, so there is my map and only my map.
| | 04:42 | And I want to point out, if I scroll
over to the right--and I am going to open
| | 04:45 | this up a little bit so you can see this
detail is I kept it the Original Size,
| | 04:52 | which is a 1000 pixels by 580 pixels.
| | 04:55 | On the ones that I matched to
my Sequence, they are 1280x720.
| | 05:00 | And if I open up these two sections
here, I can see my Original Size of each
| | 05:06 | element within that Photoshop file.
| | 05:08 | So I didn't do any scaling on that
first one, but look what happened on the
| | 05:11 | second one. I did choose to scale it.
| | 05:14 | So I can open it up, and they're all
scaled on a background that's the exact
| | 05:19 | size of my sequence.
| | 05:20 | So that's pretty cool. I have a lot of
control when bringing in these Photoshop
| | 05:25 | files, depending on how I
am going to work with it.
| | 05:27 | Now remember, I brought in one as a
Sequence. That's the sequence right here.
| | 05:33 | So not only did it bring them in, but
if I double-click to load the sequence--
| | 05:37 | I am going to go ahead and stretch
this back a little bit so you can actually
| | 05:41 | see my sequence--if I scroll up, look. It brought
in every single layer that I had checked.
| | 05:47 | Let me hit the Backslash key so you
can really see what's going on as
| | 05:51 | an Individual element.
| | 05:53 | And this is great because if I go
ahead and work with this, I can actually
| | 05:57 | animate these different sections.
| | 05:59 | For instance, let's say I wanted to move
High Population to a different location
| | 06:04 | in my final video. And I believe
that was at the very top, there it is.
| | 06:08 | And we learned in an earlier movie if
I wanted to manipulate any element, I
| | 06:12 | am going to just go ahead and double-click
it, go to my Effects tab and turn on Motion.
| | 06:17 | And now with Motion turned on, and this
selected, I can go ahead and move that
| | 06:22 | around anywhere I want.
| | 06:24 | Now, of course, I probably should go
ahead and move that little bounding box,
| | 06:28 | but I wanted to show you how flexible
working with Adobe Photoshop files is
| | 06:32 | within Adobe Premiere Pro.
| | Collapse this transcript |
|
|
10. Modifying SpeedChanging speed and reversing a clip| 00:00 | In this chapter we are going to look at
changing the speed of video as well as
| | 00:04 | even reversing video.
| | 00:06 | So I have already placed two clips on
our Timeline for us to work with, and the
| | 00:10 | first one is simply a fan blowing, but
it's a great example to show you how you
| | 00:14 | can speed up or slow down the motion of a clip.
| | 00:18 | I'll go ahead and press the Spacebar
and play it at normal speed for a few
| | 00:22 | seconds just so you can see what it looks like.
| | 00:28 | And it's pretty standard, so if I
slowed it down a little bit, you wouldn't
| | 00:31 | notice it, but let's go ahead
and slow it down dramatically.
| | 00:36 | Now, one of the ways you can slow down
a clip is simply right-clicking on it in
| | 00:40 | the Timeline and selecting
the Speed and Duration option.
| | 00:44 | This brings up a dialog box which allows you
to choose what speed you want it to be.
| | 00:50 | So for instance, I can say I want this
to be 50% speed, which means I am going
| | 00:54 | to be slowing it down, or I could say
I want a 200% speed, which means I am
| | 00:58 | going to be speeding it up.
| | 00:59 | I am going to ahead and press in 50%,
and I want you to take a look at what
| | 01:04 | happens to the clip in the Timeline.
| | 01:06 | It actually slowed down the clip, but
it didn't push any of the other clips
| | 01:11 | out of the way or overwrite the content.
And this is a great feature because
| | 01:16 | a lot of times when you slow down a clip,
you don't want to mess up everything behind it.
| | 01:20 | It just took advantage of the empty
space or the gap that was available.
| | 01:24 | I am going to go ahead and hit the
Spacebar and play it back, and you can see
| | 01:26 | that this clip is now
playing at a much slower speed.
| | 01:35 | Now, I am going to go ahead and undo this
Command+Z, or Ctrl+Z on Windows, so you
| | 01:39 | can see what happens if I actually
sped up the clip by going to 200%.
| | 01:44 | This time, instead of actually
selecting the clip in the Timeline and
| | 01:48 | right-clicking, I am going to show that
you can go to the Clip dropdown menu, and
| | 01:52 | there is an option for Speed/Duration,
and there is also a keyboard shortcut.
| | 01:56 | On the Macintosh that's Command+R.
In Windows that would be Ctrl+R.
| | 02:02 | By selecting Speed/Duration here,
I get the exact same dialog box.
| | 02:05 | So once again, it's six of one, one
half dozen of the other, depending on where
| | 02:09 | your mouse is you can use either, or
the keyboard shortcut may even be faster.
| | 02:13 | So now instead of slowing it down to 50%,
I am going to go ahead and speed it up to 200%.
| | 02:21 | As you see, the clip seems to have
gotten half as long, and that's because,
| | 02:25 | well, we're going to go through this media
twice as fast, and this is how it would look.
| | 02:33 | So speeding up and slowing down is pretty easy.
| | 02:35 | I am going to go ahead and hit Command+R
this time to get back to the same
| | 02:39 | dialog box on this clip. And as you
see, there is my 200%, and I can modify
| | 02:45 | this if I wanted to.
| | 02:47 | But I just want to really point out a
couple of key things that you can do in
| | 02:51 | addition to just choosing a percentage.
| | 02:53 | If I wanted to I could actually type in
a Duration, and because the Duration is
| | 02:58 | locked to the Speed, it will
automatically calculate that.
| | 03:02 | So for instance, if I wanted this clip
to be exactly 10 seconds long, I really
| | 03:06 | didn't care whether it was 87.5% or 92%
Speed, and I could go ahead and use the
| | 03:13 | slider and just move that to
be exactly a 10-second clip.
| | 03:17 | And as you see, it's an arbitrary 144...
| | 03:21 | The other thing I can do is I
can try to Maintain Audio Pitch.
| | 03:25 | Now, in the clip we are working on--which
is a fan--it really isn't quite necessary.
| | 03:30 | As a matter of fact, I'd
probably delete the audio.
| | 03:32 | But you might be in a situation where
you wanted to slow something down, and
| | 03:36 | there are voices. And in that case, you
can click and it will try to Maintain the
| | 03:41 | Audio Pitch, because as you speed
something up it gets higher, or as you slow
| | 03:45 | something down it sounds lower.
| | 03:48 | If you are going to do dramatic speed
changes, this really won't work, but if
| | 03:51 | you are taking something from, say, 22
seconds long to 24 seconds long, you can
| | 03:56 | make sure that the voice
quality of the speaker is maintained.
| | 04:00 | The button here which says Ripple Edit,
Shifting Trailing Clips, this is really
| | 04:04 | useful, because remember, when I
slowed that clip down, as soon as it hit the
| | 04:08 | next clip it stopped.
| | 04:10 | If I wanted to actually push the clips
further down the Timeline, which is more
| | 04:14 | the exception than the rule, which is
why the default is checked off, I could go
| | 04:19 | ahead and click on this, and I am going
to go ahead and change this to 30% and
| | 04:24 | take a look what happens in my Timeline.
| | 04:28 | My clip got longer, and if I go ahead
and press the Backslash key, you see what
| | 04:33 | it did, it actually pushed everything
downstream and even maintained the gap.
| | 04:37 | So depending on what you need to
happen, selecting or not selecting that
| | 04:42 | ripple box is important.
| | 04:44 | Now that you have a good grasp on
speeding up and slowing down a clip, I want to
| | 04:48 | show you another great feature, which is
reversing a clip. And reversing a clip,
| | 04:53 | the first thing that comes to mind is
people going, oh yeah, we'll do something
| | 04:56 | silly, people would be walking
backwards or riding bikes backwards.
| | 04:59 | Actually that's not what it's all about.
It's sometimes fixing a problem in post.
| | 05:04 | We have this great example here where
the farmer is speaking about his avocados,
| | 05:08 | and when it was shot I have a
rack focus, but it's the wrong way.
| | 05:12 | Let me go ahead and play it
for you, and you can see why.
| | 05:15 | (video playing)
| | 05:20 | So we're going from the avocados to the
background, and really what would be more
| | 05:25 | dramatic is going from the fuzzy
background to the sharp avocados.
| | 05:30 | So this is a perfect example of why
I might want to reverse the clip.
| | 05:34 | The cameraman might have done a rack focus
one way but not the other, or perhaps
| | 05:37 | panned left instead of panning right.
| | 05:40 | Keep in mind if you're reversing a clip.
| | 05:42 | Make sure there's no people or cars
in it, because they'll be able to see
| | 05:46 | it's going backwards.
| | 05:48 | I am going to simply right-click on
this, scroll down, choose Speed/Duration
| | 05:53 | again, and just press Reverse Speed.
| | 05:55 | And I am not going to actually change the speed.
| | 05:57 | I am just going to play the clip backwards.
| | 05:59 | Press OK and take a look at
how much better this works.
| | 06:04 | (video playing)
| | 06:11 | Isn't that cool? Right when he
says avocados, they come into focus.
| | 06:14 | So as you see, it's really easy to change speed
and reverse speed in Adobe Premiere Pro.
| | Collapse this transcript |
| Changing speed at a variable rate| 00:00 | In this movie we are going to look at
changing speed using variable rates.
| | 00:05 | And there are some basic and some more
advanced techniques that we'll go over.
| | 00:09 | If you need to make a clip just a
certain length, and for instance, I want this
| | 00:13 | clip to be longer or shorter, and I
want to slow it down or speed it up,
| | 00:18 | precisely there is a really cool
tool called the Rate Stretch tool.
| | 00:22 | And it's this button right here. It
looks a little bit like an X, and the
| | 00:26 | keyboard shortcut for that
by the way is the letter X.
| | 00:29 | So if I switch to the Rate Stretch tool,
and I go ahead and put my cursor at the
| | 00:33 | very end of the clip on the edit point,
I am going to go ahead and drag it.
| | 00:37 | Now, we are used to seeing when we drag
a clip, we are actually just making it
| | 00:40 | longer and adding more media
to the end if it's available.
| | 00:43 | This is doing something very different.
| | 00:45 | As soon as I let go, I want you to
take a look right here, you can see I've
| | 00:49 | slowed the clip down to 37%, because I've
stretched out that one clip so that plays slower.
| | 00:56 | Let's go ahead and play this back.
It's a couple of bicycle riders going by.
| | 00:59 | They are pretty eco because
they are not using gas.
| | 01:02 | So let's go ahead and play that back.
| | 01:05 | And this is something that's really
cool when you slow it down, people walking,
| | 01:09 | people on bikes, slowing down kind of
makes the moment a lot more magical.
| | 01:14 | I am going to go ahead and pause this,
and I am going to pull this Rate Stretch
| | 01:17 | tool the other way just so you can see
how it can be used to speed something up.
| | 01:21 | Now, I probably wouldn't do it on these
bicyclists, but I am going to go ahead,
| | 01:25 | pull it all the way to the left, and
zoom out and press the Backslash key so it
| | 01:31 | fills the whole frame. And you can
see that it has now been sped up to over
| | 01:35 | twice as fast as it's original speed.
| | 01:37 | I am going to go ahead and press the
Spacebar so you can see what it looks like
| | 01:41 | with these bicyclists sped up.
| | 01:46 | As long as I don't push it too much.
that actually didn't look very unrealistic.
| | 01:49 | It actually looked like they could have
been driving by at a pretty good clip.
| | 01:53 | Now, speaking of clips, I want to do a
variable speed change on this clip, which
| | 01:58 | means I want the bicyclists to go at a
specific speed initially and then maybe
| | 02:03 | slow down as they come closer to the
camera and then go back to the original
| | 02:07 | speed or maybe even go off camera even faster.
| | 02:10 | So what I want to do is I want to go
back to the original speed, and I am going
| | 02:13 | to simply select the clip.
| | 02:15 | Now, I need to make sure I switch
from my Rate tool to my Selection tool,
| | 02:18 | and the Selection tool once again is
the keyboard shortcut of V, and now I
| | 02:23 | can select the clip and right-click on it,
and I can simply go Speed/Duration and type in 100.
| | 02:30 | So now we are back at the
original speed that it was shot at.
| | 02:33 | I am going to hit the Backslash key so
you can see the entire clip, and now we
| | 02:37 | are going to go ahead and vary the
speed of the clip as the bicyclists ride by.
| | 02:42 | Now, I can do this directly on the
Timeline, and that's pretty cool, but I am
| | 02:45 | going to show you that you can actually do it
in the Timeline and in the Effects Control panel.
| | 02:51 | So let's go ahead, let's double-click
to load the clip back into the source
| | 02:54 | monitor, click on the Effects Control
panel, and I am going to reveal the Time
| | 02:59 | Remapping twirl down, where we have
Speed here, and just so you can see what's
| | 03:03 | happening I am going to click one more
time so you can see all the information.
| | 03:07 | So you can do this up here, but I find
it's much more efficient to do it down
| | 03:12 | in the Timeline, especially if I am trying to time
it to a narration, to music, or to other clips.
| | 03:18 | So once I am in the Timeline I have
an option to view my clips and Show
| | 03:24 | Keyframes or Opacity Handles, or you
might have actually hit everything if you
| | 03:29 | watched some of the earlier movies and
I pointed out that it's always good to
| | 03:33 | hide your keyframes when editing so
you don't accidentally change them.
| | 03:37 | So what I want you to make sure is
that you have Show Keyframes selected and
| | 03:41 | then over here on the right-hand side
I have another dropdown menu, and I can
| | 03:45 | Show the Keyframes for my Opacity, but
I can also Show it for Motion, and in
| | 03:50 | this case we want to do it for Time Remapping.
| | 03:53 | And, of course, we are going to select
Speed, because that is the one choice we have.
| | 03:57 | Now, the yellow line moves a little bit,
but this yellow line now represents the
| | 04:01 | speed that the bicyclists are riding.
| | 04:04 | So that you can see things better, I
am going to readjust the Height of my
| | 04:07 | tracks in my Sequence.
| | 04:09 | I am going to scroll down and get rid
of the audio. We don't really care about
| | 04:13 | the audio, and I am going to go ahead
and grab the very top of the area between
| | 04:17 | the Video 1 and Video 2 track and drag up.
| | 04:21 | This way I can make the clip nice and
tall, and it's very easy for me to actually
| | 04:25 | keyframe within the body of the clip.
| | 04:28 | So the first thing we want to do is we
want to determine where we want the clip
| | 04:32 | to perhaps slow down and where
we want it to speed up again.
| | 04:36 | To do that, you are going to place
a keyframe directly on that spot.
| | 04:39 | Now, a keyframe you can think of as
just a specific mark where you want
| | 04:44 | something to change over time.
| | 04:46 | In this case I want the speed
to change at that specific point.
| | 04:49 | Now, to put a keyframe on a clip, you
could switch to the Pen tool, but there is
| | 04:54 | a great keyboard shortcut and that's
simply holding down the Command key on a
| | 04:57 | Mac and the Ctrl key in Windows and just
clicking where you want the keyframe to be.
| | 05:03 | I want them to slow down right about
there, right as they come into the sun.
| | 05:08 | Hold down the Command key,
and I am just going to click.
| | 05:11 | You'll notice up here are two
little yellow triangles that are kind of
| | 05:14 | touching each other.
| | 05:16 | Now, this is my keyframe, and if I don't do
anything else absolutely nothing will happen.
| | 05:19 | But what I really want is it to slow
down, so I grab this bar and take a look
| | 05:25 | at my Timeline as well in the Effects Control
panel, because it's reflected in both places.
| | 05:30 | I pull this down, and I am getting a readout,
which is this number, and I want it to go down to 50%.
| | 05:36 | So I've just slowed this clip
down to 50% right at this point.
| | 05:40 | And just like we learned in the earlier
movie, the clip could get longer to take
| | 05:44 | advantage of that space.
| | 05:46 | So let's go ahead and hit the Backslash
key so we see the entire clip, and I am
| | 05:49 | going to play around that keyframe.
| | 05:54 | And there you go, they slow down.
| | 05:55 | Now, maybe I slowed them down a little
too early, so if that's not the point
| | 06:02 | where you want the clip to go, I can go
ahead and grab that keyframe, but before
| | 06:05 | I grab it I have to hold down a Modifier key--
| | 06:08 | it's the Option key on a Macintosh and
the Alt key in Windows--and now I can
| | 06:12 | grab that, and I can reposition where
I want that moment to occur of them
| | 06:18 | slowing down, and maybe it should be right here,
when that second bicyclist comes into frame.
| | 06:23 | So I've literally moved the keyframe
or the moment in time when things slow
| | 06:26 | down, and let's take a look at that
and see if I like it a little better.
| | 06:32 | I do like that. I am going to go
ahead and slow it down a little bit more.
| | 06:35 | But there is one thing I don't like
about that--actually, I think slowing it down
| | 06:39 | to 1% is a little bit crazy, 30% is
good--is it slows down abruptly.
| | 06:47 | It literally goes from 100% Speed
to 30% Speed in one frame.
| | 06:52 | And that's okay, but that's not variable, and
sometimes depending on the shot, it's too jarring.
| | 06:58 | If I go ahead and grab either side of
this little triangle and drag away from
| | 07:04 | the center, you'll notice that I get a
little bit of a curve, and now I get a
| | 07:09 | speed ramp. Instead of it going
dramatically from 100% to this 30%, it's
| | 07:14 | actually going to slow down progressively.
Let's go ahead and watch that.
| | 07:21 | And you really have detailed control,
because if I click on either half of
| | 07:24 | the keyframe, I see a little blue
Bezier Handle, and this allows me to control
| | 07:31 | the curve, how aggressively or how subtly
it transitions from one speed to the other.
| | 07:37 | And if I want them to come back to
normal speed again, I just pick the part
| | 07:40 | of the frame where I want normal speed
to happen, once again, hold down the Modifier key--
| | 07:45 | the Command key on a Mac, the Ctrl key
on Windows--create a new keyframe, and
| | 07:51 | then I can go ahead and bring this
back up to normal speed, or maybe in this
| | 07:55 | case I really want them to exit frame
very quickly, so I am going to go ahead
| | 07:58 | and bring it up to over 200%.
| | 08:01 | Little bit of gradual adjustment there.
| | 08:03 | Let me go ahead and move the playhead
out of the way, and to give us a little
| | 08:07 | bit more fine control, I am going to
press the Plus key to zoom in, and now I
| | 08:12 | can grab the edge, stretch it out to
the right, and now I am going to go ahead
| | 08:18 | and press the Backslash key so we can
see the entire clip, hit the Spacebar.
| | 08:24 | There they go, they speed off screen,
and again, I have that little Bezier
| | 08:28 | Handle to control it.
| | 08:30 | So creating variable speed is really
easy, and I do recommend doing it in the
| | 08:34 | Timeline, but what about if you want
to reset everything back to square one?
| | 08:39 | Well, that's really easy to do also.
Simply go up to your source window and go
| | 08:44 | right here on this stopwatch,
which is selected, and click on it.
| | 08:48 | You'll get a warning box that says
this action will delete existing keyframes,
| | 08:51 | which is exactly what we
want to do, and simply press OK.
| | 08:56 | Don't panic if you do this by accident.
