IntroductionWelcome| 00:04 | Hi! My name is Rich Harrington and
I am an Adobe master trainer.
| | 00:08 | Today I am going to be sharing with
you new workflows and techniques using
| | 00:11 | Adobe Premiere Pro CS6.
| | 00:13 | We've got a lot of cool things to
cover because this is a really big release
| | 00:17 | with tons of new features
and lots of improvements;
| | 00:20 | both big things and little things.
| | 00:23 | Throughout today, we're going to be
taking a look at Adobe Premiere Pro on
| | 00:25 | both a Mac and a PC.
| | 00:27 | We're going to primarily work on the PC,
because I have got a beefier video card,
| | 00:30 | but we have a couple of great
announcements about Premiere Pro CS6 that affect
| | 00:34 | the Mac platform only, and we will
be looking at that as well.
| | 00:37 | Now, going forward we've
got a lot of stuff to cover.
| | 00:40 | We're going to start off by taking a
look at the redesigned user interface.
| | 00:44 | What you're going to see here is great
options for customization and the ability
| | 00:47 | to really tweak things to make it a
more comfortable editing environment.
| | 00:50 | We're also going to take a
look at the Mercury Engine.
| | 00:53 | There is a whole bunch of improvements
here including the fact that the Mercury
| | 00:56 | Engine is now easier to run on a Mac.
| | 01:00 | We'll then jump over to a new
companion application called Adobe Prelude.
| | 01:03 | Now officially, it is part of the
Adobe Production Premium Creative Suite
| | 01:07 | or Master Collection.
| | 01:09 | However, it has some real
world benefits to Premiere Pro,
| | 01:12 | and we're going to be showing you how to
use it to prep your assets and then bring
| | 01:15 | them in with Ingest.
| | 01:17 | After that, we're going to
explore multi-camera editing.
| | 01:19 | There are some great new changes here with
multi-camera, including a much faster
| | 01:23 | workflow for getting multi-camera set
up and the ability to move beyond some of
| | 01:27 | our previous limitations
with total number of angles.
| | 01:30 | When this is done, we'll
explore all new options for trimming.
| | 01:33 | Now professional editors will always
tell you the power is in the trim and what
| | 01:36 | we're looking at here is the ability
to slightly refine our edit points.
| | 01:41 | This is a weakness in previous
versions of Premiere Pro and what we're seeing
| | 01:44 | now is great control to really get in
there and refine that edit with perfect
| | 01:48 | rhythm for the right pacing in your program.
| | 01:51 | One of the great things is that we actually
now have the addition of Adjustment layers.
| | 01:55 | Now this technology was previously
only available in After Effects and it
| | 01:59 | really gives us a flexible workflow for
applying an effect to multiple clips of video at once.
| | 02:04 | Plus those improvements in the Mercury
Engine are going to totally accelerate
| | 02:07 | our effects workflow.
| | 02:09 | We're going to talk about
audio improvements as well.
| | 02:11 | We've got a better audio mixer with
more control, better audio VU meters to
| | 02:16 | actually see what's happening in our
program, and just refined overall control.
| | 02:20 | One of the other things that's
exciting is that the tracks have gotten a lot
| | 02:23 | less confusing when it comes to
working with different audio sources.
| | 02:27 | We have a new adaptive universal track
format that just makes things easier to work with.
| | 02:32 | And then finally, we'll
explore the RAW video workflow.
| | 02:35 | We have of course had support for RED
before, the native support for 5K is now
| | 02:39 | rolled in and built in, no extra
installation, plus we have the exciting
| | 02:44 | announcement of support for ARRIRAW.
| | 02:46 | So we've got a lot of great things to explore.
| | 02:49 | Thanks again for joining us and let's jump in.