You can always press undo and get your
| | 09:00 | keyframes back, but this is a great way
of starting over again if you've really
| | 09:06 | created crazy keyframes and want to start fresh.
| | Collapse this transcript |
| Creating and using freeze frames| 00:00 | In this movie we are going to look at
creating a Hold Frame or a Freeze Frame.
| | 00:03 | Now there's actually three ways to do it,
and we are going to cover all three.
| | 00:07 | As a matter of fact, we covered the first
one already in a previous chapter--in the
| | 00:12 | picture and graphics chapter--and
that's simply parking your Playhead on any
| | 00:16 | image you want to create a freeze of
and exporting out an image and bringing it
| | 00:20 | back into your Timeline.
| | 00:22 | You can go back and check out that movie,
if that's the route that you want to go.
| | 00:26 | I'm going to show you two other ways
in this movie of creating a Hold or a Freeze.
| | 00:31 | Now to create a Hold Frame, you can
simply select a clip, right-click on it, and
| | 00:37 | one of your options is to do a frame hold.
| | 00:40 | Now let me select that
and explain what can happen.
| | 00:43 | It's going to hold on a specific frame,
whether it's the In Point or the Out
| | 00:49 | Point or maybe a Marker you've set up,
but you have to keep in mind that it's
| | 00:54 | not going to freeze where I have my
Playhead parked right now because that's
| | 00:58 | not the in and that's not the out.
| | 01:00 | So I'm going to go ahead and I'm going
hit Cancel, modify this clip, because I
| | 01:05 | want it to freeze right when these
bicyclists get just under the sun and that
| | 01:09 | first one clears frame.
This is a really pretty shot.
| | 01:13 | So what I'm going to do is use one
of the tools which you should know well
| | 01:15 | by now, which is the Trim tool, and
simply drag the edge of the clip so that
| | 01:18 | is my new out point.
| | 01:20 | I'm going to step back one frame, I'm
going to use the Left Arrow key on my
| | 01:24 | keyboard so I can see the image that
I'm going to be cutting to, and now I need
| | 01:30 | to do one more thing, if I did a Hold
Frame at this point, what Premiere Pro
| | 01:35 | will do, it will actually replace
this clip with a still of this one image.
| | 01:40 | Now I may want to do that, but what
I really want to do is I want the
| | 01:43 | bicyclists to come into frame and to
freeze, because maybe I want of a title or
| | 01:48 | talk about what's happening.
| | 01:49 | So here's the trick, I want to
duplicate this clip exactly the way it is, and I
| | 01:55 | can do that simply by holding down a
Modifier key--the Option key on a Macintosh
| | 02:00 | or the Alt key on a Windows machine--
and simply drag to the right and let go.
| | 02:06 | I've made a perfect copy of the first
clip next to itself except for the fact
| | 02:12 | that it still is moving.
| | 02:14 | Now let's go ahead, right-click,
choose Frame Hold and switch from the In
| | 02:19 | Point to the Out Point.
| | 02:21 | So now it's going to create a Hold
Frame based on the very last frame of this
| | 02:25 | clip, which, of course, matches the previous clip.
| | 02:29 | Click OK, at first blush it looks
like nothing has happened, but this
| | 02:33 | is actually a freeze.
| | 02:35 | Let's go ahead and play it back.
| | 02:39 | There you go, the image just locks down.
| | 02:42 | Now I want to give you one word of
warning, because this is a real gotcha.
| | 02:46 | If I'm thinking, oh I need that hold to
be longer or shorter, and I go ahead and
| | 02:51 | I grab the very end of the clip and
stretch it to the right or stretch it to the
| | 02:55 | left, the Hold Frame is actually going
to change. As you see here, my Hold
| | 03:01 | Frame, the bicyclists have left the shot.
| | 03:04 | If I play this it does
exactly what I don't want it to do.
| | 03:09 | So you have to be careful about that.
| | 03:11 | You can't adjust this second clip
after you've made it, and that goes back to
| | 03:16 | the first way of creating the freeze
frame by exporting an image and bringing it
| | 03:20 | back in--gives me different control
in creating a freeze frame this way.
| | 03:24 | Let me show you one more way that you
can create a freeze and then you can pick
| | 03:30 | any of the three that's going to
work best in your editing situation.
| | 03:34 | I'm going to go ahead and grab this
cycling shot and bring it back into our
| | 03:38 | Timeline, and in this case, I
again want to freeze it right there.
| | 03:43 | Now we learned in the last chapter
that I can create a variable speed directly
| | 03:47 | in the Timeline, and we're going to
leverage that to create a Freeze Frame.
| | 03:51 | Go ahead and make sure that you have
Show Keyframes selected and under this
| | 03:56 | dropdown menu, make sure that it's
Time Remapping and Speed selected for our
| | 04:02 | little keyframe line.
| | 04:03 | Now holding down the Command key on a
Mac or the Ctrl key on Windows, I can go
| | 04:08 | ahead and create a variable speed
keyframe and then to the right to simply grab
| | 04:15 | that line and bring it all the way down
to 0. It doesn't quite go to 0, does it?
| | 04:22 | It actually only goes down to 1%, but
that should do the trick, and now when I
| | 04:28 | go ahead and press Play, the
bicyclists freeze on the exact frame I want.
| | 04:37 | I'm going to go ahead and hit the
Backslash key, because what I want to do is
| | 04:41 | have them speed up to their original
rate of speed, so I'm going to go ahead and
| | 04:45 | hold down the Command key, put a new
keyframe in and drag this line back from 1%
| | 04:52 | all the way up to 100.
| | 04:56 | Now let's go ahead and play that clip.
| | 04:57 | (video playing)
| | 05:05 | There is my freeze. So as you see, three
different ways to create a Freeze or a
| | 05:11 | Hold Frame, and I really recommend just
trying each one and getting comfortable
| | 05:15 | with them, because each one has a time
and a place when it's best to use, and as
| | 05:21 | long as you know how they work,
you'll make the best choice in each case.
| | Collapse this transcript |
|
|
11. TransitionsUsing transitions| 00:00 | In this chapter we are going to look at
putting transitions into your final program.
| | 00:04 | Now believe it or not, you've actually
been putting transitions in, because a
| | 00:08 | cut is a transition, and it's the transition
that you probably should use most of the time.
| | 00:13 | But if you need to smooth out and edit
or actually call attention to a cut, a
| | 00:18 | lot of times you are going to put a
transition on such as a dissolve or a wipe
| | 00:22 | and then there is a whole slew of even
fancier transitions you can drop on your show.
| | 00:27 | Now rule of thumb, keep it simple. Cuts and
dissolves work best, and maybe an occasional wipe.
| | 00:34 | Let's go ahead and see how we can put
transitions on clips that are video only,
| | 00:39 | and then we'll look at putting
transitions on an audio file and then on an
| | 00:43 | interview that has both
video and audio connected.
| | 00:47 | If you take a look at our Timeline we
start off with four clips, three of them
| | 00:51 | are video clips and one is actually a
still image, and I am going to zoom in so
| | 00:54 | you can see that a little better, I am
going to press the Plus key just so we
| | 00:58 | can focus on those four cuts.
| | 01:00 | Now to put a transition on a clip you
can go into the Effects tab, and in the
| | 01:05 | Effects tab there is a variety of
tabs here that you can open and close, and
| | 01:09 | yours may have some open and close
depending on if you've actually played
| | 01:13 | around with this. If they are open, go
ahead and close them all. If there's any
| | 01:18 | words typed here, go ahead and hit the
Reset key, and that way we are all in
| | 01:21 | the same playing field.
| | 01:23 | So the first transition we are going to
work with, and the transition you should
| | 01:26 | work with the most is the Dissolve.
| | 01:29 | Now this can be found in the Video
Transitions folder, and you could dig down and
| | 01:34 | then find Video Transitions and then
dig down and say Dissolve. That's there.
| | 01:38 | Which dissolve do I pick?
There is the Cross Dissolve.
| | 01:41 | Well, if you want to find any
transition very quickly, I am going to go ahead
| | 01:44 | and close all of these disclosure triangles
and just start typing in the word dissolve.
| | 01:49 | And as you can see, as I type in each
letter it refines my search field, and I can
| | 01:56 | just jump right down to all the
different dissolves, and the dissolve that you're
| | 02:00 | going to primarily use is a Cross Dissolve.
| | 02:04 | Now you may see three different icons
here, and these indicate whether it's a
| | 02:10 | real-time effect accelerated with your
graphics card or whether it's 32 or 64 bit.
| | 02:15 | The truth is I wouldn't worry
too much about this. Just put the effects
| | 02:19 | on that you want and see if it plays back,
and if it doesn't, you may have to render.
| | 02:24 | And you can refer back to the
rendering movie in an earlier chapter.
| | 02:28 | So let's go ahead and put a Cross Dissolve
between the microwave clip and the Copier clip.
| | 02:34 | Before we do that, I want you to see
what the cut looks like, and it works okay.
| | 02:40 | It's a little abrupt
because we go from light to dark.
| | 02:43 | So I am going to just grab the Cross Dissolve
and drop it directly on the edit point.
| | 02:48 | Premiere Pro automatically places the
dissolve in. This is a real-time effect,
| | 02:52 | and I can see how it looks.
| | 02:57 | It's much smoother and a much more
gradual transition, and it doesn't call
| | 03:01 | attention to itself when the
viewer is watching your show.
| | 03:04 | Now by default, all transitions
are 1 second in duration.
| | 03:08 | We are going to look at changing the duration
of your transitions in the next movie.
| | 03:13 | Right now I want you just to get
comfortable with putting transitions on edit
| | 03:17 | points and removing them.
| | 03:19 | Another way you can put a transition
on a clip is just to right-click on the
| | 03:23 | edit point, and as you see, it
says Apply Default Transitions.
| | 03:28 | In this case the Cross Dissolve is
your default transition out of the box.
| | 03:33 | I'll also show you how to
modify that in the next movie.
| | 03:36 | Now it's important to keep in mind that
whenever you put a transition on a clip
| | 03:41 | you need to make sure that you have
enough handles or media after your Out Point
| | 03:47 | of the first clip and before the In
Point of your following clip to make sure
| | 03:51 | you have some media to
dissolve from and to dissolve to.
| | 03:55 | And for our final video transition,
I'm going to go ahead and use a keyboard
| | 04:00 | shortcut to put a transition between
the windmill footage and a still image,
| | 04:05 | just to show you that still images
use transitions exactly the same way.
| | 04:09 | Now the keyboard shortcuts for this is Command+D
on a Macintosh and Ctrl+D on a Windows machine.
| | 04:17 | Now it's important that if you are
going to use the keyboard shortcut that your
| | 04:21 | Playhead is parked between the two clips.
| | 04:24 | My Playhead right now is parked between
the two clips, so when I hit Command+D,
| | 04:28 | it automatically places the default
video transition where I want it to go.
| | 04:32 | I am going to hit undo and show you what
happens if it's parked in the middle of the clip.
| | 04:37 | I am going to press Command+D,
and as you see, nothing happened.
| | 04:42 | So if you're hitting a keyboard
shortcut to put a transition on a clip, make
| | 04:46 | sure the Playhead is positioned on an
edit point, and you can very quickly jump
| | 04:52 | to an edit point as we learned in
earlier movies by using the Up and Down Arrow
| | 04:57 | keys to move forward or
backwards in your Timeline.
| | 05:01 | Now by pressing Command+D my transition appears.
| | 05:05 | Let's move forward and take
a look at audio transitions.
| | 05:08 | I'm going to go ahead and press the H key
to switch to the Hand tool, and I can just
| | 05:13 | slide down and find the exact
point where I want to show you my edit.
| | 05:18 | I have a cut in the music
because I needed to tighten it up.
| | 05:21 | I am going to zoom back just a little
bit. I am going to hit the Minus key a
| | 05:24 | couple of times just so you have a
little perspective there, and there we go,
| | 05:27 | I needed to shorten the music. I am going to
switch back to my Selection tool and play this cut.
| | 05:33 | (music playing)
| | 05:38 | It's not too bad. The audience may not
notice, because I cut right on the beat,
| | 05:43 | but I'd like to smooth that out a
little bit, and I put an audio transition on
| | 05:47 | the same way I put on a video transition.
| | 05:51 | Now if you're looking for them in
the Effects folder, you will notice them
| | 05:54 | under Audio Transitions.
| | 05:55 | Let me go ahead and click and open this folder,
and you'll notice nothing is there.
| | 06:02 | And I did this intentionally because
this is a huge gotcha that frustrates
| | 06:06 | people when they're learning
to work in the Effects tab.
| | 06:09 | The reason I see nothing is because I
had typed in diss earlier looking for my dissolve.
| | 06:15 | As soon as I erase that by clicking
the X right here, I can see all of the
| | 06:21 | transitions inside my audio folder.
| | 06:23 | So if for some reason, transitions or
effects--which we'll learn later--
| | 06:28 | aren't appearing, make sure
nothing is typed into this space.
| | 06:32 | So the default transition is a constant
power transition, and this is most likely
| | 06:37 | what you'll want to use when
transitioning from one audio source to another.
| | 06:41 | Now I can once again simply grab and
drag and drop it on the cut of music, or
| | 06:46 | just like with video, I
could've used a keyboard shortcut.
| | 06:50 | The keyboard shortcut for an audio
transition is Shift+Command+D, and that will
| | 06:56 | put the default audio
transition on your edit points.
| | 07:00 | Let's take a listen and hear how that sounds.
| | 07:02 | (music playing)
| | 07:07 | Even though the other one worked as a
cut, it's a lot nicer and a lot smoother
| | 07:12 | with a little bit of a dissolve.
| | 07:14 | Finally, let's take a look at putting a transition
on a clip that has both video and audio.
| | 07:19 | I am going to over here, and I'll move
my Playhead, and let's zoom in by hitting
| | 07:24 | the Plus key so we can
focus just on these two clips.
| | 07:28 | If I right-click and say Apply Default
Transitions, please note that there is
| | 07:33 | an S on Transitions, it actually puts
the dissolving on both the video and the audio.
| | 07:39 | I am going to go ahead and play this.
| | 07:41 | (video playing)
| | 07:43 | Well, I really don't want to have a
video transition because a cut works well.
| | 07:48 | Actually, it calls attention to itself
by dissolving from the wide shot to the
| | 07:52 | close-up, but the audio is much smoother.
| | 07:55 | Let's go ahead and delete this
transition, and to delete a transition you can
| | 07:59 | simply click on it to
select it and press Delete.
| | 08:03 | Now if you noticed, I was able to delete
the video without deleting the audio, and
| | 08:08 | I am exactly where I want to be.
(video playing)
| | 08:10 | So I have smoothed out the
audio and the video is a nice cut.
| | 08:16 | But that was just one step to many in my mind.
| | 08:20 | So I am going to go ahead and remove
this transition and show you how you can
| | 08:24 | place just a video or just an
audio transition on your clip.
| | 08:28 | Of course, I could go back to the
Effects Browser and just drag in the audio
| | 08:33 | transition or just drag in the video
transition, but that actually takes a
| | 08:37 | little bit longer, and I have to dig for it.
| | 08:39 | I want to be able to do it quickly.
| | 08:42 | So this is a case where you can either
use the keyboard shortcut, and I am going
| | 08:46 | to go ahead and park my Playhead over
the clip--and remember, you can either
| | 08:50 | snap to it if you hold down the Shift
key, or I could use the Up and Down Arrow.
| | 08:55 | And now by using the keyboard shortcut
of Command+D on a Macintosh or Ctrl+D on
| | 09:01 | a Windows machine I can put
just a video transition in.
| | 09:04 | I am going to hit Undo--Command+Z to
remove that--and if I want an Audio Only
| | 09:09 | Transition, that's Shift+Command+D and
it just puts the audio transition on my clip.
| | 09:16 | So as you can see, it's very easy with
the right keyboard shortcut to put the
| | 09:20 | exact transition you want where you want it.
| | 09:23 | In the next movie we're going take a
look at modifying these transitions if you
| | 09:28 | want them longer or shorter or you
need them to be a little bit different,
| | 09:33 | perhaps a wipe instead of a dissolve.
| | Collapse this transcript |
| Understanding the nuances of transitions| 00:00 | Now in the last movie we learned how
easy it is to put a transition on an edit
| | 00:04 | point between two clips, but in real
life you're going to hit a few bumps in the
| | 00:08 | road, and I want to help you get your
head wrapped around the idea of transitions
| | 00:12 | and something called handles or extra media.
| | 00:15 | So let's go ahead and take a look at my
Timeline. I actually have what appears
| | 00:19 | to be the same set of clips
three times in my Timeline.
| | 00:23 | But there is a nuance of difference,
and that nuance could really surprise you
| | 00:28 | when you try to put a transition on
these clips, so let's jump over to the
| | 00:32 | Effects tab to grab our transitions,
and we're going to look at the video
| | 00:36 | transitions and the traditional
dissolve. And we learned that was in the
| | 00:40 | Dissolve folder, and I'm
going to manually dig down now.
| | 00:42 | So there it is, our Cross Dissolve. And
I'm going to go ahead and I'm going to drop
| | 00:45 | it on this first set of clips,
and it's going to work perfectly.
| | 00:51 | And that's because on these two clips
there is plenty of handles or extra media
| | 00:56 | at the end of the first clip, in the
beginning of the following clip, so that
| | 01:00 | there is mediate transition
from and mediate transition to.
| | 01:04 | Let's go ahead and zoom in a
little closer on our Timeline.
| | 01:08 | We can see our transition has worked
perfectly. I'm going to go ahead and remove
| | 01:12 | this by selecting it and hit Delete,
and then I'm going to load each of these
| | 01:15 | two clips individually
back into the Source Monitor.
| | 01:19 | I'll do this by double-clicking on them,
and I can see that's my in point and
| | 01:24 | that's my out point.
| | 01:25 | Now after the out point I've shot a
lot of extra footage, and that's what the
| | 01:30 | transition is using to create the
dissolve. I'm actually seeing about a
| | 01:34 | half a second of additional
footage as it dissolves out.
| | 01:37 | The same is true for the incoming clip.
| | 01:39 | Let's double-click to load the solar
panels into our Source Monitor. And as you
| | 01:44 | see, there's plenty of media at the head,
and it's just using some of this media
| | 01:49 | to dissolve in, that's a perfect world.
| | 01:52 | Let me show you what happens when
it's not a perfect world, and in the next
| | 01:56 | movie I'm actually going to
show you how to fix that problem.
| | 01:59 | So we have these two clips, and before
I move ahead I want you to take a quick
| | 02:03 | look at the very top
corners right here and right here.
| | 02:08 | Let's go ahead and zoom out
by hitting the Backslash key.
| | 02:12 | I'm going to place my cursor directly
over the next edit point and hit the
| | 02:15 | Plus key to zoom in.
| | 02:17 | Now remember, I pointed out, take a look
at where these two clips touch. You'll
| | 02:21 | notice there is a little triangle in
the upper right-hand corner of the first
| | 02:24 | clip, and the upper left-hand
corner of the second clip.
| | 02:27 | They are actually touching, so it
looks like a single triangle. That's an
| | 02:31 | indication that there is no
extra media on these clips.
| | 02:35 | So if you bring a clip and use the
entire piece of media, when I double-click to
| | 02:39 | load this into the Source panel--and
I'm going to zoom out so you can see I
| | 02:43 | marked an In Point here--but I
used every possible frame of footage.
| | 02:47 | The same thing is true of the Solarpanels.
| | 02:49 | When I load that into the Source
Monitor, I can see that I use every single
| | 02:54 | frame at the beginning, so in this
case there is no media. There is no extra
| | 02:59 | handles. What's going to happen
when I put that Cross Dissolve on?
| | 03:03 | Well, it gives me a warning,
Insufficient media. The transition will
| | 03:07 | contain repeated frames.
| | 03:09 | I'm going to say OK, but
what does that really mean?
| | 03:12 | What it means is that Premiere Pro is
going to actually create a freeze frame to
| | 03:17 | fill in the extra media you need to
get that full 1-second transition.
| | 03:22 | I got the warning box, but visually I
also see crosshatching in my dissolve, and
| | 03:28 | that indicates that it's used a freeze frame.
| | 03:31 | Let's go ahead and play it
so you can see how it looks.
| | 03:37 | Now in the case of the Solarpanels, you
really couldn't tell that it froze, but
| | 03:41 | this was a little distracting that at
the last moment he seemed to freeze.
| | 03:46 | So I don't like that. As a matter of
fact, if I double-click on any transition, I
| | 03:52 | can load it into the Source Monitor,
and I can see right here I've run out of
| | 03:57 | media, and it actually had to
create these freeze frames.
| | 04:01 | Let's just go ahead and step back,
using the Up Arrow key, to the previous set
| | 04:06 | where it had plenty of space.
| | 04:08 | Let me just quickly put the transition
in with a right-click, and when I load
| | 04:11 | this into the viewer you see no crosshatch.
| | 04:14 | Not only do I see where the transition
is, but I see that there is extra media
| | 04:19 | after the transition, and that's why I
know that that transition is going to do
| | 04:23 | exactly what I expect it to do.
| | 04:25 | I am going to hit the Backslash key and
show you one more quick example just so
| | 04:29 | you can see how it looks.
| | 04:30 | In this case what I've done is I've
brought the two clips in, but for the
| | 04:34 | SolarInstall, I'm going to double-click
and load this into our Source Monitor--
| | 04:40 | no extra media at the end.
| | 04:42 | But the Solarpanels has plenty of extra media.