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1. The Redesigned and Customizable User InterfaceExploring the new default workspace| 00:00 | One of the coolest things that I
like about Adobe Premiere Pro CS6 is the
| | 00:04 | redesigned user interface.
| | 00:05 | What we have here is a
complete new way of looking at things.
| | 00:10 | As you see here, same sort of thing,
Source and Program, Timeline and a Project
| | 00:14 | panel, but really, a lot
more emphasis on content.
| | 00:18 | One of the things that team did this time is
they got rid of a lot of the visual clutter.
| | 00:23 | So up here in the Project panel, you
see that we've got the ability to really
| | 00:27 | jump in and start to look at things.
| | 00:29 | We can see our UI, we could see
bins clearly, we've got the ability to
| | 00:33 | resize things here.
| | 00:35 | And when we start to jump in to a bin,
what you will actually notice is the
| | 00:39 | ability to see our content.
| | 00:41 | We'll explore more of this here, but
just notice how these thumbnails can be
| | 00:44 | quickly resized and intelligently scale to
automatically fill the frame. There we go!
| | 00:52 | Let's switch back to List View here.
| | 00:54 | Other things that are nice is the
just really large Source and Program
| | 00:58 | monitor, with great performance as we drag
through and scrub, and you see really responsive.
| | 01:05 | Now there's lots to this and we're going to
go ahead and customize all of these elements,
| | 01:09 | but I wanted to point out that if you don't
like change, you don't have to have change.
| | 01:13 | If you simply choose Window >
Workspace, you can go back to the CS5.5 way.
| | 01:20 | But you will notice that
things are not nearly as pretty.
| | 01:23 | A lot smaller emphasis on the
Source and Program monitor, the lot more
| | 01:28 | clutter here with the Project panel,
and I really think as you work with it,
| | 01:32 | you're going to like seeing those
larger monitors and more emphasis on the
| | 01:36 | content as you edit.
| | 01:37 | Now if things ever get screwed up,
you can always go ahead and reset the
| | 01:42 | current workspace and that will put it
back to the default view and make sure
| | 01:46 | that everything is perfectly aligned.
| | 01:48 | For purposes of today, we're going
to go ahead and use this new default
| | 01:52 | workspace for most of our editing tasks.
| | 01:54 | We may jump around when we hit effects or
color grading, and take a look at those
| | 01:57 | as well, but I think you're going to
find that this is a really comfortable
| | 02:00 | way to start working.
| | 02:02 | Now let's explore some of the
individual options for things like the Source
| | 02:05 | and Program monitor as well as the
Timeline and see how much more control we
| | 02:09 | have over customization.
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| Customizing the Source and Program Monitors| 00:00 | Two of the areas you're going to work in
the most are the Source and Program monitors.
| | 00:04 | Now fortunately, these things
saw the most improvements with CS6.
| | 00:08 | Previously, there was a lot of visual
clutter, and what we have now is sort of a
| | 00:13 | middle ground of clutter with the
option to completely minimize it altogether.
| | 00:18 | In here, we've got our Source and
Program monitors, and pretty standard.
| | 00:23 | Notice that you can drag through to
see your content, same thing over here in
| | 00:27 | the sequence, we've got the ability to
drag through, and the Timeline and the
| | 00:31 | Program monitor are closely
tied together as you drag.
| | 00:35 | Now, let's take a look at what we can do here.
| | 00:37 | Across the bottom, you will see
buttons and if you click this, the Button
| | 00:42 | Editor will pop up.
| | 00:45 | You now have the ability to
customize your buttons however you want.
| | 00:49 | Now there is a default layout here and
what you basically have is the ability
| | 00:54 | to add additional buttons.
| | 00:56 | So if I wanted to, for example, I could
start to put in buttons like my Clear In
| | 01:00 | and Out, and maybe those are useful to me.
| | 01:04 | I can start to put in separators here as well.
| | 01:07 | As we start to go through, you see you've got
that option to put really whatever you want.
| | 01:11 | Now I am just going to reset this
back to the default and I am going to
| | 01:15 | actually present you with a challenge.
| | 01:17 | Let's say you didn't need those buttons.
| | 01:20 | If you're an experienced editor and
you're used to using keyboard shortcuts
| | 01:23 | like I for in and O for out, J to
play forward, K to pause; you might not
| | 01:29 | actually need the buttons.
| | 01:31 | Well, Adobe Premiere Pro recognizes that
and lets you get rid of them altogether
| | 01:35 | to give you more room for your actual picture.
| | 01:38 | If you don't want to see those buttons,
just click the submenu here, and you
| | 01:42 | have the ability to
uncheck Show Transport Controls.
| | 01:47 | So when you do that, you get more
room for the actual content, and you will
| | 01:51 | notice here that we can
completely use the keyboard;
| | 01:53 | I for in, L to play forward, K to pause,
O for out, and all of our core editing
| | 02:01 | happens right there in the window, and
you will notice we have total control
| | 02:05 | there over the Program and Source monitors.
| | 02:09 | You will also notice that the time
ruler here doesn't have any numbers.
| | 02:12 | Now as you drag through, you will see
the ability to see the playhead position
| | 02:16 | within the clip as well as the
overall duration of the clip.
| | 02:20 | This particular clip is from a DSLR and
so it doesn't actually have a time code,
| | 02:25 | it's just starting with 00:00.
| | 02:27 | So that's why I am seeing that be that way.
| | 02:29 | But normally, this would be your
timecode number and this would be the In/Out
| | 02:32 | Duration that you've set, so if you need
to, you can leave the numbers off down here.
| | 02:37 | Now if you like those numbers in the
Timeline ruler, you can just go down here
| | 02:41 | and turn them back on and you will see those,
| | 02:44 | but as you start to look at this, you
will realize that that's just clutter, and
| | 02:48 | I actually prefer to leave that
off, so we have less happening.
| | 02:52 | That looks pretty good.
| | 02:54 | Let's come on over here and I am going
to go ahead and leave these on for now
| | 02:59 | and I will actually turn the buttons
back on with the transport controls just so
| | 03:03 | we get used to them as
we go through this lesson.
| | 03:06 | It's totally up to you however though,
feel free to turn those off if you'd
| | 03:09 | like larger Program and Source monitors and
that will really give you some good control.
| | 03:13 | Now those things alone are some great
improvements but Adobe has actually gone
| | 03:17 | further and added some more
changes that I find useful.
| | 03:20 | One of the other things that's less
hidden now is the playback quality.
| | 03:23 | You will notice here that you can quickly
switch between Full, Half, and Quarter.
| | 03:29 | This is going to be useful because
it lets you change the resolution for
| | 03:32 | playback, and if you're working with
really high resolution sources or slower
| | 03:36 | hard drives, the ability to drop down in
quality will lessen the burden on your system.
| | 03:42 | You will also notice the ability to go
to 8th and 16th, and what's nice here is
| | 03:46 | if you're working with high
resolution footage like RED 5K or ARRIRAW, you
| | 03:51 | could drop that down.
| | 03:53 | Personally, I found this incredibly
useful and that I have been able to work on
| | 03:56 | a laptop with RED 5K files running
off of a really low quality USB drive.
| | 04:02 | Now that is so far from the recommended
workflow, but it does actually work and
| | 04:07 | it's been useful because I've been
able to use the laptop to quickly review
| | 04:11 | footage onset, and the ability to just
pop in a drive, any drive, and adjust the
| | 04:15 | playback quality to a level that your
system can handle lets you get through
| | 04:19 | some of those really tough situations.
| | 04:22 | Now if you want to quickly switch, there are
some keyboard shortcuts to make this easier.
| | 04:26 | If you have your pointer over a
window, you can go ahead and switch
| | 04:30 | through those resolutions.
| | 04:32 | If I press Ctrl+0, it will go to full
quality, Ctrl+2 for half, Ctrl+4 for
| | 04:40 | quarter, Ctrl+8 for eighth.
| | 04:43 | Now this particular clip doesn't have
eighth available as an option, that's
| | 04:46 | why it didn't jump.
| | 04:47 | But if you look at this, you will see,
2, 4, 8 and that's the logic behind
| | 04:52 | the keyboard shortcut.
| | 04:53 | If you need additional controls,
clicking the Settings here will pop up and give
| | 04:58 | you access to all the things you had
before, such as scopes and the ability to
| | 05:02 | adjust your paused resolution, and of
course, all of those additional controls
| | 05:07 | that will adjust how the Source and
Program monitor look, including options like
| | 05:11 | Safe Margins and those Transport
Controls we mentioned earlier.
| | 05:16 | I really like the redesigned interface
here and it just really puts the emphasis
| | 05:19 | on editing the source material, and
that's going to make you faster and
| | 05:23 | hopefully make editing more enjoyable.