Double-click to load that in. Plenty at the head.
| | 04:47 | Visually you can see if you look
closely, there is a triangle on the upper
| | 04:52 | right-hand corner. Just make note of
that, it's a great visual indication that
| | 04:55 | you've used all the media
at the end of that clip.
| | 04:57 | In this case, when I apply the
transition, Premiere Pro is smart enough to know
| | 05:03 | I didn't have enough media on my first
clip for it to full dissolve. So what did
| | 05:09 | it do? It took all the 30 frames for
that 1-second dissolve and moved it to
| | 05:15 | the left, and I'm going to load this
back into the Source Monitor because I want
| | 05:19 | you to see something. I ran out of media
here, plenty of media here, it put on a
| | 05:24 | transition that has a different
alignment, it ended it on the cut, it tried to
| | 05:29 | fix my problem, it adjusted my transition,
and solved the problem before it even
| | 05:35 | happened, which would have
been those freeze frames.
| | 05:39 | If I force it to center on the cut, and
this is the default, what you can see is
| | 05:46 | that it uses the live media here and
then creates 15 frames of a still image in
| | 05:53 | the second part of the transition.
| | 05:54 | Let's take a look at how that appears.
| | 05:58 | And you notice that was a little
bit distracting where we froze on him.
| | 06:02 | So what I want you to be aware of is
that Premiere Pro is intelligent enough to
| | 06:06 | help you edit faster, but be aware
that it may do something that you're not
| | 06:11 | really going to be happy with
the end results on some clips.
| | 06:15 | In the next movie we'll look at
adjusting these transitions so you can work
| | 06:20 | around the idea of a Freeze Frame.
| | Collapse this transcript |
| Modifying transitions| 00:00 | Now that we understand how to put
transitions on a clip and some of the nuances
| | 00:04 | or challenges we have with extra media
or handles on the edge of a clip, let's
| | 00:08 | take a look at how we can modify our
transitions to be the exact length or maybe
| | 00:14 | even to be different than a dissolve.
| | 00:17 | Let's go ahead and zoom in to our
first transition, the one that worked
| | 00:20 | perfectly in our last movie, and we
are going to load this clip into the
| | 00:26 | source monitor, and I'm going to do that by
double-clicking on the clip on one of the edges.
| | 00:30 | I don't want to double-click right on
the edit point. That actually would open
| | 00:33 | up a different panel, so make sure that you
click either before or after the cut point.
| | 00:39 | Now, what this has done, it's opened up in
the Effects Control panel my Dissolve.
| | 00:45 | And I did this because I want you to
see that you can control your transitions
| | 00:49 | either in the Timeline or
in the Effects Control panel.
| | 00:53 | For instance, if I wanted this Cross
Dissolve to be longer, I can simply move my
| | 00:59 | cursor to the very beginning of it or
to the very end of it, click and drag.
| | 01:05 | Now if you notice, as I'm dragging it's
actually adding to the duration of the
| | 01:10 | transition. When I let go, it updates
not only in my timeline, but you'll see
| | 01:15 | that it also updated in the Effects panel.
| | 01:19 | Now I could give the same thing in the
Effects panel, and this time I'm going to
| | 01:22 | do it one right side of the transition,
and I'll just pull that over to right a
| | 01:25 | little bit, and it updates in my timeline.
| | 01:28 | So it's very easy to adjust the
duration of a clip by dragging its edge.
| | 01:35 | I can also simply adjust its duration
by typing in a number. So for instance--
| | 01:39 | let's step into the Effects Control panel,
select the time, and I want this to be
| | 01:44 | half a second long.
| | 01:46 | Now depending on whether your footage
is 30 frames a second or 24 frames a
| | 01:51 | second, a half second is going to be
either 15 frames or 12 frames, so it's
| | 01:56 | important for you to know
the frame rate of your clips.
| | 02:00 | I know this is 30 frames a second, so
I simply type in 15 and hit the Enter
| | 02:05 | key, and as you see my transition is
now 15 frames, it's exactly half a second
| | 02:11 | long, and I'm good to go.
| | 02:14 | So, making a transition longer or shorter
is very easy and is actually pretty intuitive.
| | 02:20 | I can also reposition the location of
the transition if it doesn't quite happen
| | 02:24 | where I want it to be.
| | 02:26 | There are times when the duration of
the transition may be just right, but
| | 02:31 | something happens at the very beginning
or the very end, such as a camera flash
| | 02:34 | going off. That's a little distracting.
| | 02:36 | Well, I can go down to the timeline
and click on the transition and actually
| | 02:40 | move it left and right, but I am
limited by the beginning or the end of the
| | 02:45 | first or second clip, see? If I let go,
the transition moves but the edit stays the same.
| | 02:51 | Now let me go ahead undo that, and I'm
going to do the same thing up in the
| | 02:55 | Effects Control panel.
| | 02:57 | Now I have a lot of stuff happening
here, and this is really hard to see.
| | 03:01 | Well, I can simply put my cursor between
those two parts of the panel, move that
| | 03:06 | over to the left, and now I have a
lot of real estate to work with.
| | 03:11 | If I go over here, and I put my cursor
over this clip, you notice when I put it
| | 03:15 | on the edge, I get my Trim tool, and
that's exactly what we did earlier, we just
| | 03:20 | simply stretched its duration.
| | 03:23 | But if I hover it right in the middle,
it changes to the Roll tool, and at this
| | 03:27 | point I can reposition my cut
and my transition at the same time.
| | 03:33 | Take a look when I let go in the
Effects Control panel as well as the Timeline
| | 03:37 | to see what happens.
| | 03:39 | It actually moved not only the
transition, but also the cut, so I didn't have
| | 03:44 | that limitation that I had over here.
It's something good to keep in mind.
| | 03:49 | Now stepping back into the Effects
Control panel, you'll notice there's not a
| | 03:53 | lot I can change with the Dissolve. I
mean, I could show the actual sources, but
| | 03:57 | a dissolve is a dissolve.
| | 03:59 | But what if I put in a different transition?
| | 04:02 | And I want to show you how easy it is
to swap out an existing transition with a
| | 04:07 | new one and also how to modify that transition.
| | 04:10 | So stepping into the Effects Control
panel--we'll go back down, and I'll be
| | 04:15 | honest, there is not a lot of
transitions I think are appropriate, Cuts and
| | 04:18 | Dissolves as I said before. We are going to
use a wipe because sometimes a wipe is okay.
| | 04:22 | So I'm going to type in wipe, and as
you see, there we go, all those different
| | 04:26 | wipes. But wait a second, that's an
Effects Transition. We are not quite there
| | 04:30 | yet. Let's go ahead and scroll down,
and there we go. What I really want is a
| | 04:35 | video transition wipe, and I can see
by the icon that that's what I want.
| | 04:39 | It looks a little bit of a wipe.
| | 04:41 | I am going to grab it, drag it, drop
it on my Cross Dissolve, and as you see,
| | 04:46 | it replaces the Dissolve with my Wipe, but it
kept the exact same duration and position.
| | 04:53 | You'll also notice there are a few
other options that you can select to modify
| | 04:58 | the way that wipe works.
| | 05:00 | Now if I just scroll over this, you
see it's a simple left to right wipe and
| | 05:04 | that's okay, but let's
make it a little prettier.
| | 05:07 | First of all, if I wanted to I could show the
actual sources when I'm working in this Window.
| | 05:12 | But I want to give it a little bit of a
border, and I can just go ahead and add
| | 05:15 | a border to that, so now I have a black bar,
and I am going to make it even thicker.
| | 05:19 | Now to me, black is okay, but if I
wanted to give it a color, double-click on
| | 05:24 | it, we'll go blue, select that, hit OK.
Now that's a lot gentler than a black bar.
| | 05:31 | And by pressing Reverse, do I want it
to go from left to right or right to left?
| | 05:37 | So every transition has aspects that
you can modify, so go ahead and swap
| | 05:43 | out different transitions, look in the Effects
Control panel, and explore your options.
| | 05:48 | Now that you know how to modify a
transition and swap out a transition, how do
| | 05:54 | we go ahead and fix those problem
edits that we discovered in the last move?
| | 05:58 | I'm going to press the Backslash key
so we can see all the clips in our
| | 06:02 | timeline, and I'm going to actually
jump to the third edit, because that's a
| | 06:06 | little easier to fix than the second one,
we'll look at the second one in just a moment.
| | 06:10 | So I'm going to go ahead and load
this transition into my timeline--let me
| | 06:14 | zoom in--and now I'll click on the transition
and load it back into our Effects Control panel.
| | 06:20 | Now as you recall, these little
zebra stripes indicate a freeze frame.
| | 06:25 | Well, an easy fix for this if I don't
want to see that freeze frame, if I don't
| | 06:29 | want to see him stop moving is I can
simply do a roll edit and roll this over,
| | 06:36 | and this way the motion doesn't stop,
the transition in the edit point starts
| | 06:41 | half a second early, but at least I
don't have that distracting freeze frame.
| | 06:46 | So that's a simple fix.
But what about that second clip?
| | 06:51 | Once again, I'll press the Backslash
key so you can see exactly where I'm
| | 06:54 | going, place my cursor over the middle
clip, zoom in a little bit, and now I'm
| | 07:00 | going to click to load this cross
dissolve into my Effects Control panel.
| | 07:05 | Well, I have zebra stripes on both
sides, and as you see, it doesn't matter,
| | 07:10 | I can move this left and right, and it still
is going to freeze on both of those clips.
| | 07:14 | What I really would like is not to have
either of these freeze, but I don't have
| | 07:19 | any extra handle on either one of these clips.
| | 07:22 | Well, we learned in an earlier movie
that you can do what's called a Slip Edit,
| | 07:27 | and a Slip Edit is the perfect
solution to fix this problem.
| | 07:32 | I'm going to go ahead and click on
Solar Install to load into the Source panel,
| | 07:37 | and as you can see, there is my lack of media.
| | 07:41 | I simply go ahead, grab it, I can move
the In and Out Points simultaneously,
| | 07:46 | move it to the left just a hair, about
15 frames, and I'm going to do the same
| | 07:51 | thing to the solar panels clip, double-
click to load it in, slip it over, and
| | 07:59 | let's take a look at our edit point.
| | 08:02 | Well, I did pretty good. It's a 1-second
edit, and I still have a little bit of
| | 08:06 | a freeze frame. As a matter of fact,
the viewer may not even notice that
| | 08:09 | because it's going to be so dim at this point.
| | 08:13 | But if they do, I could go back and
continue the Slip Edit, or if I wanted to, I
| | 08:17 | could simply just shorten the transition to
where I don't see any of those still images.
| | 08:25 | There is a lot of ways you can fix
these problems. The key is be aware of
| | 08:30 | them and be aware of how easy it is to update
and modify any transition in your timeline.
| | Collapse this transcript |
| Setting default transitions and applying multiple transitions| 00:00 | Now when editing, there are times when
you know that all of your transitions
| | 00:04 | need to be a certain length. Let's say
you like to make all of your transitions
| | 00:08 | 15 frames, or half a second, instead of a second.
| | 00:11 | And it can be really exhausting to put
in a dissolve, make it 15 frames.
| | 00:16 | You don't have to do that. You can do it
by simply changing a preference in Premiere Pro.
| | 00:22 | So go up to the Preference setting--and
once again it's underneath Premiere Pro
| | 00:27 | on a Macintosh Operating System, and in
Windows you'll find it at the very bottom
| | 00:32 | of your Edit dropdown window.
| | 00:35 | So go ahead, open up your Preferences,
and you can open up General, and if you
| | 00:40 | don't open up General, just go ahead
and click on the top. It will take you
| | 00:43 | there, and right here you can see
there are options to change the Duration of
| | 00:48 | your Video and your Audio Default Durations.
| | 00:51 | So 30 frames is my default. I'm going
to simply change that to 15, and if I want
| | 00:57 | to change the Default Duration
of my Audio, I can do that too.
| | 01:00 | Now audio is a little different than video.
It's actually in seconds versus frames.
| | 01:05 | So in this case, I want a half-second
dissolve. I simply type in 0.5, and I have a
| | 01:11 | half a second Default
Duration for my Audio Transitions.
| | 01:15 | Once I've made these choices, I can
go ahead and press OK, and now watch what happens.
| | 01:20 | We're going to go ahead and just put a
default transition for the video. I'm
| | 01:24 | going to click on that, and if we
zoom in and take a close look, as you can
| | 01:30 | see, I put on a 15 frame--or one half
second--dissolve from the get-go. That can
| | 01:36 | be a real time saver.
| | 01:38 | Now let me go ahead and remove that
transition, because I want to change it and
| | 01:42 | do one more thing, 15 frames--
or half a second--is perfect.
| | 01:46 | But for this show I don't
want a traditional dissolve.
| | 01:50 | So I want to change my default transition.
| | 01:53 | To do that, I can go to my Effects tab,
scroll down to the video transitions
| | 01:57 | folder, select a transition that's
going to work for me, and in this case it'll
| | 02:02 | probably be a variation of the dissolve.
| | 02:05 | And I want to do something a little
different. Maybe I want a Film Dissolve, or
| | 02:08 | in this case maybe Dip to White.
| | 02:11 | So all I have to do is right-click
on the transition that I want to be my
| | 02:15 | Default Transition, Select it, and you
will notice that little yellow box moved
| | 02:20 | from Cross Dissolve to Dip to White.
Now that is my Default Transition.
| | 02:25 | So if I place my cursor on top of this
edit point, right-click and say Apply
| | 02:30 | Default Transition, not only is it 15
frames, but it actually does a Flash to
| | 02:37 | White. That's pretty cool,
That saved me a lot of trouble.
| | 02:42 | I'm going to show you one more
technique that can really save you some time.
| | 02:46 | I'm going to go ahead and delete this
by selecting and then pressing the Delete
| | 02:49 | key, then I'm going to hit the
Backslash key so we see the entire sequence.
| | 02:54 | I want that Flash to White,
| | 02:56 | to go over all five of these clips, maybe
not the last one, but at least these five.
| | 03:01 | So I'm going to select them. I selected
them by lassoing them, but we've learned
| | 03:06 | many ways that you can select
multiple clips in Adobe Premiere Pro.
| | 03:10 | Once I have this selected, I go up
under Sequence, and I say Apply Default
| | 03:16 | Transitions to my Selection. With a
single click I now have that Flash to White
| | 03:23 | over every single one of these cut points.
| | 03:33 | Pretty slick and pretty fast.
| | 03:36 | So go ahead and take advantage of the
power of Adobe Premiere Pro to customize
| | 03:41 | your transitions before you
put them on your timeline.
| | Collapse this transcript |
|
|
12. EffectsApplying and modifying effects| 00:00 | In this movie we are going to learn how
to put filters on top of clips to give
| | 00:04 | them a different look.
| | 00:05 | To find the filters you simply go to
the Effects panel and under the Effects
| | 00:10 | panel you'll choose Video Effects.
| | 00:12 | Now there are a lot of different
effects inside each of these folders and
| | 00:18 | from my experience I use maybe 10% of
them, there are some basic ones I use
| | 00:22 | all the time, another ones sometimes just may
seem a little bit distracting for my viewer.
| | 00:27 | Just because you have a lot of effects
doesn't mean you need to use them.
| | 00:31 | So let's go ahead and look at how we
can apply a basic filter to this clip.
| | 00:36 | Now something that I like to do a lot is
desaturate a clip, so I am going to put
| | 00:41 | the black and white filter on here.
| | 00:43 | Instead of hunting for the black and
white filter in each of these folders,
| | 00:47 | because I don't remember where it's
located, I am going to simply type the word
| | 00:51 | Black and Premiere Pro will
show me the black and white filter.
| | 00:56 | Let me go ahead and grab that filter
and simply drag it on top of the clip and
| | 01:02 | immediately it's desaturated.
| | 01:04 | But what's happening under the hood?
| | 01:06 | Let's go ahead and double-click to
load this clip into the source monitor.
| | 01:10 | If we step into the Effects Control panel,
I see there is my Black & White filter.
| | 01:15 | Now there is no controls for me to
modify how saturated this filter is.
| | 01:20 | It's just an on or an off, and as a matter of
fact, if you put a filter on a clip and
| | 01:25 | you want to temporarily toggle it off,
simply click on the fx button, and I can
| | 01:30 | see what the clip looks like
with and without the filter.
| | 01:34 | Now let's take a look at a filter that
I might be able to modify some parameters.
| | 01:39 | I am going to go back down here and
instead of typing in Black I want to put a
| | 01:42 | blur on, so I am going to type in Blur,
and I can quickly find all the different
| | 01:47 | filters that have blurs.
| | 01:48 | And I want to make sure that I'm in the
Video Effects folder, and I am going to
| | 01:52 | choose the Gaussian Blur.
| | 01:54 | Now if the clip is already selected,
instead of dragging the filter all the way
| | 01:58 | over and dropping it on the clip, I
can simply double-click on the filter and
| | 02:02 | it's immediately put on the clip.
| | 02:05 | Now you're looking at the clip, and you
go, you just put a blur on it, looks the
| | 02:08 | same, that's because by
default my blurriness is 0.
| | 02:14 | I can go ahead and I can make it
as blurry or as focused as I want.
| | 02:19 | So as you can see, it's very easy to
modify this filter, as a matter of
| | 02:23 | fact, when I make it really blurry,
do you notice how I have black edges,
| | 02:27 | because literally it blurring the black that's
off screen and the image that's on-screen.