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| Customizing the Timeline| 00:00 | One of the places where the UI improvements
are going to most make an impact is the Timeline.
| | 00:05 | This of course is where you build your
program, and the fact that you have all
| | 00:08 | sorts of new options to streamline the
appearance and really help you focus on
| | 00:12 | the content, should help you see a
boost in productivity. Let's take a look.
| | 00:17 | In our Timeline here, you'll see
that things are similar to the past,
| | 00:22 | but one of the things that pops up
right away is the fact that the user
| | 00:25 | interface makes it a
little bit easier to see things.
| | 00:27 | Right now, we've gone to a darker
shade of gray, and this is the new default.
| | 00:32 | You'll also see that the colors in the
Timeline are a bit more vibrant for the
| | 00:35 | individual clips, making them
stand out, so it's higher contrast.
| | 00:39 | Now, all of these things can be tweaked.
| | 00:42 | If we go on into our Preferences, we
can go ahead here and take a look at the
| | 00:46 | label Colors, and you'll see that the colors
have been re-mapped to more vibrant colors.
| | 00:52 | These are the colors being used for
elements in the Timeline and they've been
| | 00:55 | assigned down here under Label Defaults.
| | 00:59 | Now we're not going to tweak these,
the only point being is if you don't like
| | 01:02 | these more brightly saturated
colors, you could change them.
| | 01:05 | You'll also see under Appearance that
you have the ability to adjust the overall
| | 01:09 | brightness or darkness of the user
interface to make it feel more comfortable.
| | 01:14 | This brings me back to the early 1990s.
| | 01:17 | So I am going to go back to the
default and I really like this richer, darker
| | 01:20 | interface, it cuts down on visual eyestrain.
| | 01:24 | Another thing you'll notice about the
Timeline is that the bottom control here
| | 01:27 | has been redesigned.
| | 01:29 | We have the ability here to of course
move and we've got scaling integrated, so
| | 01:34 | it's much easier to zoom in on the
section of the Timeline you want to control,
| | 01:39 | and adjust your magnification level as
well as location within the Timeline.
| | 01:44 | You'll see we have numbers up here of
course, but just like the Source and
| | 01:47 | Program monitor, you could turn those off.
| | 01:50 | So if you don't want to actually see
the Time Ruler, you could turn that off to
| | 01:54 | cut down on the amount of feedback
and just rely on the playhead position,
| | 01:58 | although I find that I do usually
like to see the Time Ruler Numbers.
| | 02:02 | One of the things that always screws
me up however, is the Work Area.
| | 02:07 | In Premiere Pro, the Work Area lets you
define the region that you're working on
| | 02:11 | and this is kind of useful,
| | 02:13 | in that you can drag it in
and set a particular area.
| | 02:17 | As you see here, we've marked out this zone.
| | 02:20 | The way that the Work Area would
function is that I could choose options like
| | 02:24 | export just that Work Area, or
render just the effects in the Work Area.
| | 02:29 | The danger here is that people would
often set the Work Area inadvertently and
| | 02:33 | then when they choose to export, they
would just get that portion of the movie
| | 02:38 | or only render that part.
| | 02:40 | If you come from another nonlinear
editing application, you're probably more
| | 02:44 | used to using in and out
points to define the render area.
| | 02:47 | Let me show you how you can do that.
| | 02:49 | Right now, with the Work Area visible,
if I look under the Sequence menu, you
| | 02:53 | see I have options to go
ahead and render the Work Area.
| | 02:57 | However, I could go ahead and
just turn that Work Area Bar off.
| | 03:02 | I like that because it gives me almost another
full track that I could view in the Timeline.
| | 03:07 | Also now, I can use in and out points
and you'll notice under the Sequence menu,
| | 03:12 | we have the ability to render In
to Out, and that works really well.
| | 03:18 | Another thing that's been tweaked is how
the scroll wheel behaves on your mouse.
| | 03:23 | In earlier versions of Premiere Pro,
if you use the scroll wheel, it would go
| | 03:26 | ahead and move through the
Timeline left to right, like this.
| | 03:30 | You see as I scroll, it moves side to
side in the Timeline, and to be honest,
| | 03:35 | that's not that useful to me.