| | 02:33 | If I click this button here which
says repeat edge pixels isn't that cool?
| | 02:38 | I now have a nice clean blur, if
a blur can be defined as clean.
| | 02:43 | So I want to go ahead and bring it down
a little bit, but still's not the effect I want.
| | 02:47 | What I would really love to see is for it
to start really blurry and then become sharp.
| | 02:54 | Let's go ahead and learn how to do that.
| | 02:56 | I am going to make it perfectly
sharp to start with and pick a part in my
| | 03:00 | timeline where I want it to come into focus.
| | 03:04 | Now we learned a little bit about
keyframing in both the audio chapter and the
| | 03:08 | speed changes chapter, and it
works pretty much the same way.
| | 03:11 | So I am going to position my playhead
where I want it to be fully and focused
| | 03:15 | and I am going to go over here
and click on this little stopwatch.
| | 03:20 | That creates a keyframe where the blurriness
is absolutely 0 or not blurry at all.
| | 03:26 | Then I am going to move back in
time, and you notice that I can move my
| | 03:30 | playhead in either the Timeline or The Effects
Control panel, and it updates in both locations.
| | 03:37 | And now I am going to simply turn the
blurriness from 0, to really blurry.
| | 03:42 | I mean you can go crazy with this
but I'll tell you, 167%, that's pretty blurry.
| | 03:47 | But this is the important thing:
| | 03:49 | I've created a new keyframe
here from my start point.
| | 03:53 | Let's go to the beginning of the clip,
play it back, and see how it looks.
| | 04:03 | I like that, it slowly comes into focus,
a little bit too slow, so I can just
| | 04:08 | grab that keyframe, move it to
the left, and I am almost good to go.
| | 04:13 | Because I don't think I really like
that Black & White effect anymore, but I
| | 04:17 | love the blurriness.
| | 04:18 | So, instead of just turning the Black & White
effect off, I can select it and delete it.
| | 04:25 | Now let's go ahead and watch our final effect.
| | 04:31 | Well, as you see, for a moment there
wasn't black and white, but as soon as I hit
| | 04:35 | the spacebar, it removed the
filter and everything was good to go.
| | 04:40 | So working with filters is pretty easy,
it's a simple drag, drop, adjust, and if
| | 04:47 | you want to stack filters, repeat as necessary.
| | Collapse this transcript |
| Applying presets and motion effects| 00:00 | In this movie we are going to examine
another folder in the Effects panel, and
| | 00:04 | that's the Presets folder.
| | 00:06 | Now, if yours isn't already open, go
ahead and click on the disclosure triangle,
| | 00:10 | and there is a whole bunch of
presets here. And in my opinion two of the
| | 00:13 | folders are really, really
useful: the PiPs--which stands for
| | 00:17 | Picture-in-Picture--and the Bevel Edges.
| | 00:19 | What I love about these is they are
really Motion Effects, but Adobe has already
| | 00:24 | done the work for you
and put it in Premiere Pro.
| | 00:27 | So I am going to open up the PiPs
folder, and I see this 25% PiPs, which means
| | 00:32 | basically these are quarter screen, and
if we scroll down you can see Lower Left,
| | 00:36 | Lower Right, Upper Left, Upper Right,
actual motion, if I wanted to move Left
| | 00:41 | Left or Left Right, lots of combinations.
| | 00:45 | All I want to do is I have this video
here--actually stacked a B-roll above our
| | 00:51 | narrator--and I just want to put it in
a picture-in-picture over her shoulder.
| | 00:55 | Now, let me go ahead and turn off
this track. We learned how to do this in
| | 00:59 | earlier movie. And there is my narrator,
and I want to put the light bulb over
| | 01:05 | her right shoulder. So
actually that's the Upper Left.
| | 01:10 | So let's go ahead and select the picture-
in-picture for Upper Left. There we go.
| | 01:16 | We will open up that folder, and I
don't want to do any kind of move, I just
| | 01:19 | want it in the Upper Left.
| | 01:21 | So I'll grab it, drop it right on
the bulb, and there it is, perfectly
| | 01:26 | positioned over her right shoulder.
| | 01:29 | Except for the fact it's not perfectly
positioned. It's a little bit too far
| | 01:33 | up and a little bit too small.
| | 01:35 | But the really cool thing about these
Preset Effects, it's a great place to
| | 01:40 | start, and also if you wanted to an animated effect,
Adobe has done all the work for you.
| | 01:45 | So I am going to go ahead and double-click
to load the bulb into the source
| | 01:49 | monitor, click on the Effects Control panel,
and we don't actually see an effect here.
| | 01:55 | And that's because it's
inside of the motion tab.
| | 01:59 | We've just actually modified motion parameters.
| | 02:02 | And so I'm at a good starting point,
but if I wanted to change things, I could
| | 02:07 | go ahead and change the scale by moving
the little slider here, or as we learned
| | 02:12 | earlier in the still image chapter, I
could go ahead and click on this little
| | 02:17 | motion icon, and I'll
actually reposition this on screen.
| | 02:22 | So I am going to make it a little
bit bigger, position it exactly where I
| | 02:26 | want. I don't want to cover her over,
and I'm ready to go--except for it's not
| | 02:34 | quite pretty enough.
| | 02:36 | So I'm going to take advantage of
another preset effect that I really like,
| | 02:40 | and that's the Bevel Edges. And in here
I have a choice, Thick or Think, and I
| | 02:45 | am going to make it Thick so it's
easier for you to see and simply drop
| | 02:49 | that on. And now I have this really
nice beveled edge. It looks a lot more
| | 02:54 | three-dimensional, and in this case it actually
added a control set that I can work with.
| | 03:01 | So for instance, if I wanted to, I
could change the angle of the light to kind
| | 03:04 | of match her lighting.
| | 03:07 | I can still control the thickness--
remember it was just the default--and if
| | 03:11 | I wanted to, I could even change the
color of the light, maybe to match the
| | 03:15 | blue that's around here.
| | 03:17 | It doesn't quite look as good as I
thought it would be, so let's go ahead and
| | 03:20 | hit Undo and get it back to White.
| | 03:24 | I'm pretty happy with that, I have this
great Bevel, I have a picture-in-picture,
| | 03:29 | and the problem is is I
need to crop it, and this is big.
| | 03:33 | If I slide back up to my motion area,
I don't see a cropping option.
| | 03:39 | That's because cropping is a filter.
| | 03:42 | So I am going to slide down here to
filters. I could just type the word in Crop
| | 03:46 | to find it, but I want to
show you where it lives.
| | 03:48 | So we'll go under Video Effects,
slide down a little further, and it's
| | 03:54 | located under Transform.
| | 03:57 | There you see, Crop. As a matter of fact,
| | 04:00 | four of my favorite filters
live in the Transform folder.
| | 04:04 | Being able to Crop, being able to
soften that crop with an edge feather, and
| | 04:09 | then Horizontal and Vertical Flips.
| | 04:11 | This is great if somebody is facing
the wrong direction on screen and you want
| | 04:15 | to just flip the location.
| | 04:17 | But let's go ahead and use the
Crop filter and see how it works.
| | 04:21 | Just like any other filter, I can drag
it or double-click it. I am going to just
| | 04:25 | drop it here right on our bulb. And as
you see, no effect because I haven't told
| | 04:31 | it how I want to crop it.
| | 04:33 | I am going to scroll down. There it is.
I just want to crop off the right side. Boom!
| | 04:39 | Slide it over, perfect!
And you're going, "Not perfect."
| | 04:43 | I just completely messed up my Bevel.
In Premiere Pro the Motion Effects are
| | 04:49 | always put on before the filters.
| | 04:52 | So sometimes if I put a filter such as a Crop
on it, it's going to mess up the Motion Effect.
| | 04:58 | But what's really nice is there is
also a Bevel filter that I can use instead
| | 05:04 | of the Bevel Effect.
| | 05:05 | So I am going to simply go over here,
type bevel, B-E-V-E-L, scroll down and
| | 05:11 | there it is, Bevel Edges.
| | 05:13 | And I'm going to drop that on, and
there I have this great bevel. I actually
| | 05:18 | have a double bevel. I can go back up
here and probably turn this one off.
| | 05:22 | I just will select it and hit Delete.
| | 05:25 | And now I have a Crop and the Bevel,
and I can reposition if I need to, but as
| | 05:31 | you can see, with a little bit of
planning, I can really leverage some of these
| | 05:36 | presets and some of these
filters to get a great look.
| | Collapse this transcript |
| Saving favorites| 00:00 | Now, once you've worked really hard to
either get your effects or your presets
| | 00:05 | exactly how you like them, it would be
great if you can save them, and Adobe
| | 00:10 | Premiere Pro 6 absolutely lets you do that.
| | 00:12 | Let's go ahead and look at some options you
have once you've created the perfect effect.
| | 00:17 | I'm going to go ahead and grab this
Narrator clip and just throw it a little
| | 00:21 | later on the Timeline and grab a
different shot and put it on top just to make
| | 00:26 | another picture-in-picture.
| | 00:28 | Now, if I'm in a show, and I really
like the effect that I've built, I could
| | 00:33 | simply Copy--the keyboard shortcut
would be Command+C or Ctrl+C if you are on a
| | 00:38 | Windows machine--and then I can go
over to a single clip or select multiple
| | 00:42 | clips, simply right-click
and go Paste Attributes.
| | 00:47 | As soon as I do that, everything that I
copied from the first clip is now pasted
| | 00:52 | onto the second clip.
| | 00:54 | So I have a perfect picture-in-picture,
and this would be great if I wanted to
| | 00:58 | have just some continuous cutting
between the first shot and the second shot,
| | 01:03 | everything lines up.
| | 01:04 | But what about if I've created
something that I really love, and I want to save
| | 01:08 | it from program to program?
I can do that too.
| | 01:11 | Let me go ahead and clean
up my Timeline a little bit.
| | 01:14 | I'm just going to hit undo a couple of
times just to remove that, and I'm going
| | 01:18 | to delete these two clips.
| | 01:20 | So we're back to where we started,
which I have a great picture-in-picture
| | 01:24 | positioned exactly how I want it,
and I have the Bevel that I like.
| | 01:28 | All I need to do is load the clip
with the effect on it back into my source
| | 01:33 | monitor, go into the Effects
Control menu, and here we see there is my
| | 01:39 | Bevel Edges with the exact Bevel
that I like. And there is the Motion and
| | 01:43 | Position that I like.
| | 01:45 | I'm going to switch over into the Effects tab
so you can see this happen as I create it.
| | 01:49 | I'm going to open up my Presets folder,
and as you see, there is nothing in there
| | 01:53 | right now, but if I go over here, and I
click on either the Motion tab or the
| | 02:00 | Bevel Edges, I can right-click
and Save that as a Preset.
| | 02:04 | Now, as soon as I do that, I'm going to
click Save the Bevel Edges as a Preset,
| | 02:08 | I get a little dialog box where I can
label it. I'm going to say Bevel Edges
| | 02:12 | Abba, so I know it's the one I
created, and I'm going to simply hit OK.
| | 02:17 | And there it is immediately available
as a preset which I can drag and drop.
| | 02:22 | Now, that's great for a single clip,
but what if I want to create a preset that
| | 02:27 | not just uses the Bevel Edges,
but also the same positioning?
| | 02:31 | Well, I simply select both.
| | 02:33 | On a Macintosh I can just go ahead
and hold down the Command key, and I can
| | 02:36 | select multiple items. And once I have
that done, I can go to this flyout menu
| | 02:42 | and I can say Save Preset.
| | 02:45 | Now, in this case, it just defaults to a
generic motion preset, and I'm going to
| | 02:49 | rename this PIP Left with Bevel.
| | 02:53 | Now, the truth is I could have just
written PIP with an L and then written
| | 02:57 | the description down here, but this way it
will be easier for you to see in the training.
| | 03:02 | As soon as I click OK, there's my
new preset, and because I had selected
| | 03:07 | multiple items in my Effects Control
panel, now it's going to apply both of
| | 03:12 | those effects with a single click.
| | 03:15 | Let's go and put it into practice.
| | 03:16 | I'm going to grab a shot
out of my Projects folder.
| | 03:20 | I like this shot of the iPad, Mark it In
and then Out, grab just the video, drag
| | 03:26 | it right onto the Timeline, and there I
have the shot but not with this effect.
| | 03:33 | I select the clip, go back to my
Effects tab, choose PIP Left with Bevel, drop
| | 03:40 | it right on, and now we have a perfect match.
| | 03:45 | Saving favorites is really easy
as long as you know where to click.
| | Collapse this transcript |
| Understanding color correction| 00:00 | In this movie we are going to touch on
color correction to show you how you can
| | 00:04 | fix some shots that would otherwise be unusable.
| | 00:07 | Now, if you really want to dig deep
into color correction, there are several
| | 00:10 | other courses at lynda.com that really explain
the nuances of controlling color in video.
| | 00:17 | So we have two shots on our Timeline,
| | 00:19 | one that's a little bit underexposed,
and one that actually has the wrong color balance.
| | 00:23 | Let's step into the Effects panel and
show you how you can adjust these to make
| | 00:28 | them look a little bit better.
| | 00:30 | For the first clip I'm going to use
something called the Fast Color Corrector,
| | 00:34 | and this is located inside the Color
Correction folder of Video Effects.
| | 00:39 | So I am going to drop the Fast Color
Corrector on my first clip, double-click
| | 00:43 | to load it back into the Source panel, and then
switch over to the Effects Control panel.
| | 00:49 | There is the Fast Color Corrector, and
it does a lot. We can use this to fix
| | 00:53 | color balance, but right now I just
want to use it to fix the fact that he's
| | 00:58 | a little underexposed without
blowing out the background.
| | 01:02 | So I slide down here, and there's lots
of sliders and numbers you can play with,
| | 01:06 | and I really recommend just playing
with the sliders to see what they do and
| | 01:10 | you can always hit undo or press any of these
little arrows that are your reset buttons.
| | 01:16 | Now, the Reset button for color is
above here, but I didn't want to make
| | 01:19 | you watch me scroll up.
| | 01:21 | So in this case, the Mids are too dark.
In other words, he is backlit, so I
| | 01:27 | can actually use this slider to bring up my
Midrange without blowing out my highlights.
| | 01:33 | Now, as I do that, there's a little bit
of overlap, and I lose some of the punch
| | 01:36 | of this, so I am going to change my
Input Levels so my blacks get a little bit
| | 01:41 | deeper and a little bit goes a long way.
| | 01:44 | So that's getting close, but when I
brightened up the Mids, I kind of washed
| | 01:49 | out the scene a little bit, so I am
going to goose up the Saturation--and
| | 01:52 | there's a Saturation controller right
here. I'm just going to bring it up until
| | 01:56 | it feels about right.
I kind of like that.
| | 01:59 | Now, this is an important thing to
realize whenever you are doing any kind of
| | 02:03 | color correction or color grading,
it's always good to look at what the clip
| | 02:07 | looked like before you started working
on it, because you can drive yourself
| | 02:12 | crazy tweaking things and
forget how far you've come.
| | 02:16 | So in this case, I am just going to
simply toggle off the effect, and as you can
| | 02:20 | see a couple of slider adjustments
and this clip is a lot better.
| | 02:25 | Let's take a look at another clip that has
a serious problem with the color balance.
| | 02:31 | So we are going to step over here, and
when I mean color balance is this shot
| | 02:34 | is obviously too blue.
| | 02:37 | This could be because the wrong
filter might have been set up on the camera
| | 02:40 | so it didn't white balance, or there could have
been just a lot of blue light shining on him.
| | 02:46 | To fix this I am going to again select
the clip, and I am going to use some of
| | 02:50 | the Auto Adjustments in Adobe Premiere Pro.
And to quickly find those I am going
| | 02:54 | to type in auto, and right here under
Video Effects, under Adjust, I have an
| | 03:00 | Auto Color, Contrast, and Levels.
| | 03:03 | Let's go ahead and drag Auto Color
onto this and see what Premiere can do.
| | 03:08 | Well, that was pretty quick, and
I see the image is a lot better.
| | 03:12 | As a matter of fact, I could probably
leave it here, but if I wanted to I could
| | 03:16 | tweak it a little bit more.
| | 03:18 | If you don't quite have what you want,
go ahead and try the Auto Contrast. That
| | 03:23 | does help it a little bit, and Auto Levels.
| | 03:27 | Now, sometimes it improves the shot and
sometimes it doesn't, and if it actually
| | 03:31 | makes the shot worse just
simply delete it or click undo.
| | 03:35 | So going back to what this looked
like before and what it looks like now, I
| | 03:40 | can go ahead and double-click to load
this back into the Source panel, and
| | 03:44 | there is the before, and there is the
after. A couple of slider adjustments and
| | 03:48 | my image is already better.
| | 03:50 | There are a lot of filters that you can work
with to improve the quality of your images.
| | 03:56 | This is a good place to start.
| | 03:58 | Go ahead and try some other filters and just
work with the sliders and see what you can do.
| | Collapse this transcript |
| Using adjustment layers| 00:00 | One of the new features of Adobe
Premiere Pro CS6 is being able to create
| | 00:05 | something called an Adjustment Layer.
| | 00:07 | Think of it as kind of like a container
or a transparent layer that I can put on
| | 00:12 | top of a clip that I can
do lots of cool things to.
| | 00:14 | Now, it's best to understand an
Adjustment Layer by seeing how it works.
| | 00:19 | So by default, you don't have any
Adjustment Layers in your project. You need to
| | 00:24 | actually create one, and you can go
over to the File menu, under New, and just
| | 00:29 | simply say New > Adjustment Layer.
| | 00:31 | And it assumes that you want that
Adjustment Layer to match your sequence, which
| | 00:35 | of course we do, so I'm
going to simply press OK.
| | 00:38 | Now there's a new Adjustment Layer icon
in my Project panel, and I am going to
| | 00:44 | grab that and drag that and put
that on the layer above my video.
| | 00:49 | Now, the cool thing about this
transparent layer is I can put filters on this
| | 00:53 | layer and they will affect the clip below it.
| | 00:57 | So for instance, if I wanted to make
this clip black and white, I can go over to
| | 01:00 | the Effects tab, type in black and
quickly find the Black & White filter and
| | 01:06 | drop it on, and now this
clip is black and white.
| | 01:10 | And you're saying, "Well, so what? I
could have just thrown it on the clip."
| | 01:14 | But what if I actually wanted to make
all my clips black and white, because I
| | 01:18 | wanted to give a rough cut to my client
or maybe just even create one version of
| | 01:22 | my show with a specific
look with a specific filter?
| | 01:25 | Instead of putting it on every clip and
then having to modify it, I could put it
| | 01:30 | on all of my clips at once by simply
putting an Adjustment Layer over those
| | 01:36 | clips and then putting filters on it.
| | 01:38 | Now, I put the Black & White filter on
it, which you can adjust, so I'm only
| | 01:44 | getting part of the
benefit of an Adjustment Layer.
| | 01:46 | Let me go ahead and put another filter on
it, and you can see where it really shines.
| | 01:50 | I am going to go ahead and open up
what's called the Timecode filter.
| | 01:55 | Now, there's no Timecode on these clips,
and if I put the Timecode filter on a
| | 02:01 | specific clip, it will give me the running time
for that one clip and then reset on each one.
| | 02:08 | I'm going to go ahead and hit undo,
because I'm going to put the Timecode filter
| | 02:12 | on the Adjustment Layer.
| | 02:14 | Now it will actually read the
Timecode for my entire sequence.
| | 02:20 | So basically not only have I watermarked it,
but if I hand it off to a client,
| | 02:24 | instead of saying, oh, about 14 seconds
in, they can see that at 16:06 is a shot
| | 02:30 | that they may want to
save or may want to change.
| | 02:33 | I can also modify the effect, and we
learned how to do that in an earlier movie
| | 02:38 | by simply loading it into the Source
panel, going under Effects Control, and
| | 02:44 | there we go, Timecode. And I'm going to
just go ahead and adjust the Position.
| | 02:47 | I'm going to put it right over here on the left.
| | 02:49 | If I had to do that to each of the
clips after the fact, I would go crazy, but
| | 02:55 | by doing it on the Adjustment Layer,
all the clips have the same look, the same
| | 03:00 | feel, with a very easy fix.
| | 03:03 | And if I want to put out a version
without the Black & White and without the
| | 03:06 | Timecode, I can simply go over here,
turn off the Visibility of the Adjustment
| | 03:11 | Layer and my show looks
exactly the way it originally did.
| | 03:16 | It's easy to turn on and off an entire
track of effects with a single click.
| | Collapse this transcript |
| Working with green screen and chroma key footage| 00:00 | In this movie we're going to look at
removing the green background using
| | 00:04 | the Ultra Key filter.
| | 00:06 | So if you take a look at our Timeline,
we actually have two sets of clips.
| | 00:10 | We have the nice easy one to work with,
which was shot perfectly, and then we
| | 00:14 | have a little more challenging shot.
| | 00:16 | Let's start with the easy one,
because I know that you are going to shoot
| | 00:19 | your video perfectly.
| | 00:21 | Now, what I want to do is I want to
select the upper clip, which has the
| | 00:25 | Narrator, which we shot on a green background,
and I'm going to apply the Ultra Key Effect.
| | 00:31 | I'll go into the Effects tab and
simply type in ultra, and there you go, the
| | 00:38 | Ultra Key Effect, grab it, and drag it
onto the video with the green background.
| | 00:44 | Now, at first it doesn't
look like anything happened.
| | 00:47 | Well, if we take a look in our
Effects Control panel, you'll see there's an
| | 00:52 | Eyedropper, and I'm going to simply
click on the Eyedropper and tell the
| | 00:56 | application what I want removed.
| | 00:59 | Boom, it was that easy.
| | 01:02 | If you shoot your video well, the
Ultra Key will work with a single click.
| | 01:07 | Now, if you need to push it a little
bit, you can go ahead and underneath
| | 01:13 | Setting, there is an option for
Relaxed and Aggressive, so if I click on
| | 01:18 | Relaxed, it won't try as hard, and you
see that it doesn't really pull the key.
| | 01:22 | And if I didn't shoot it that well, I
can switch over to Aggressive, and it's
| | 01:27 | going to really work hard
to remove all the green.
| | 01:30 | Sometimes it can overdo its work
and so really the default is best.
| | 01:35 | Now, before we jump to the next clip,
I want to show you what you are really
| | 01:40 | ultimately trying to do when
you create a green screen matte.
| | 01:44 | I'm going to switch from
Composite to Alpha Channel.
| | 01:48 | So if the green screen matte is done
perfectly, when you switch to the Alpha
| | 01:51 | Channel, everything that's black is transparent,
and everything that's white is solid.
| | 01:57 | So this is where my Narrator will be
solid, and I'll be able to see through the
| | 02:01 | green to the background.
| | 02:03 | I wanted to show you this because
that's our objective on the next clip.
| | 02:06 | Let me go back, switch this to
Composite, and move my playhead over to
| | 02:11 | our challenging clip.
| | 02:13 | The problem with this clip is is we
didn't light it right. It's too dark here,
| | 02:18 | it's too light here, and I
have a really dark blob of green.
| | 02:22 | So if I go over and drop on the Ultra
Key on this clip and say, what do I want
| | 02:28 | removed, what do I pick?
| | 02:31 | If I pick the light area, well, I
have this shadow here that's problematic,
| | 02:36 | and this is not really translucent, see?
When I look at my Alpha Channel, it's not pretty.
| | 02:43 | And if I go back, and I choose the
darker area, it fixes that problem in this
| | 02:49 | area here, but I have a big white blob.
| | 02:53 | So I'm going to add one more filter to help
me with this key, and that's a Garbage Matte.
| | 02:59 | I'm going to go ahead for the moment
and turn the Ultra Key off, so we are
| | 03:03 | back to our original image, and let's go ahead
and find the Garbage Matte in our Effects panel.
| | 03:10 | Now, it's called a Garbage Matte
because we're trying to remove the rest of the
| | 03:13 | garbage from the outer edges of our screen.
| | 03:16 | Now, there's three different options:
| | 03:18 | there's a Four-Point, Eight-Point, and
Sixteen-Point Garbage Matte, which means
| | 03:21 | you have that many points of
control to draw your shape.
| | 03:25 | For what we need here the Four-Point
Garbage Matte will work perfectly, and you
| | 03:30 | can probably figure out how the Eight
and Sixteen could work to your advantage.
| | 03:35 | I'm going to grab the Four-Point Garbage Matte
and drop it also on the green screen clip.
| | 03:42 | If we scroll down, we see the Four-Point
Garbage Matte has been applied.
| | 03:46 | By selecting it, I now see little
dots in each corner that I can adjust.
| | 03:53 | And my goal is to simply drag this so
that I can remove as much of the image as
| | 03:59 | possible before I start my Chroma Key.
| | 04:02 | Now, this would look great, but I
realize as soon as she moves her hands, it's
| | 04:07 | going to go off screen.
| | 04:09 | So you need to be sensitive to where your
talent might move if you create a Garbage Matte.
| | 04:19 | I think we are pretty safe here.
| | 04:21 | So the good thing is I removed that
big dark blob and the shadow here, and now
| | 04:27 | I can go back and start working with my Ultra
Key and really focus on this small area here.
| | 04:34 | Now, to best do this I'm going to switch
back to the Alpha Channel so I can see
| | 04:39 | exactly what I need to remove.
| | 04:41 | Remember, black is transparent, white is going
to be translucent, or in some cases solid.
| | 04:49 | So there's a few sliders I can work
with here underneath Matte Generation.
| | 04:54 | I can play with my Pedestal a little
bit and bring that up, and you see it gets
| | 04:59 | rid of some of it, but what I really
want to do is start playing with my
| | 05:02 | Highlights. And look how quickly I can
get rid of that bright spot right there.
| | 05:07 | And now, if I switch back from my
Alpha Channel to my Composite channel, it's
| | 05:12 | a much cleaner key.
| | 05:14 | Let's go ahead and hit Play
and see what it looks like.
| | 05:20 | As you see, with just two filters and a
couple of sliders, I was able to turn a
| | 05:25 | really challenging green screen
into a really clean green screen.
| | 05:29 | I want to add one more piece of
information that I find really useful when
| | 05:33 | working to create a really nice
looking green screen, and that's at the very
| | 05:37 | bottom of the Ultra Key filter,
it's something called Color Correction.
| | 05:41 | Now, the point of this part of the
filter is not so you can color correct
| | 05:45 | your image, it's so that you can tweak your
image so the foreground matches the background.
| | 05:51 | Sometimes when people do a Composite,
the background looks so different--it's
| | 05:56 | such a different color, it's such a different
luminance level--that you see it's fake.
| | 06:00 | Here I can tweak it just a little bit
to make sure that she looks like she
| | 06:05 | really was over the background.
| | 06:07 | Now, there's a little bit of irony
there because she is actually standing in
| | 06:10 | front of a graphic, so it's not necessary,
but this is a really important final
| | 06:14 | step to make your green screen or your key work.
| | 06:18 | So just to show you what happens, there
I can play with her luminance, also work
| | 06:23 | a little bit with the saturation, and
remember, a little bit goes a long way.
| | 06:28 | So the trick of getting a good key is
use the Ultra Key filter and a Garbage
| | 06:34 | Matte to remove the really hard stuff.
| | Collapse this transcript |
| Using the Warp Stabilizer to stabilize clips| 00:00 | The Warp Stabilizer is one of the great
new features in Adobe Premiere Pro CS6.
| | 00:06 | Now, what it does is it takes shaky footage,
and makes it--well, in some cases, perfect.
| | 00:11 | So let's take a look at a couple of
clips and then apply the Warp Stabilizer and
| | 00:16 | show you exactly what it does
and explain what it's doing.
| | 00:20 | I have two shots here, and I absolutely
love this first shot. It's a time lapse.
| | 00:24 | And if we go ahead and we play it,
it's of an airport over San Francisco at
| | 00:28 | night, and those little
bugs are actually planes.
| | 00:33 | Now, I really want to use this shot,
but if you notice, every so often the
| | 00:36 | wind comes in, and it kind of jars the camera,
which is acceptable, but it's not perfect.
| | 00:42 | And I love this shot so much that
I want to be able to stabilize it.
| | 00:46 | So I am going to select this clip, and
I'm going to go over to the Effects tab,
| | 00:50 | and we are going to use the Warp Stabilizer.
| | 00:52 | So I am going to type in warp, and
there we go, Warp Stabilizer. I am simply
| | 00:56 | going to grab it and drag it
and drop it onto this clip.
| | 00:59 | Now, when you drag the Warp Stabilizer
onto a clip, Adobe Premiere Pro has to
| | 01:04 | analyze it, and it literally looks at
where every pixel of every frame is and
| | 01:11 | creates an algorithm. And I use the
word algorithm because that makes it sound
| | 01:14 | really complex and scientific
and really hard, but it's amazing.
| | 01:18 | So what it does it actually figures
out where each pixel is going and then
| | 01:23 | holds them in place.
| | 01:25 | Now, some stabilizers actually will just
reposition an image by twisting it left
| | 01:30 | and right and up and down.
| | 01:32 | Well, with the Warp Stabilizer it
actually will do that, but it even goes a
| | 01:38 | couple of steps further.
| | 01:40 | In addition to just positioning it
or working with it, if the camera was
| | 01:43 | rotating, if the image moved back and
forth--that's like forward and backwards
| | 01:48 | in that Z axis nearer and further away--
the perspective could change, and it
| | 01:53 | will analyze that and stabilize it.
| | 01:56 | When you get all the way to Subspace
Warp, what it's really doing is it's
| | 02:01 | noticing if a pixel is in one
specific location in one frame and then
| | 02:05 | jumps maybe three pixels in the next frame,
exactly what happened with this time lapse.
| | 02:11 | So it takes a little longer to analyze,
but it's going to be a brilliant result.
| | 02:15 | Now, you may want to play with some of
the options underneath of Method and see
| | 02:20 | if you need to go all the way down to
Subspace Warp, but take a look at the
| | 02:25 | results once it finishes part two
of the process, which is stabilizing.
| | 02:31 | Now, once it's finished stabilizing,
let's go back and play this clip.
| | 02:40 | Now, you'd be pretty hard-pressed to even
find one frame where the camera shifts.
| | 02:52 | Just to remind you how it looked
originally, we'll go ahead and we'll turn off
| | 02:56 | the Warp Stabilizer, and you
can see those camera hits.
| | 03:02 | Boom, there you go. With the Warp
Stabilizer on, blows it up a little bit,
| | 03:09 | but perfectly solid.
| | 03:11 | Now, that's great, but let's take a look at
a real-world example that you might face.
| | 03:19 | We did a quick interview, and we didn't
grab a tripod, so if you take a look at
| | 03:23 | the footage, it's pretty shaky.
| | 03:28 | Now, you may have footage that looks a
lot like this and the Warp Stabilizer
| | 03:33 | will really come in handy.
| | 03:35 | Again, I am going to simply select that
clip, grab the Warp Stabilizer, drop it
| | 03:39 | on, and let it start analyzing
where all the pixels are moving.
| | 03:45 | Now, notice it says Analyzing in the background.
| | 03:48 | I can't actually see the stabilization
on this clip while it's doing the work,
| | 03:51 | but I can continue to work in my
Timeline and edit other clips in my program and
| | 03:56 | come back with the analysis done.
| | 03:59 | So don't just stop and wait. You
can actually keep being productive.
| | 04:03 | Now, once the analyzing and the
stabilization is done, you'll notice the image
| | 04:07 | got blown up just a little bit. That's
because it's necessary for Premiere Pro
| | 04:11 | to actually blow up the image so you
don't see any black edges as it tries to
| | 04:15 | reposition the original clip.
| | 04:17 | Let's look at the final result, and
then we'll step backwards, and you can
| | 04:20 | see what it's doing.
(video playing)
| | 04:27 | Now, that's a lot better than what it was.
| | 04:30 | Let's go ahead and double-click to load
it in and turn it off. Pretty shaky.
| | 04:37 | (video playing)
| | 04:40 | Now, what I really like is instead of
trying to lock it down, it does let the
| | 04:44 | camera float a little bit. It shows a
little bit of smooth motion to the shot.
| | 04:49 | I can control how smooth or how rock
solid that is with this slider, or if I
| | 04:54 | wanted to I could go ahead and say
I don't want any Motion at all.
| | 04:58 | If I do that, it won't need to
reanalyze the clip, but it will need to run
| | 05:03 | through the stabilization process again.
| | 05:05 | It's pretty quick on a fast machine,
and as you noticed, it blew up the image a
| | 05:09 | little bit more. But take a look, you
don't even see any camera float at all.
| | 05:13 | (video playing)
| | 05:20 | I mean, that looks like it's on a tripod.
| | 05:22 | Remember where we came from.
(video playing)
| | 05:26 | Now, if the camera is shaky and the
image gets blurry, the Warp Stabilizer can't
| | 05:31 | fix that. But as long as you have
a clean image, it's pretty amazing.
| | 05:35 | I want to show you really what
it's doing in the background.
| | 05:38 | Let's go ahead and move the playhead to
the beginning of the clip, and I want to
| | 05:42 | show you how this is going to work.
| | 05:44 | I am going to switch from Stabilize,
Crop, Auto-scale just to Stabilize, and I
| | 05:49 | turned this off a moment ago so we could see
the difference, and now let me hit Play.
| | 05:54 | What it's really doing is moving the image
around so he stays perfectly centered.
| | 06:01 | By switching back to Stabilize, Crop,
and then scaling it up a little bit, it
| | 06:07 | actually blows up the image about 10%,
which is acceptable, and now I have a
| | 06:12 | perfectly solid image.
(video playing)
| | 06:16 | If I was on a desert island and was
only allowed to take one filter with me,
| | 06:21 | the Warp Stabilizer filter would be the one that
I would bring to use in all of my programs.
| | Collapse this transcript |
| Applying filters to audio| 00:00 | Now you may have noticed in the
Effects panel that there are also audio
| | 00:04 | effects that you can apply to a clip.
And let me go ahead and open this
| | 00:08 | disclosure triangle where you can see
this a lot of different ones you can
| | 00:11 | work with. And some may be more
confusing than others, DeEsser to remove the
| | 00:15 | sibilance in a clip, DeHummer can
actually remove the hum of electrical noise
| | 00:20 | at 50 or 60 cycles.
| | 00:22 | Let's go ahead and take a look at one
that may work to fix a problem clip that I
| | 00:26 | have in the timeline, and that is that
this interview was recorded with a stereo
| | 00:30 | mic on the camera, and the right
channel is cleaner and louder than the left.
| | 00:35 | Let's go ahead and play that.
(video playing)
| | 00:39 | So what I really want is that clean
right channel moved over to the left and the
| | 00:44 | right and for it to be truly be mono.
| | 00:48 | So in this case, I am going to use the
filter Fill Right, and I'll simply drop
| | 00:52 | that on the clip and watch
what happens when I play it back.
| | 00:55 | (video playing)
| | 00:59 | The clip is perfectly balanced.
| | 01:01 | If I need to modify any audio effect
that I might have placed on a clip, it's
| | 01:06 | the same process, simply double-click
to load that clip back into the Source
| | 01:10 | panel and then under the Effects Control
panel I'll see any audio effects that I
| | 01:15 | might have placed in the clip.
| | 01:17 | In this case, there is my Fill Right,
and just like with video effects, I can
| | 01:21 | toggle that effect off if I want to
hear what it sounds like without and toggle
| | 01:28 | it back on if I want to hear how it sounds with.
| | 01:31 | (video playing)
| | 01:34 | Audio effects are just as powerful as
video effects in making sure that your
| | 01:38 | program not only looks good,
but that it also sounds good.
| | Collapse this transcript |
|
|
13. Creating TitlesCreating static titles| 00:00 | Creating titles in Adobe Premiere Pro is
incredibly simple, yet it's incredibly powerful.
| | 00:08 | If I want to put a title on top of this
clip--I am going to go ahead and select
| | 00:12 | this clip and park my playhead over a
frame that I think is representative of
| | 00:18 | where the title should be.
| | 00:20 | And you'll see why I do that in just a moment.
| | 00:22 | To create a title, you go to the Title
dropdown menu, click on New Title, and we
| | 00:26 | are going to start off by
creating a Default Still.
| | 00:29 | And the first thing Premiere Pro
will do will open the dialog box which
| | 00:35 | suggests the frame size, frame rate, and
the pixel ratio for your title, which it
| | 00:41 | chooses by exactly matching your sequence.
| | 00:44 | So 99.999 times out of 100.
I'll hit OK, and when I hit Cancel it's
| | 00:50 | probably because of an accident.
| | 00:52 | So as you see, it opens up a new window,
and this is your title creation window.
| | 00:57 | That representative frame that we parked
over we can now see so as we create our
| | 01:01 | title we can see how it
looks over that background.
| | 01:04 | Now I can turn this on and off with
this little button here if you find it
| | 01:07 | distracting, but for now let's go ahead
and create the title over the background
| | 01:12 | to see how it looks.