| | 03:38 | Under our Preferences, we now
have the ability to change that.
| | 03:41 | So if we go under General, you see
we have the ability to switch that to
| | 03:45 | vertical scrolling for the Timeline mouse.
| | 03:48 | Now with a multitrack sequence, you
have the ability to scroll up and down with
| | 03:53 | your tracks, and if you come down here,
same thing in the audio tracks, I could
| | 03:58 | scroll up and down to see my content.
| | 04:01 | If I hold down the modifier key of Alt,
it still behaves as a zoom in and out
| | 04:06 | on that particular location to change the
overall magnification level of the Timeline.
| | 04:12 | I think this gives you the best of both.
| | 04:14 | I really prefer that vertical scrolling
up and down because I often build tracks
| | 04:18 | that have a lot of graphics and compositing.
| | 04:20 | However, using the modifier key of Alt
or Option will let me zoom in and out on
| | 04:25 | the Timeline to change my magnification level.
| | 04:28 | Both of those types of zooming and
scrolling are useful when you're dealing with
| | 04:32 | effects-rich sequences.
| | 04:35 | Now, that behavior works great.
| | 04:37 | Notice again, scrolling up and down, and if
I hold the Option key, zooming in and out.
| | 04:44 | If you'd like to have that other
behavior back though, holding down the Ctrl key
| | 04:48 | on a PC or the Command key on a Mac,
will go ahead and reverse the behavior.
| | 04:54 | This is going to allow you to then
scroll left or right in the Timeline.
| | 04:58 | Releasing the Ctrl key or the Command
key will switch it back to scrolling up
| | 05:02 | and down, and of course, the
Alt key continues to do zooming.
| | 05:06 | So some great overall controls.
| | 05:10 | These sorts of things in the
Timeline are just going to make you faster.
| | 05:12 | They will probably take a little getting
used to, but I think you'll really like
| | 05:16 | the changes and feel free to turn
the options off and on to help you out.
| | 05:21 | Remember, Premiere Pro puts you in
control, so through the use of Preferences
| | 05:25 | and that flyout menu at the end of the
sequence, you can go ahead and control
| | 05:29 | things and really use the
options that are most useful to you.
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| Looking at the redesigned Media Browser| 00:00 | A unique thing to Adobe Premiere Pro is
the Media Browser and it's really built
| | 00:05 | around the fact that Premiere Pro
likes to work with native media sources.
| | 00:09 | The Media Browser is designed to make it
easier to work with material originated
| | 00:13 | on tapeless acquisition sources
because it understands things like the card
| | 00:17 | structure folder as well as spanned clips.
| | 00:20 | Let's take a look at some of the
improvements to the Media Browser.
| | 00:24 | By default, it's going to be
docked with your Project panel.
| | 00:27 | You could, of course, undock it or
remove it wherever you want on the screen.
| | 00:31 | If you needed to undock a panel, just
select it, then in the submenu, you could
| | 00:35 | choose Undock Panel to free that one out.
| | 00:38 | This allows you to reposition on the
screen, make it as big as you want.
| | 00:42 | Let's go ahead though and reset
that back to our default here.
| | 00:49 | Now I am going to go ahead
and navigate to some of my media.
| | 00:52 | I will take a look at this in List View
and I am just navigating to the actual
| | 00:58 | media folder here with
some of my project assets.
| | 01:02 | I've done some organization on the
drive and I'd like to make this window
| | 01:06 | easier to see.
| | 01:07 | So let's just mouse over and press
the Grave key or the Tilde key, which is
| | 01:11 | likely in the upper left corner of
your keyboard, and that will temporarily
| | 01:15 | maximize the window that the cursor is over.
| | 01:18 | Notice, we see the drive structure here
and I could jump in and start to see my
| | 01:22 | footage, and there's all my content.