Now this is a very robust tool.
| | 01:16 | To start off, I could simply
select the Text tool and start typing.
| | 01:20 | But I do want to point out there is a
few options here to get you started.
| | 01:24 | I can type Text Horizontally, I can
choose Vertical Text, I can also just create
| | 01:30 | a box that I want text to go and then
scale that box up and down, and I can even
| | 01:35 | type and have text flow on any kind of a path.
| | 01:40 | But let's keep it simple as we
start to learn how to use the Text tool.
| | 01:43 | Selecting the type tool or pressing
the keyboard shortcut of T, I go over and
| | 01:48 | position the Text where I want it to be.
| | 01:52 | With a single click, I click on
the interface, and I'll start typing.
| | 01:56 | And we're going to call this Time Lapse.
| | 01:59 | Once I finish typing, I can simply click
off it or hit the Escape key. And now if
| | 02:06 | I switch over to my selection tool--
which is the same keyboard shortcut that you
| | 02:10 | use in the main editing portion of
Premiere Pro--I can go ahead and reposition
| | 02:15 | this title anywhere I want.
| | 02:17 | Now this is pretty vanilla and pretty boring.
| | 02:21 | If I wanted to, I can very quickly go
down to the bottom part of this panel and
| | 02:26 | there's a group of title styles and
these are a bunch of presets that I can
| | 02:30 | click on, and as you see as I click on
the different presets, it automatically
| | 02:35 | modifies the way my title
looks, and I could run with this.
| | 02:39 | Personally, most of these are close, but none
of these are quite perfect for most of my needs.
| | 02:45 | I am going to scroll down, and I
really do like this selection here, so I am
| | 02:50 | going to go ahead and click on it, but
I'm not a big fan of this lime green.
| | 02:55 | I can't imagine a world where a
lime green title is actually effective.
| | 03:00 | But what I really want to point out is
this is a great starting point because
| | 03:04 | I can modify this over here under Title Properties
and make it precisely the title that I want.
| | 03:11 | So the first thing I might do
is go ahead and change the color.
| | 03:15 | Now the Fill Type is pretty easy to
control. And since this is a Gradient, I can
| | 03:20 | go ahead and click on either of these
squares and modify the color from this
| | 03:25 | lime green to something I like better.
| | 03:27 | So I think I'm going into the blue area
and probably start off with a gradient
| | 03:31 | with a darker blue, and I am going to press OK.
| | 03:35 | So as we see it's darker blue to start
with, and let's get rid of the green on
| | 03:39 | the other side again by double-clicking,
and we'll just go to a lighter blue,
| | 03:43 | select a nice area, and hit OK.
| | 03:46 | So it's very easy for me to change the
color from that green to a nice gradient.
| | 03:51 | I am going to go ahead and make this
larger so it's easier for you to see and
| | 03:55 | also to emphasize a point.
| | 03:57 | In a lot of programs, if you grab the
edge of the bounding box and stretch
| | 04:02 | it, all it does is blow up the pixels, and
a lot of times your text will just get fuzzy.
| | 04:07 | But that's not how it works here. It's
actually scaling up the point size of your text.
| | 04:13 | Now, if you hold down the Shift key when
you stretch, it will maintain the aspect
| | 04:17 | ratio of the letters, and if you let go,
you are going to change it, and you can
| | 04:21 | make them shorter and fatter or taller
and skinnier. I am going to hold down the
| | 04:24 | Shift key, just make it bigger,
and go ahead and reposition it.
| | 04:28 | But what I want you to notice is that
up here under Size, I truly scaled the
| | 04:35 | letters to a higher point size,
so I am losing no resolution.
| | 04:40 | I can also change the angle of this
gradient. I don't want it to Top to Bottom.
| | 04:44 | Maybe I wanted more Left to Right, and
I can go ahead and I can modify that.
| | 04:49 | Now the best thing is just to play with
a lot of these elements to get the text
| | 04:54 | to look exactly the way you want.
| | 04:56 | I may add a little bit of a
stroke on the outside just so it pops.
| | 05:01 | Now, since my background is dark--and
I'll probably put Time Lapse about right
| | 05:05 | there--instead of using a black outer
stroke, I could go ahead and change that
| | 05:11 | to a different color.
| | 05:13 | In this case, we'll make it a nice solid,
and instead of black we'll go ahead and
| | 05:18 | we'll make it something lighter so it
punches out. I am going to still stay in
| | 05:21 | the blue family but more now to a white
blue. I'll hit OK, there's a little more
| | 05:26 | of an edge I can work with, and I can
even pump that up a little bit, and if you
| | 05:30 | notice, this really pops.
| | 05:34 | Taking it to the final step, I want to
make sure I have a nice shadow. I want a
| | 05:39 | little more distance to that shadow
so I can really see it, and as you see,
| | 05:44 | I've been able to create a
title from scratch very quickly.
| | 05:49 | I'm going to go ahead and close this
out and show you how this looks once we
| | 05:53 | put it back inside of Premiere Pro.
| | 05:56 | I'll simply hit the Close button, it'll
look a little bit different, I'll be on
| | 05:59 | the right side if you are on a Windows
machine, and as you see, there we go.
| | 06:04 | I have my Title right here.
| | 06:06 | If I grab that and drop that onto my
timeline, I actually see how this Title
| | 06:11 | looks against my background.
| | 06:14 | If I ever needed to change this title
all I have to do is double-click, it opens
| | 06:20 | it up in my Title pane, I can make a
modification--let's just move it right to
| | 06:25 | the top, close it out--and as you see,
it's automatically updated in my timeline.
| | 06:32 | One of the things I love about the
title tool is once I build a look that I
| | 06:37 | really like, I can use this over
and over again throughout my program.
| | 06:41 | It's important that if you left it
called Title, make sure you change it to
| | 06:45 | something you recognize.
| | 06:47 | So I am going to call this Blue Grad
for a blue gradient, and that way I always
| | 06:52 | know what type of title it is.
| | 06:54 | So you can see how easy it is to
create a title using the Title tool.
| | 07:00 | In the next movie we're going to
completely create a title from scratch without
| | 07:05 | taking advantage of any of the presets.
| | Collapse this transcript |
| Creating lower thirds| 00:00 | In the previous movie we learned how to
create a title, and we took advantage of
| | 00:04 | some of the presets.
| | 00:06 | In this one, we are going to
create a lower third from scratch.
| | 00:10 | So once again, I'm going to pick a
representative frame--and these are all pretty
| | 00:13 | standard--to create a lower
third for Brian Dash, our installer.
| | 00:19 | With my playhead parked over a
representative frame, once again, I am going to
| | 00:23 | go back to Title, New Title, and
choose Default Still. Click OK.
| | 00:28 | And as you see, we have a picture of Brian,
and we're ready to start creating our lower third.
| | 00:33 | Now I do want to point out something
that's pretty important to take note of
| | 00:37 | when creating any kind of a title or
actually to realize whenever you're
| | 00:41 | creating any video that could be
broadcast onto a television set in someone's
| | 00:46 | home, and that is these two little
boxes. The outer one is called Action Safe,
| | 00:52 | and the inner one is called Title Safe.
| | 00:54 | On many TV sets, the viewer doesn't
see anything beyond this outer ring and
| | 01:00 | this is by design when people create television
sets to make sure they have a nice clean image.
| | 01:06 | Now every TV is built a little bit
different, so if you really want to be safe,
| | 01:10 | when putting in, say, a title or logo it
is recommended that you actually put it
| | 01:15 | inside the inner box,
which is called Title Safe.
| | 01:19 | So keep that in mind when
creating any kind of graphic or text.
| | 01:23 | Now if you're exporting to the web, your
viewer may see all the way to the edge.
| | 01:28 | So be careful there that you don't
have some garbage or trash or junk you
| | 01:32 | don't want them to see outside
of the title safe area either.
| | 01:37 | With that said, let's go ahead
and create a new line of text.
| | 01:41 | So the first thing I want to do is type
his name, and his name is Brian Dash, and
| | 01:46 | by default, the tool will choose the
last typeface that you used, or the default
| | 01:51 | if this is the first time
you have launched the tool.
| | 01:53 | But I can go over here to this dropdown
menu, and I can choose any title I want.
| | 01:59 | You may notice that you can
choose the font family here.
| | 02:02 | And as you see, it's the exact same
typefaces. Just use whichever is closest to
| | 02:06 | where your mouse is parked.
| | 02:08 | I'm a big fan of keeping things
simple, so Arial and Helvetica are my two
| | 02:14 | favorite typefaces to use.
| | 02:16 | We are going to go ahead. We tried
Arial Narrow. I think that's a little too
| | 02:20 | thin, so I want to just go with a
nice solid Arial Black, a nice solid title.
| | 02:26 | And I want to position this so I am
going to go back here to my Selection tool
| | 02:29 | and I'll put it down here where I want it to be.
| | 02:33 | And I am going to leave a little bit of space
for not only his name, but for his title.
| | 02:38 | As you see, this is still pretty boring,
and I don't go down to the Title Styles,
| | 02:42 | I want to build it from scratch so
you can get a sense of the flexibility of
| | 02:46 | the Title Properties part of the panel.
| | 02:49 | The first thing I usually do is I
select a color, and we are going keep it
| | 02:52 | simple. We are going to keep it with
a solid, and I am going to pick a color
| | 02:55 | that stands out, and generally White and Yellow
are the two most popular colors for lower thirds.
| | 03:02 | White if it's a darker background.
Yellow just to make it pop. It's all
| | 03:07 | personal preference, but make sure that your
title actually stands out from your background.
| | 03:13 | Now a trick that we'll learn later on
this movie is creating a bar and put it
| | 03:18 | behind the title but for
now let's make sure it pops.
| | 03:21 | Because this title is vector based,
you can really control exactly how it
| | 03:25 | looks on the screen.
| | 03:27 | We won't go super deep into topography,
but I just want to point out you
| | 03:31 | can control things such as Kerning,
which is the space between letters, and
| | 03:35 | tracking. Now you might say tracking
and kerning, they seem the exactly the same.
| | 03:39 | Well, tracking is the physical space
between letters and kerning is for letters
| | 03:44 | such as when the letter A is next to
the letter V, and you have that kind of
| | 03:48 | slanted line, how closely those go to together.
| | 03:52 | I want you to be aware that you can
really control a lot of elements here.
| | 03:56 | And if you make a mistake,
simply turn it off or press Undo.
| | 04:01 | But I do find that one of the most
valuable things to do to any piece of text
| | 04:05 | is to add a little bit
of a stroke or an outline.
| | 04:08 | Under Outer Strokes I am going to on a
click Add, and generally the default is
| | 04:13 | pretty good, but depending on how big or how
small your text is you may want to modify that.
| | 04:19 | I think a little more of an
edge is really going to punch.
| | 04:23 | So now this really stands out no
matter what color my background is.
| | 04:26 | The other thing you may want to add is a shadow.
| | 04:29 | Once you've added the shadow, you can
control the angle and the distance, and
| | 04:34 | the further back you get it--and
also there is an option for spread, and
| | 04:37 | really that's a softness because in
real life when you have shadow, it's not
| | 04:41 | always a hard edge.
| | 04:43 | So the defaults are actually pretty
good, but if you want to change it, it's
| | 04:47 | easy as just selecting it and modifying it.
| | 04:51 | Well, that looks pretty good to start,
and now I want to create the second line.
| | 04:55 | Instead of reinventing everything from
scratch, I am going to simply Option-drag
| | 05:01 | Brian Dash to create an exact
copy of what I have already created.
| | 05:06 | I can go ahead and move this one up a
little bit, and now I'm going to go ahead
| | 05:10 | and place the lower one which is a
perfect match of the typeface, the size, the
| | 05:17 | color, the outline, and the drop shadow.
| | 05:19 | And I could just go in and change and write
what his title is, which is Lead Installer.
| | 05:24 | But usually the second line is a
little smaller, so I can very easily, once
| | 05:29 | this is selected, go up to text and
scale that down and maybe change the color
| | 05:34 | a little bit just to give me a little bit of
difference in my lower third so it stands out.
| | 05:43 | Now don't panic that you can't
actually see this really well against the
| | 05:46 | white background. We're going to create
a bar that we are going to put underneath that.
| | 05:50 | Once I have actually created the copy,
I'll go back and select the Text tool or
| | 05:54 | hit keyboard shortcut of T, and I
am going to type in Lead Installer.
| | 05:59 | By pressing the Escape key, I'm back to
my positioning tool, and I'm good to go.
| | 06:03 | Now I could treat this and make it
larger or smaller as necessary, but one last
| | 06:08 | thing I want to make sure I do is
that I want these to line up. And I can
| | 06:12 | eyeball that, but sometimes it's easier
just to select them. I am going to lasso
| | 06:17 | both of them, go over to the Alignment tool.
| | 06:20 | And with the click of a button, I can
make sure that they are both justified
| | 06:23 | left in the same place.
| | 06:25 | The last thing I want to do is I want
to put a little bar behind here, and these
| | 06:29 | are Drawing tools, and you can kind of
see exactly what the tool is by looking at
| | 06:33 | the picture, and I am going to
start with a rounded rectangle tool.
| | 06:37 | I select it, and you'll notice that the
color is the last color that I picked.
| | 06:40 | But that's okay, don't panic.
| | 06:42 | And I am simply going to draw a
rectangle from my background and position it a
| | 06:47 | little bit off screen, and you're
thinking to yourself, wow, that's really ugly,
| | 06:53 | and I just blocked my letters.
| | 06:55 | Well, this is the starting point.
| | 06:56 | The first thing I am going to do is go
ahead and change that outer stroke to
| | 07:01 | either invisible or really small.
| | 07:03 | I'm going to change it to Invisible.
I don't want an outer stroke in my
| | 07:06 | background. Drop Shadow is okay, and that's
getting there. Don't want it to be Yellow.
| | 07:12 | I can simply go ahead and change the
color to something I like, but I don't want
| | 07:17 | this to be boring, so instead of being
a Solid color, I am going to choose a
| | 07:21 | Gradient. And there is a variety of
gradients, and I can choose--let's keep it
| | 07:24 | simple--a nice linear gradient from
green to green is pretty ugly to start, so
| | 07:31 | let's go ahead and double-click on
that square. I'm a big fan of blue.
| | 07:36 | We'll select a nice dark blue, click OK for
the top part of the gradient, go over
| | 07:42 | here, slide that over, and change our angle.
| | 07:48 | Now one of the things that I can do
once have created this angle here--now
| | 07:52 | we'll give it a little bit of a slant--
I like that--is I can also modify the
| | 07:58 | Color Stop Opacity. And what does that mean?
| | 08:00 | It means I can actually
make part of this translucent.
| | 08:04 | So now I can see his name and
everything is good except for the fact that his
| | 08:08 | name should be on top.
| | 08:09 | A simple right-click on that element,
choose Arrange, Sent to Back, and I
| | 08:17 | am almost good to go.
| | 08:18 | Let me go ahead and grab that
and move that up a little bit.
| | 08:22 | And I think that's pretty good. I think
it's a good place to start. I could have
| | 08:26 | obviously played with a lot of other
elements to make it pop, adding a little bit
| | 08:29 | of sheen and focusing his
name in the middle of that sheen.
| | 08:33 | But for right now, we're good to
go. Let's go ahead close this out.
| | 08:38 | And as you see, I now have
my Title here in my Project.
| | 08:42 | I am going to go ahead and rename that
lower third so I can always find it when
| | 08:46 | I need it and grab it, drop it onto
my timeline. There we go, a great lower
| | 08:53 | third. If that punches too hard, I could
play a little bit with the opacity, but
| | 08:58 | I think it's perfect, and I want to be
able to use that over and over again,
| | 09:02 | because I like the style.
| | 09:04 | To do that, I simply right-click on
the original one, duplicate, and now I can
| | 09:11 | actually start naming these instead of
just generically lower third, I can name
| | 09:16 | it, say, lower third in the person's name.
| | 09:18 | So let's say I wanted to add the name
of another person in the show and their
| | 09:23 | name is Michael. I'll drag it over
Brian, I don't think he will mind.
| | 09:27 | As you see, it still says Brian, but
now I simply double-click, it opens up in
| | 09:32 | the Title tool, select the first part,
and I am going to type in Michael--he is
| | 09:39 | going to be a Junior Installer--
press Escape, and close.
| | 09:45 | And if you notice it's now been
updated Michael Smith, Jr. Installer,
| | 09:48 | but our original one's still Brian Dash.
| | 09:51 | So creating a lower third is
actually pretty easy to do, and once you've
| | 09:56 | built one that you like, you can simply duplicate
it, rename it, and modify it as necessary.
| | Collapse this transcript |
| Creating a credit roll and crawls| 00:00 | Now once you have completely cut your
program, the last thing you want to do
| | 00:04 | before you export it to tape is probably
add credits, or credit roll, and this is
| | 00:09 | really easy to do in Premiere Pro.
| | 00:12 | So here we have our final show that we
created, and if you want, feel free to
| | 00:15 | scrub through and watch it on your own,
but I'm just going to go the last couple
| | 00:19 | of seconds and play the Out Point.
| | 00:23 | (video playing)
| | 00:27 | So now all the hard work of the cast
and crew needs to be recognized, and we're
| | 00:31 | going to create a credit roll.
| | 00:32 | Once again, you can go to Title > New
Title, and instead of choosing Default
| | 00:36 | Still, you can choose Default Roll.
| | 00:39 | Now you can also do a crawl, and a
crawl is basically what goes from left to
| | 00:43 | right or right to left across the
screen. Sometimes you see them when
| | 00:46 | thunderstorms are in your area, but
most of the time you will be making credit
| | 00:50 | rolls, but just realize you use the same
techniques that we'll be learning under
| | 00:54 | creating a default roll
to create a default crawl.
| | 00:58 | When you select a Default Roll, of
course you will see the same new title dialog
| | 01:02 | box that we've seen in the earlier
movies. Go ahead and make sure that you
| | 01:05 | rename it End Credits and press OK.
| | 01:10 | As you see, it looks exactly the same
as the previous times we've seen this
| | 01:15 | tool, but I want you to do
something different to start.
| | 01:18 | Instead of choosing the Type tool, I'm
going to actually have you choose the Area
| | 01:22 | Type tool to select the area where
you want your credits to roll from.
| | 01:27 | So for instance, if you only want them
to be in the left side of the screen and
| | 01:30 | you want to run some video over here,
you can control that by creating a box to
| | 01:35 | put your text in instead of typing your text.
| | 01:38 | Now I don't like to type, and I don't
like to type because of one thing, I tend
| | 01:43 | to make typos, so I always have my
producer of the client send me a list to
| | 01:48 | put in my credit rolls.
| | 01:49 | And as a matter of fact, I also have
them send me a list of all the people's
| | 01:52 | names for the lower-thirds.
| | 01:54 | So I'm just going to go ahead and hide
Premiere for just a moment, and as you
| | 01:59 | see, I have a list of credits that the
client sent me as a simple RTF document.
| | 02:05 | You can find the same document in the
exercise folders along with the projects
| | 02:10 | for creating titles.
| | 02:12 | All I have to do is select everything.
I'm going to copy it, which is Command+C
| | 02:18 | on a Macintosh and Ctrl+C on Windows,
step back into Premiere, and simply
| | 02:23 | Command+V or Ctrl+V on Windows to paste.
| | 02:28 | Now as we see, everything looks a
little bit big, and I really don't see
| | 02:31 | everybody's hard work.
| | 02:33 | So you can use a lot of the
same tools that you used before.
| | 02:36 | I can go ahead and scale it down. You
notice as I scale it down it wraps, and I
| | 02:41 | can actually now see if
it's on one line or two lines.
| | 02:44 | So in this case, I think what I'm going
to do is go ahead and select and stretch
| | 02:48 | my box out and really take
advantage of the entire title safe area.
| | 02:54 | And now I can make my text bigger
or smaller and see where it fits.
| | 02:58 | Now this is justified left, so I'm
going to click on one of these buttons here
| | 03:02 | and the obvious one would be Justify
Center, I'm getting closer to where I want
| | 03:06 | it to be, and I can leave it wider if I
wanted to, I could change the color to
| | 03:11 | say yellow, but I think white is really
nice for what we have, and this is one
| | 03:15 | of the tricks you need to know.
| | 03:17 | I want to stretch this box out to make
sure that I get everybody's name in it.
| | 03:23 | So if you don't stretch it out, it
doesn't know there are names below that, so
| | 03:27 | now I've listed everybody's names, I've
positioned it where I want it to be, and
| | 03:32 | I'm almost ready to send it
back into the application.
| | 03:36 | Now this will look nice against a
black background, but if I'm going to roll
| | 03:41 | these credits over footage or
something else that might have a lighter
| | 03:46 | background. Keep in mind that you may
want to--if you didn't change the color--put
| | 03:51 | an outline or a shadow on this.
| | 03:54 | If you know you are going to go over a
black background, this is great--and by the
| | 03:58 | way, if you discover there is a problem
you can always go back and select the
| | 04:02 | Text tool, and if there was a typo, you
can always change it so you're not locked
| | 04:07 | into what you just cut and pasted.
| | 04:09 | Now before we send it back, I'm going
to click over here on the Roll/Crawl
| | 04:12 | Options, and I get a dialog box, and
for the most part we can leave it the way
| | 04:17 | it is. As a matter of fact, I can even
modify this after the fact and say, you
| | 04:21 | know, something needed it to be a crawl,
needed it to be a still, but we are
| | 04:24 | going to leave it as Roll.
| | 04:25 | But what I really like is for timing for
the credits to start off screen and for
| | 04:30 | them to end off screen.
| | 04:32 | And I can also control if I wanted to
ease it in a little bit, so we'll put an
| | 04:36 | Ease-In of about 15, press OK, and we
are going to go ahead and close this.
| | 04:43 | And you'll see that our End Credits are
now an element inside our Project panel.
| | 04:49 | And double-click, open them up, make a
change if I wanted to, but I'm ready to
| | 04:53 | bring them into the Timeline.