This makes it easy to find things.
| | 01:28 | Now looking at it in a List View is okay,
but what I really like is the ability
| | 01:32 | to switch on over here to Thumbnails,
and when you do that, you'll see that it
| | 01:37 | very quickly populates and loads
in thumbnails for all the clips.
| | 01:41 | This lets you see the footage
and actually tell what's here.
| | 01:45 | Now another nice thing is the ability
to actually adjust what you're looking at,
| | 01:49 | so in this case, I have some slates
and I can make sure that I'm actually
| | 01:53 | scrubbing through, and see that this is
Scene 6, Take 1, and that makes it easier
| | 01:58 | to find a particular shot.
| | 01:59 | So if the slate isn't in the very
front of the frame you could adjust.
| | 02:04 | Now as I roll over here, you are seeing
some Hover Scrubbing and we'll talk more
| | 02:08 | about that in a moment.
| | 02:09 | Another cool thing is if you select a
clip here, you actually have JKL support.
| | 02:14 | So I could press L to play it forward.
| | 02:17 | If I tap that, it will
play it faster than real time.
| | 02:22 | J will rewind and K will pause.
| | 02:29 | So if you need to review a clip, and
decide if it's correct take or a shot you
| | 02:33 | want to use, you can completely watch
and review all of your shots without ever
| | 02:38 | having to leave the Media Browser.
| | 02:40 | This is tremendously useful, because
in the past, you would have to load
| | 02:43 | the clip first.
| | 02:46 | Now if you want these thumbnails
bigger, you could just drag the slider here
| | 02:49 | and you'll notice that they intelligently snap.
| | 02:52 | One of the nicest things is how
Premier Pro will redraw these windows.
| | 02:56 | Instead of having to worry about
things being cut off or having to scroll, as
| | 03:00 | you drag that, you will just notice
that they resize to intelligently fill
| | 03:03 | the window, and you can get some
really giant thumbnails there making it easy
| | 03:07 | to review.
| | 03:09 | I find that this is a great view for
onset where it's easier to see things and
| | 03:13 | people over my shoulder like a client or
the director of photography can see the
| | 03:16 | clips without having to
ever leave the Media Browser.
| | 03:20 | At some point though, you're going to
need to leave the Media Browser and bring
| | 03:23 | the clips in to your project.
| | 03:24 | Well, this is pretty easy.
| | 03:26 | Like before, we can drag and drop, or a
quick right-click will bring things in.
| | 03:30 | Here's how it works.
| | 03:32 | If I want to bring these clips in, I
can start to select them, holding down
| | 03:36 | the Ctrl key on a PC or Command key on Mac,
lets you select clips that are noncontiguous.
| | 03:42 | Of course, you could also do Ctrl+A
or Command+A to select all clips.
| | 03:47 | At this point, you just drag them
on over and then it'll pop up and you
| | 03:52 | could bring things in.
| | 03:55 | This allows us to go ahead and
quickly drop that in to the bin and have
| | 04:00 | them come across.
| | 04:02 | We also have the ability under the Media
Browser to simply right-click on a clip
| | 04:07 | and choose Import if we want to add
that in, and it will bring it into the
| | 04:11 | currently selected bin.
| | 04:13 | So overall, the Media Browser is
faster at drawing previews, gives you much
| | 04:18 | bigger customized thumbnails that you
can actually see, and the great ability
| | 04:22 | to preview your footage without ever
having to import it or leave the Media Browser.
| | 04:27 | Remember, your standard JKL playback
controls will work, and I find that this is
| | 04:31 | truly useful because it lets you quickly
look at those sources without having to
| | 04:35 | deal with annoying things like
transcoding or long import times.
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| Exploring the redesigned Project panel| 00:00 | A lot of the improvements you saw in the Media
Browser also carry into the Project panel.
| | 00:05 | Again, the emphasis is on making it easier
to see the content that you want to edit.
| | 00:10 | As we go into the Project panel
here, must just open up a bin.
| | 00:13 | I want to talk about a couple of things.
| | 00:15 | If I double-click on a bin, it's going to
open into a new floating window. That's fine.
| | 00:21 | You have a couple of other options though.
| | 00:23 | If I Alt or Option+Double-Click on a bin,
it's going to open that is a new tab,
| | 00:28 | docked with the Project panel.
| | 00:31 | So this could become useful if you
want to have several tabs available.
| | 00:35 | Some people, if working on a two monitor
system, like that ability to pop up
| | 00:39 | multiple floating bins, and of course,
you can drag those on to a second
| | 00:42 | monitor and have plenty of access to lots of
content without having to open and close things.