I simply grab, drag, and drop.
| | 04:58 | Let's hit the Spacebar
and watch our credit roll.
| | 05:05 | Now it's absolutely perfect if you were
a speed reader or you didn't want people
| | 05:09 | to know who really worked on the show,
but I think it's a little fast for the
| | 05:13 | real world. To slow it down, simply
grab the edge, and the longer you make this
| | 05:17 | piece of media, the slower it
will roll. Let's watch it again.
| | 05:22 | (video playing)
| | 05:33 | That's a lot easier to read. It takes a
little bit of a long time to come on, and
| | 05:37 | that's because I made one change--which
I'm going to change back--which is the
| | 05:40 | ease-in. Let's bring that
back to 0, and we'll ease out at 0.
| | 05:47 | Making a change is really
simple with the Title tool.
| | 05:52 | (video playing)
| | 06:03 | And there you go. You see the full
title tool. If I wanted to put it over a
| | 06:07 | background, I can simply move it up a
level, choose a nice background shot.
| | 06:14 | I really love that time lapse animation of
the San Francisco Airport, so I'm going
| | 06:19 | to just throw that underneath.
| | 06:20 | But the point I'm trying to show
here is that your crawl is over a
| | 06:24 | transparent background so you can
choose after the fact whether you want it
| | 06:28 | over black or over an image.
| | 06:31 | Creating credit rolls are really easy,
the trick is type up your list in a
| | 06:36 | document and just copy and
paste when you're ready to roll.
| | Collapse this transcript |
| Using Photoshop for titles| 00:00 | A lot of people like to use Photoshop as
a titling tool, and that's great if you
| | 00:05 | know Photoshop really well.
| | 00:07 | Let me show you a really cool trick for
leveraging the power of Premiere Pro and
| | 00:12 | the power of Photoshop together.
| | 00:14 | If I want to use Photoshop to create a
title instead of starting in Photoshop,
| | 00:19 | I'm actually going to start in Premiere Pro.
| | 00:21 | All I need to do is go up onto the
File menu, New, and I say create a Photoshop File.
| | 00:28 | When I click that, it'll ask me what
size do I want the file to be, and it will
| | 00:32 | default to my sequence settings,
which is absolutely perfect.
| | 00:36 | I'm going to simply hit OK, and then
I get the option to save this title.
| | 00:41 | And I'm going to go ahead for
ease-of-use call it Photoshop Title.
| | 00:46 | There is one more option I can choose
if I wish, which is when I bring it
| | 00:50 | back in to the project, do I want them to be
merged as a single layer or as separate layers?
| | 00:57 | And we discussed working with
Photoshop layers in an earlier movie.
| | 01:02 | When Photoshop opens, everything is
already set to the perfect aspects ratio and
| | 01:06 | frame size, and I can begin my work.
| | 01:08 | We are going to keep it simple here and just
add some text and perhaps a bar for a lower-third.
| | 01:14 | So I'm going to switch over to the
Text tool and type the word Bulb because
| | 01:18 | that's what I want in my title.
| | 01:21 | Photoshop remembers the last typeface
you used, the size, and the color, so since
| | 01:26 | I used yellow before, and Impact--which
is a nice solid typeface--I have the
| | 01:30 | perfect text that I want.
| | 01:32 | Once I've typed the word I wanted, I
can go ahead and switch over to the
| | 01:35 | Selection tool and move that
around wherever I need it to be.
| | 01:39 | But if I would just be typing text,
why not use the Title tool in Premiere?
| | 01:44 | Well, there is a lot more things that I
can do in Photoshop that I can't do in
| | 01:48 | Premiere, such as I can take this Bulb,
and I can apply a Layer Style to it to
| | 01:53 | give it a nice bevel and embossing.
| | 01:58 | As you see, that already starts to
look better, and I'm going to add a little
| | 02:01 | bit of contour and texture, and that's
something I can't do this quickly in Premiere Pro.
| | 02:06 | I'm going to go ahead and accept that
and position my Bulb down over here.
| | 02:12 | Now while I'm in Photoshop, I might
as well make a nice-looking bar to put
| | 02:16 | underneath the Bulb, so I'm going to go
ahead and select the Rectangle tool and
| | 02:20 | simply draw a nice lower-third line.
| | 02:24 | I'm going to apply the same layer style
that I did before, a Bevel & Emboss.
| | 02:29 | I will give it a little bit of a
color overlay because I don't want that
| | 02:33 | background to be yellow.
| | 02:35 | And will change that Overlay
Color from red to a nice blue.
| | 02:41 | And pull back the Opacity a little bit,
press OK, and since my letters are now
| | 02:46 | behind my rectangle, I'll simply grab
and move that to the top. This is pretty
| | 02:51 | quick and dirty in Photoshop,
but it gets the point across.
| | 02:55 | Once I've built my lower-third,
all I need to do is save it.
| | 03:01 | I will get a warning box, but that's
okay, and when I step back into Premiere,
| | 03:07 | my Photoshop title is already built, and
I can simply drag it directly on top of my clip.
| | 03:13 | So there we go. We have a lower-third
giving an ID so we know that this is a bulb.
| | 03:20 | And because this is still a Photoshop
document, if I needed to make a change, I
| | 03:25 | could simply right-click, and I could
edit in Adobe Photoshop, make a quick
| | 03:29 | update by moving the Bulb, text to
the right, save again, and now back in
| | 03:36 | Premiere Pro it's been updated.
| | 03:38 | As you see, there are some things you
can do in Photoshop that you can't do
| | 03:42 | easily in Premiere Pro, but
Premiere Pro allows you easily to create a
| | 03:47 | Photoshop document from within the application
that's going to be a perfect fit for your final show.
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|
|
14. MulticamIntroducing multicam editing| 00:00 | In this chapter we're going to look
at creating a Multi-Camera Sequence and
| | 00:04 | doing a Multi-Camera Edit.
| | 00:06 | Before we get into that, I just want to
talk about what Multi-Camera is all about
| | 00:10 | and the advantages, and there's no
project file with this so you can just watch
| | 00:14 | along, but it'll just help you
understand some of the basics.
| | 00:17 | If you've shot, say, three cameras
simultaneously, and you wanted to edit them
| | 00:22 | together, initially you may think that
you need to stack them on your Timeline
| | 00:27 | like I have here or and then just used
the razor blade to cut holes to reveal
| | 00:32 | the clips above and below.
| | 00:33 | Of course one of the challenges is
syncing them up, so as you cut from
| | 00:37 | camera to camera everything stays in sync.
| | 00:40 | Well, this is one way of doing it, but
it's not that efficient, and Premiere Pro
| | 00:46 | allows you to automate a lot of this hard work.
| | 00:50 | What you can do is create what's called
a Multicam Source Clip which allows you
| | 00:55 | to sync up all of your cameras
and view them all at the same time.
| | 01:01 | In addition to just viewing your clips,
you can actually edit your clips on the
| | 01:04 | fly with the Multi-Cam Monitor.
| | 01:07 | Now we have a clip already in our
Timeline, we have merged them together, and you
| | 01:12 | are going to learn how to do
that in the next couple of movies.
| | 01:15 | But for now, I just want you to see how it works.
| | 01:18 | So with the Multicam Sequence selected
I can open up the Multicam Monitor, and
| | 01:23 | as I scrub through if I wanted to make
an edit, I can simply hit Play and switch
| | 01:30 | my cameras on the fly just like
you would see in a live TV studio.
| | 01:36 | So that's a 10,000-foot overview
about multi-camera editing. In the rest of
| | 01:40 | the chapter we are going to show you how you
can use the multi-camera features in Premiere Pro.
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| Creating a multicam clip with timecode| 00:00 | In this movie we're going to explore
how to sync three clips together using
| | 00:04 | something called Timecode.
| | 00:06 | Now Timecode requires specific
broadcast cameras, so if you don't have Timecode
| | 00:11 | on your clips, you can go ahead to the
next movie where we will be using other
| | 00:15 | methods to sync up your footage.
| | 00:17 | Now I want to point out that clips
with timecodes were a little too big to
| | 00:21 | include with a project file, so there
is no project file for this lesson, so
| | 00:27 | just go ahead and watch.
| | 00:29 | Now if you do have Timecode, this should
look familiar. Let me load each of these
| | 00:33 | clips into my Source Monitor, and as
you see, there is a Timecode number or a
| | 00:38 | stamp of the hours, minutes,
seconds, and frames when we recorded this.
| | 00:43 | I'm also working under the assumption
that if you're using Timecode you've
| | 00:47 | jammed the cameras together so
that they all have matching Timecode.
| | 00:52 | I'll double-click on camera B and
camera C, and you can see they have similar
| | 00:56 | timecodes, but the cameras did start
rolling at different points in time.
| | 01:02 | The nice thing about Premiere Pro is
that no matter when your cameras started
| | 01:05 | rolling or stopped rolling, it's very
easy to sync them up using the Timecode
| | 01:10 | that's recorded in the metadata of your footage.
| | 01:13 | To sync these clips up, it's as
simple as selecting all of the clips that
| | 01:18 | have matching Timecode, right-clicking, and
saying create a Multi-Camera Source Sequence.
| | 01:25 | When I select that I'll be greeted by a
dialog box that asks me to name the sequence.
| | 01:30 | This is really important to understand.
| | 01:33 | When you select the clips, the order
that you select them in your Project panel
| | 01:39 | is going to be the order that they are
organized in this new multicam source
| | 01:44 | clip that you're creating, and the
reason this is important is that your primary
| | 01:49 | audio is going to come from
that very first selection.
| | 01:54 | So whether you have 2 cameras or 100
cameras, make sure you select the camera
| | 02:01 | angle that has the master audio first,
and you know you'll have done that
| | 02:07 | because Premiere Pro will try to name
the multi-clip after that first selection,
| | 02:13 | in this case Camera C was my best
audio, so that's why I chose it.
| | 02:19 | Go ahead and change that to something
that's more useful such as Multicam of interview.
| | 02:27 | Now before you hit OK, switch from synchronize
via In Points to synchronize via Timecode.
| | 02:34 | Now if your cameras were jammed but
each one has a different starting hour, so
| | 02:39 | you can discriminate between which
camera was what, Premiere Pro allows you to
| | 02:43 | ignore the hours part of your Timecode.
| | 02:46 | In this case it's not necessary, but
it doesn't hurt to leave it checked.
| | 02:50 | I'll press OK and Premiere Pro now makes a special
multicam source clip of the interview.
| | 02:58 | By double-clicking on this and loading
it into my Source Viewer, you can see all
| | 03:03 | three clips are now completely in sync,
and I'm ready to start editing with them.
| | 03:09 | Of course, the next step would be to edit,
but just in case the Timecode doesn't
| | 03:15 | sync up and your cameras weren't set,
I'm going to show you how to sync up your
| | 03:18 | footage using your Clapboard in the next movie,
and then later in the chapter we'll get to editing.
| | Collapse this transcript |
| Creating a multicam clip using sync points| 00:00 | Now, there may be some instances where
you don't have Timecode on your tapes, and
| | 00:05 | actually that's more likely than not.
| | 00:07 | Well, the beautiful thing about
Premiere Pro is you can actually sync up your
| | 00:10 | clips by just marking an In Point or an Out Point
at a specific location on each of the clips.
| | 00:17 | Now, in our case, we're going to be
using clapboard, and as you can see, there
| | 00:21 | is the clapper and right when he
slams it, I can sync up all my cameras.
| | 00:25 | Now, if you don't have a clapboard,
don't worry, you can simply use a camera
| | 00:29 | flash to sync things up, or just ask
your talent to clap their hands so you
| | 00:34 | have an impact sound that you
can line up all of your clips.
| | 00:37 | So what we want to do is find precisely where
the clapboard closes and Mark an In Point.
| | 00:43 | Now, I can scrub through and visually
see that, but if I want to be really
| | 00:47 | precise, I can go over here to the
dropdown menu and switch over to Audio
| | 00:52 | Waveform. As you see, I can be very
precise and exactly position my playhead
| | 00:58 | right when the clapboard closes.
| | 01:00 | Now I want to simply Mark an
In Point by pressing the I Key.
| | 01:04 | I'm going to go ahead and do that to
Camera A and Camera B also, double-click to
| | 01:10 | load it into the viewer, scroll
through until I see the clapboard about to
| | 01:15 | close, and then I'm going
to switch to the Audio panel.
| | 01:19 | And in this case I'm going to use my
Left and Right Arrows to get precisely to
| | 01:23 | the first time I hear that clapboard.
| | 01:25 | Once again, I'll Mark an In Point and
let's go ahead and do the same thing with
| | 01:29 | Camera C. Using my keyboard, I'll simply
move forward and backwards. Perfect!
| | 01:44 | Now I'll Mark the In Point, and I'm
ready to create my multi-camera source clip.
| | 01:49 | Now, before you do anything, this
is an important thing to understand.
| | 01:54 | When you create a multi-camera source
clip, the camera that has your primary
| | 01:58 | or main audio should be the first one
you select in your Project panel, so one
| | 02:03 | of your cameras will have all of the clean
audio that you are going to switch through.
| | 02:08 | In my case, it's the wide shot.
| | 02:10 | I'm going to load this clip into the
Source panel and switch back to the visual,
| | 02:15 | and I know for a fact that because this
was the two shot, we were running both
| | 02:19 | of their mics into this camera and
it has the cleanest and best audio.
| | 02:23 | By selecting this angle first and then
selecting my other angles, I am able to
| | 02:29 | force Premiere Pro to choose that
as my primary audio when creating my
| | 02:33 | multi-camera source clip.
| | 02:35 | I'm going to go ahead and right-click
on this, and I'm going to say Create
| | 02:39 | Multi-Camera Source Sequence.
| | 02:41 | It's going to ask me to Name the Sequence, and
this is great, because this is like a double check.
| | 02:46 | It will name the sequence after that
primary angle, and as you can see, it says
| | 02:51 | Interview Camera B, which is my wide
shot, and let's go ahead and change it to
| | 02:55 | something more useful.
| | 02:57 | I'll simply delete the front part,
and I'll call it Multicam Interview.
| | 03:04 | Now, this is important, Synchronized
Point, you can choose to synchronize by
| | 03:08 | the In Point or the Out Point, or as
we did in the earlier movie by Timecode,
| | 03:13 | and because we marked In Points when the clapboard
closed, that's what we are going to choose.
| | 03:18 | If for some reason you forgot to use a
clapboard or use any kind of a flash or a
| | 03:24 | clap until the end of the take, you
could, of course, put them at the end of the
| | 03:28 | shot and use your Out Point.
| | 03:31 | Let's go ahead and press OK and
create the multi-camera source clip.
| | 03:37 | You'll notice in the Project Pane
is your Multicam Interview, and if I
| | 03:41 | double-click to load this into my source
monitor, I see that my two shot with my
| | 03:46 | clean master audio is in the primary position.
| | 03:50 | So that's how simple it is to create a
multicam source clip using a sync point.
| | 03:55 | Now we're ready to edit, and we'll
look at how to do that in the next movie.
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| Editing a multicam clip in a Timeline| 00:00 | Now that you've learned how to create
your multicam source clip, let's look at
| | 00:04 | editing it into a sequence
and switching your cameras.
| | 00:08 | I'm going to simply grab the
Multicam Interview clip and drop it into
| | 00:12 | my existing sequence.
| | 00:14 | If you're following along without the
exercise files, go ahead and create a
| | 00:18 | sequence, drop it in, and make sure
that it matches your multicam source clip.
| | 00:23 | I'm going to go ahead and play this
clip, and as you see we have all of this
| | 00:27 | junk at the head of the clip before
he actually asked the first question.
| | 00:32 | I'm going to simply scrub through
right to the moment where he asks the question.
| | 00:38 | There we go. That's a good start point,
and I'm going to switch my tool to the
| | 00:42 | Ripple Edit tool and just remove all
that excess material at the beginning, and
| | 00:47 | as you see, using the Ripple tool, it
cuts off the head and deletes everything
| | 00:51 | and snaps the clip right to
the beginning of my Timeline.
| | 00:54 | Go ahead and make sure you switch back
to your Selection tool, which is always a
| | 00:58 | good procedure whenever you switch tools,
keyboard shortcut V. Now we're ready
| | 01:03 | to actually start our switching.
| | 01:05 | Well, we have the clip in the Source
panel, but that's not really where the
| | 01:09 | real switching happens.
| | 01:11 | You need to open up another window, and
that's located directly under the Window
| | 01:16 | dropdown menu, and it's called
Multi-Camera Monitor. With this selected, a
| | 01:21 | brand-new panel will open up, which
actually looks pretty darn useful.
| | 01:25 | I have my three cameras over here on
the left, and as I click on them I see
| | 01:30 | them updates here on the right, and I
can scrub through my clip, and as you can
| | 01:35 | see, it all updates.
| | 01:38 | Now, with this version of Premiere Pro,
you're no longer limited to just four
| | 01:42 | cameras. As a matter of fact, you can
have an unlimited number of cameras, you
| | 01:45 | just need to make sure you have fast
enough hard drives and the hardware to
| | 01:50 | support that many cameras.
| | 01:52 | At this point, we are ready
to start our multi-camera cut.
| | 01:57 | Now, this window will open up just
floating over everything else, and I find
| | 02:01 | that a little bit distracting, so as we
learned in an earlier lesson, I can go
| | 02:06 | ahead and drag that and dock
that next to my Source panel.
| | 02:12 | I'm going to move my playhead back to
the beginning of the clip, and now to
| | 02:16 | start editing I would simply hit Play,
and as it plays I'll cut my video between
| | 02:21 | the different cameras.
| | 02:23 | Since I've put my master audio onto my
audio track, I'm going to leave that the
| | 02:28 | way it is and only cut between my video.
| | 02:31 | Now, I can cut one of two ways:
| | 02:34 | I can either click on the images, or if
I wish, I can actually use the numeric
| | 02:38 | keypad and use 1, 2, and 3 to
switch between each of my three cameras.
| | 02:44 | As a matter of fact, if I had nine
cameras, I could switch with them numerically
| | 02:49 | with the keypad, the numbers 1-9.
| | 02:53 | Let's go ahead and begin our
edit by just clicking on the images.
| | 02:57 | I'll press Play, he asked the first question.
| | 03:01 | (male speaker: What is solar energy?
And what are the benefits of adopting it
| | 03:04 | at home or at work?)
| | 03:06 | (female speaker: Solar energy is the conversion
of sunlight into electricity. It's also known as--)
| | 03:12 | Maybe we'll go to a wide shot now.
| | 03:13 | (female speaker: --light or voltaic electricity.)
And back to her.
| | 03:18 | (female speaker: --do that is through solar panels.)
| | 03:21 | I'm going to go ahead and stop
playback by pressing the Spacebar, and if you
| | 03:24 | take a look at our sequence, you see
all the cuts that I had made on the switch appear.
| | 03:31 | Now, if I like what I've done, I can
keep going by pressing the Play button and
| | 03:37 | this time I'll use the numeric keypad to switch.
| | 03:39 | So I'm going switch to her camera, which is 2.
| | 03:42 | (video playing)
| | 03:49 | A reaction shot from him
on 3, and the wide shot.
| | 03:56 | Now, there's definitely a problem here,
because there's a pause that we're
| | 04:00 | going to need to pull up, and as you
see, the edits that I switch to with the
| | 04:04 | keypad work just as well.
| | 04:06 | Multi-camera editing in Premiere Pro is
rather intuitive as long as you've set
| | 04:11 | things up correctly. It's just a
matter of hitting play and clicking on the
| | 04:15 | shots that you want.
| | 04:17 | Now, if you don't click perfectly,
don't worry, because you can always refine
| | 04:22 | your edit, and we're going to look
at how to do that in the next movie.
| | Collapse this transcript |
| Refining a multicam edit| 00:00 | In this movie we're going to
look at refining your edit.
| | 00:04 | Now, if you did a switch on the fly,
you might have been a little bit too early
| | 00:07 | or a little bit too late on the cut, but
don't worry because you can use all the
| | 00:11 | same editing tools on your multi-camera
source clip that you would when you
| | 00:15 | would be doing your regular edit.
| | 00:17 | For example, if I take a
look at this cut right here.
| | 00:21 | (video playing)
| | 00:26 | I would really like that cut to come
just a hair later, just when she is
| | 00:30 | actually turning her head, because
the cut would be hidden by the movement.
| | 00:34 | And I can do that very
simply with the Roll tool.
| | 00:37 | I'm going to zoom in on my Timeline by pressing
the Plus key so you can see how easy this is.
| | 00:44 | I think that's a good point where
I want the cut to really happen.
| | 00:47 | I'll simply go over here, select my
Rolling Edit tool or use the keyboard
| | 00:52 | shortcut of N, grab the cut point,
and snap it right to the playhead.
| | 00:57 | So now instead of the edit happening too early,
it happens precisely when I want it to.
| | 01:04 | (female speaker: -- and the way we
do that is through solar panels.)
| | 01:08 | If I wanted to tweak it a little bit
more right when she starts lifting her
| | 01:11 | eyebrows, I can continue and
modify it until I feel it's perfect.
| | 01:16 | (video playing)
| | 01:21 | Now, suppose I wanted to actually make
a cut at this point, and instead of being
| | 01:26 | on the wide shot, be on him
reacting to what she is saying.
| | 01:30 | As I move my playhead down in my Timeline,
you notice that it adjusts up here in
| | 01:36 | my multi-camera source monitor.
| | 01:38 | Well, if I just clicked on his face
right there, what would happen is it would
| | 01:42 | swap out the shot, and I would be going
to a close up of him the whole time, and
| | 01:46 | that's not what I want to do.
| | 01:48 | So let's jump back to the two shot
and instead of just a plain click on his
| | 01:53 | face right there, I'm going to hold
down the Command key if I'm on a Macintosh,
| | 01:57 | and if I'm on the Windows platform I'd hold down
the Ctrl key, and then I would click on Camera 3.
| | 02:04 | Take a look at what happens in the Timeline.
| | 02:07 | Instead of swapping out the entire clip,
it actually puts a cut at that point
| | 02:12 | and then swaps the clip out from
that point until the next clip.
| | 02:16 | Let's play that back and see how it looks.
| | 02:21 | (female speaker: --and they way we
do that is through solar panels.)
| | 02:27 | So as you see, you don't necessarily have
to commit to your original cut on the fly.
| | 02:30 | You can always modify it after the fact.
| | 02:34 | I'm going to go ahead and press the
Backslash key so we can see our entire
| | 02:38 | sequence, and I'm going to show you a
couple of more really useful techniques
| | 02:43 | when working in multi-camera editing.
| | 02:45 | Another way you can actually make
a cut and swap out cameras is the
| | 02:50 | old-fashioned way of switching over to
your Razor Blade tool and simply cutting
| | 02:55 | wherever you want the camera to switch.
| | 02:57 | Now, once you've done that, I can
simply right-click on any clip, go up to
| | 03:02 | Multi-Camera, and choose
which camera I want it to be on.
| | 03:06 | So instead of being on the close up of
him, I really think it would be nice to
| | 03:09 | be on the wide shot, so a simple
selection and a click, and you see that we go
| | 03:14 | from a close up of her to a wide shot
and then back to a reaction shot of him.
| | 03:19 | (female speaker: Solar panels can be installed
in your roof at home, or in a ground-mount--)
| | 03:29 | So it's simple to swap out a clip by
right-clicking on it and selecting the
| | 03:32 | angle that you want.
| | 03:34 | Now, there's another problem that I
have with this clip, and I'm going to
| | 03:38 | use this to show you another great feature
of the Multi-Camera Editing tool in Premiere Pro.
| | 03:44 | At about 40 seconds in he looks down
at his notes, and there's a long pause
| | 03:49 | between when she finishes her first
question and answers the second question.
| | 03:54 | So what I want to do is simply slice off
the end, and I'm going to throw it away.
| | 03:58 | And I'm going to do that specifically
to show you how easy it is to add more
| | 04:01 | multi-camera source clips to your sequence.
| | 04:04 | So if I want to slice this off and
delete it, I can go get the Razor Blade tool
| | 04:08 | and cut both the video and the audio, select it
all, and press the Delete key to remove it.
| | 04:17 | Now, how do I add the next shot?
| | 04:18 | Well, remember, we created that multi-
camera interview, so I double-click on it
| | 04:23 | in the Project panel, load it into the
source monitor, and let's go find the
| | 04:28 | point where he pauses and
looks down on his notes.
| | 04:32 | There it is. And I'm going to pick it up
right when he turns his head and starts
| | 04:36 | looking up, and asking the
question and mark that as my In Point.
| | 04:40 | And now I can perform an Insert Edit and
place that clip directly in the Timeline.
| | 04:46 | Let's take a look at that cut.
(video playing)
| | 04:52 | I was close, but not quite precise
enough, so let me just back up, and we are
| | 04:57 | going to actually tighten this edit up
directly in the Timeline, even though it
| | 05:01 | still is a multicam clip.
| | 05:04 | So I want to pick it up right when he
starts talking, I'm going to go over here
| | 05:07 | and select my Ripple Edit tool,
keyboard shortcut B, and simply grab it, and
| | 05:13 | just like we did at the very
beginning of this clip when we removed all the
| | 05:17 | footage after the clapboard,
I can do the same thing here.
| | 05:21 | (video playing)
| | 05:30 | Our viewer would never know there were
several seconds between the answer of the
| | 05:34 | first question and the
asking of the second question.
| | 05:37 | Switching back to the Selection tool, I
can simply select this clip, queue it up
| | 05:42 | to the beginning, and as long as I'm in
my multi-camera monitor, I can hit Play
| | 05:47 | and continue my switch.
| | 05:51 | (male speaker: --how can it help to
reduce carbon emissions in the atmosphere?)
| | 05:55 | (female speaker: Solar energy is actually really clean.
| | 05:57 | The manufacture of solar panels is
done in a clean-room environment--)
| | 06:02 | And once again, as soon as I pause
playback, I'll step back so you can see it,
| | 06:07 | all my edits are in place.
| | 06:10 | At first blush multi-camera editing
might seem a little bit intimidating, but
| | 06:15 | as long as you follow a few rules and
with a little bit of practice, you will
| | 06:19 | have it down in no time.
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15. ExportingExporting a movie| 00:00 | When you're ready to export a copy of
your movie, it's as simple as going under
| | 00:04 | the File menu, selecting
Export, and choosing Media.
| | 00:10 | As soon as you do that, you will be
greeted with this dialog box, and for the
| | 00:14 | most part you are not going to change
a lot of things, but let me show you a
| | 00:16 | couple of important things
that you'll need to know.
| | 00:19 | The first thing is in the lower left-hand
corner, you have a choice for what you export.
| | 00:24 | And if I click on this dropdown menu,
you can see that I can export the In to
| | 00:29 | Out point in my timeline or the Entire Sequence.
| | 00:33 | Most of the time you want to do the
Entire Sequence and by accident you only
| | 00:37 | export what you have an In and Out point
marked, which is likely your last edit.
| | 00:42 | In addition, I can export the Work Area,
and we touched on what a Work Area was
| | 00:46 | in an earlier movie.
| | 00:48 | Or if I wanted to, I can actually
customize the part of the program I want to
| | 00:52 | export by either just clicking Custom
or it will automatically switch to Custom
| | 00:57 | if I grab these sliders.
| | 00:59 | And what I'm doing by grabbing these
sliders is literally selecting the part of
| | 01:04 | the show that I want to export.
| | 01:06 | For our purposes we are
going to select Entire Sequence.
| | 01:10 | Now in the upper right-hand side of
this dialog box, there is a choice to
| | 01:14 | Match Sequence Settings.
| | 01:16 | Now take a look at what happens in the summary
part of this when I click to turn it on.
| | 01:22 | It changes the settings to the exact
same settings as my sequence, and this is
| | 01:27 | great if I want to create an archival version
of my program without any kind of compression.
| | 01:32 | And I usually export at least one version
of my program using these settings as a backup.
| | 01:38 | Now if I uncheck this I now have a
choice of other settings I can use when
| | 01:43 | exporting my sequence.
| | 01:46 | If you click on Format, you'll see
there's a variety of codecs that you could
| | 01:50 | use when exporting your video.
| | 01:53 | Most of the time you'll probably choose
H.264, and when you select this you'll
| | 01:57 | notice that your presets could change.
| | 02:01 | With H.264 selected, if you click on
the preset dropdown menu, you will see a
| | 02:05 | variety of devices that can
actually read an H.264 file.
| | 02:10 | Now I specifically want to make a copy
that I can give to my friend that will
| | 02:13 | play on their iPhone.
| | 02:15 | So I'll select the iPad 2, iPhone 4
settings, and as you see, I'm good to go.
| | 02:22 | Now you can't export just the video and
the audio separately, but of course, we
| | 02:25 | want our entire project.
| | 02:27 | There are a lot of settings that you
can play with to change, but I recommend
| | 02:31 | leaving things at their default.
| | 02:33 | The engineers at Adobe worked really
hard to tweak these so you'll get the best
| | 02:37 | quality output of your program.
| | 02:40 | The only change I might make is
switch to Use Maximum Render Quality.
| | 02:45 | What this does is it analyzes the file
just a little bit more to make sure you
| | 02:50 | get the sharpest image possible.
| | 02:51 | The trade-off is it will take a
little bit longer to encode the file.
| | 02:57 | When you're done, you probably are
ready to hit Export, but there's one more
| | 03:00 | change you need to make.
| | 03:02 | And that is what is the name of
your file and where is it going to go?
| | 03:06 | So make sure before you hit that Export
button, click where it says Output Name
| | 03:11 | and you'll have the option to not only
change the name from Edited Sequence to
| | 03:16 | the actual name of your show, but you'll
also be able to target its destination.
| | 03:21 | Let's go ahead and rename this PSA, and I'm
going to put it directly on my Desktop.
| | 03:28 | Now you're really ready to export.
| | 03:31 | If you press Queue, you will actually
launch the Adobe Media Encoder, and we'll
| | 03:36 | explore that in the next movie.
| | 03:38 | But for now, let's go ahead
and export our final program.
| | 03:42 | As soon as you hit Export, Premiere Pro
will start Encoding your Sequence.
| | 03:47 | Now one thing to take note of, while
you're exporting, you can't continue
| | 03:52 | editing other projects because all of
your processor power is being devoted to
| | 03:57 | getting your file to the
right size and the right place.
| | 04:02 | When the Encoding is done, you return
to the Premiere Pro interface, and let's
| | 04:06 | go ahead and hide that, and as you see,
the final movie is on our Desktop.
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| Sending to Adobe Media Encoder| 00:00 | In this movie we are going to look at
the Adobe Media Encoder to look at how you
| | 00:04 | can encode your final film to
a variety of output formats.
| | 00:09 | For instance, for iPhones, for
Androids, for the web, as well as for DVD.
| | 00:14 | As we did in the previous movie, we
will select the sequence that we want to
| | 00:18 | export, go under File > Export, and select Media.
| | 00:22 | You will be greeted with the same
dialog box that we saw earlier when we were
| | 00:26 | exporting out a single movie, but in
this case, instead of pressing Export, we are
| | 00:31 | going to press Queue, but there are
still a couple of things you should do
| | 00:35 | before you go there, a couple of best practices.
| | 00:38 | First of all, double check to make sure
you're exporting the part of the video
| | 00:42 | that you want and make sure that if
you don't want just from your In point to
| | 00:47 | Out point, and you want your entire
show to switch that to Entire Sequence.
| | 00:52 | The other good practice is to Rename
it from the Name of the Sequence to
| | 00:55 | the Name of the Show.
| | 00:58 | So I'm going to go ahead and select
that, and I'm going to change this from
| | 01:01 | Edited Sequence to PSA.
| | 01:04 | Now if I wanted to, I could target
the Movies folder, but we are going to
| | 01:07 | actually do that within Adobe Media Encoder.
| | 01:10 | So let's go ahead and press Save.
| | 01:13 | Now you will press Queue, and Adobe
Media Encoder will launch, placing your
| | 01:18 | Edited Sequence inside your Queue.
| | 01:20 | Now what I really like about the
Media Encoder is that I can pick a variety
| | 01:25 | of different output formats, and I don't have
to be an engineer to figure out what to choose.
| | 01:30 | They have grouped this by the basic types
of devices that I may be exporting for.
| | 01:35 | For instance, if I want to make sure
that my movie will play on both an
| | 01:39 | Android phone and an Apple phone, I
can go under here under the Android
| | 01:44 | Settings, select the best choice for
my show and simply grab and drag that
| | 01:50 | onto my Edited Sequence.
| | 01:52 | I also want this to be playable on
Apple devices, so I can go down here, and in
| | 01:58 | this case, I'm going to select an Apple TV,
an iPad, and maybe one of the newer iPhones.
| | 02:03 | As you see, we are starting to queue
up a variety of different compressions.
| | 02:08 | You'll also notice that the name that
we gave it earlier, PSA, has now been
| | 02:13 | appended to the slightly different version,
because in this case they're both MPEG4 files.
| | 02:19 | Let's do one more so can see how it works.
| | 02:21 | I want to put a copy of my movie on
YouTube, and instead of just putting out a
| | 02:26 | generic movie, uploading it to YouTube,
and having to have it recompressed, I
| | 02:30 | can actually make the selection here
and follow the specs that YouTube uses
| | 02:35 | when streaming my video.
| | 02:37 | Since we created this at 720p, 29.97,
I'm going to go ahead and choose that
| | 02:43 | option, because that's the
closest to my original sequence.
| | 02:46 | Now if you look under output file, you
see exactly where the file is going. If I
| | 02:52 | go ahead and click on that I can rename
the file if I want, and I can target to
| | 02:57 | put that file in any location I want.
| | 03:00 | So for instance, if I wanted it in my
movies folder, I could go ahead and do
| | 03:04 | that, and I could change the name from
PSA_1_1 to PSA for YouTube and then simply hit Save.
| | 03:15 | And as you see, it's been updated
here in my output file, and I'm ready to
| | 03:19 | start my encode, and to do that I simply press
the green go button, and it starts my Queue.
| | 03:26 | It might take a while. You can actually take a look
in the lower left-hand corner of my screen and see
| | 03:31 | the encoding process and
its best guess on the output.
| | 03:35 | As you see, Adobe's Media Encoder
makes it easy to export your movie to a
| | 03:40 | variety of formats at the same time.
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| Printing to video| 00:00 | If you need to export to
tape, it's pretty simple.
| | 00:03 | Simply select your sequence, go up
under File, and choose Export, and instead of
| | 00:09 | choosing Media, select Tape.
| | 00:12 | You will be greeted by this dialog box,
and in general you can simply go with the defaults.
| | 00:17 | Now there's a couple of
things you want to keep in mind.
| | 00:19 | First, make sure your camera is
plugged in, and it's set to VCR mode or to the
| | 00:24 | record mode to the tape,
as opposed to camera mode.
| | 00:27 | Now if for some reason when you
press Record the camera is not actually
| | 00:32 | recording but it's playing back, go
ahead and check your General Preferences
| | 00:37 | and go to Device Control.
| | 00:39 | And under Device Control, this is where we
select DV and HDV Control, and we had selected DV.
| | 00:45 | But under Options you may want to
select your brand of camera, and if you know
| | 00:50 | the Device Type, that is great, but
in our case, I know we are going to a
| | 00:53 | Panasonic, and I'm going to press OK.
| | 00:58 | Now we can go ahead and Export to Tape.
| | 01:01 | I'm going to simply press Record and
make sure you've put in a fresh tape and
| | 01:06 | you don't have the tape in there that
you recorded your original media from,
| | 01:10 | because it will write over all of that footage.
| | 01:13 | Press Record, and if anything needs to
be rendered, Premiere Pro will render
| | 01:18 | that prior to starting to play it
back and recording it onto the tape.
| | 01:24 | (female speaker: --it's happening all over the world.
| | 01:26 | Every day people are harnessing the power of the
sun, and it's literally lighting up their lives.)
| | 01:32 | Once the recording is done, you'll
see a Recording Successful, the camera
| | 01:37 | will actually stop, and you can simply
hit Close and go ahead, rewind the tape
| | 01:42 | and check playback.
| | 01:44 | If you have a need to archive your
final show back on tape, you can see
| | 01:48 | Exporting back to DV or HDV is a
rather straightforward process.
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ConclusionNext steps| 00:00 | We've covered a lot in this Premiere Pro
Essential Training Course, but there's
| | 00:04 | always more to learn and always more to discover.
| | 00:07 | The best place to start is to take a
look at some of the other courses at
| | 00:11 | lynda.com where we have earlier
versions of Premiere Pro covered as well as
| | 00:16 | courses on some of the other
applications that complement Premiere Pro.
| | 00:20 | The next place to look is
Adobe's Premiere Pro Help Site.
| | 00:24 | Now this will have the latest and
greatest information about Product Updates,
| | 00:29 | What's New, and Troubleshooting,
if you need help with Premiere Pro.
| | 00:35 | Another site that I also like is
Adobe TV, and when you go to Adobe TV, you
| | 00:41 | could actually go under Products and choose
which products you'd like to watch videos about.
| | 00:46 | So go ahead and click on Premiere Pro
and explore Adobe TV for even more knowledge.
| | 00:53 | And finally, another place that I like
to look is the Adobe Premiere Pro Forum
| | 00:59 | on the Creative COW.
| | 01:00 | Here you can ask questions and search
for answers about areas that are new or
| | 01:06 | you're not quite sure about.
| | 01:07 | Adobe Premiere Pro CS6 is an amazing
update to an already great application.
| | 01:14 | I hope you have enjoyed the training.
Now go ahead and make a great video!
| | 01:20 | Thanks for watching!
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