| | 00:47 | However, if you are in a more space
challenged situation, like laptop editing,
| | 00:51 | or single monitor editing, the ability
to open those as nested tabs is going
| | 00:56 | to come in handy, and that just lets you
put them as another tab in the Project panel.
| | 01:01 | Now remember, if I press the Tilde or
Grave key, this will go ahead and change,
| | 01:05 | and when you have a lot of tabs open,
you may need to use this scroll bar along
| | 01:09 | the top to move between the visible tabs.
| | 01:11 | Let's go ahead and go back full-screen
here by pressing the Grave key and I want
| | 01:16 | to show you a couple of other options.
| | 01:19 | Now if we don't want this to open into
floating tabs, I can go ahead and hold
| | 01:24 | down the Ctrl key or Command key
as I click, and it opens in place.
| | 01:30 | Notice here that we get the file path
and I see that I'm in my project, in this
| | 01:36 | bin, with the located sub-bin.
| | 01:38 | This allows me to go up a level, Ctrl+Click,
Command+Double-Click on a Mac of
| | 01:44 | course, and then see this and drill in and
this just gives you the ability to go up a level.
| | 01:49 | So if you used to a file path approach,
which some are, this gets a little easier.
| | 01:55 | Let's go ahead and switch on over
here to the larger Icon View, and you'll
| | 01:58 | notice as we drag these, the thumbnails
are going to update, making it easier to
| | 02:04 | fit them into the window.
| | 02:06 | I can also click on a clip and
use the JKL transport controls.
| | 02:11 | J to rewind, K to pause, L to play
forward, and this is playing with audio going
| | 02:19 | out and the ability to watch the clip.
| | 02:23 | Now that's tremendously useful but what
I really like is the ability to actually
| | 02:27 | be reviewing a clip, and if I find
something I like, I for in and O for out.
| | 02:39 | This is really useful, because as you
start to review things, you don't have to
| | 02:42 | constantly toss them into the Source monitor.
| | 02:45 | This means that with a client, you
could be going through bins of footage and
| | 02:48 | quickly logging it and picking out the
best parts of the shot you want to use.
| | 02:53 | In fact, some people even get rid of
the Source monitor altogether, like this.
| | 02:58 | Let's press the Tilde key or the Grave
Key to get that back down, and I could
| | 03:02 | actually take this and drag
it up to the Source monitor.
| | 03:06 | Notice we can drop it in the middle or
I could go ahead and just put it right here
| | 03:09 | across the top, and it's now
docked with the Source monitor.
| | 03:14 | This means that I can have multiple
clips loaded invisible, and I could just
| | 03:19 | right from here, start to review footage.
| | 03:22 | Marking an in and an out, and then
with my Timeline, I can go ahead and drag
| | 03:31 | that and I can drop it to do and
overwrite edit, or hold down the Ctrl or Command
| | 03:36 | key to do an insert edit, and you
see it gets added to the Timeline.
| | 03:39 | Let's just go ahead and undo
that there and pretty useful.
| | 03:43 | So you're going to like that ability to
quickly control this and browse your clips.
| | 03:48 | If we compare this to the old method
really quick, you'll notice that the
| | 03:51 | Project panel not nearly as useful,
especially since all sorts of other things
| | 03:56 | like the Preview area are going to be
turned on and it just really makes it
| | 03:59 | hard to see things.
| | 04:01 | However, if you do want to turn
that Preview area on, you actually get
| | 04:05 | additional information here about
the field order, which is a change.
| | 04:09 | I could see if this is progressive or
if there are fields in this material.
| | 04:14 | In this case, this is Upper Field
First and this makes it easier to see
| | 04:18 | what's happening.
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| Using Hover Scrub| 00:00 | If you've been paying attention
throughout some of our earlier movies, you've
| | 00:03 | already caught a glimpse of Hover Scrub.
| | 00:05 | It's a really cool technology that
lets you skim a clip so you can see what's
| | 00:09 | inside the clip without
actually having to load it.
| | 00:12 | Now this is an option that you can turn
off or on as you wish, and you'll find
| | 00:16 | that sometimes you like it,
and sometimes it's annoying.
| | 00:19 | So being sure that you can know
how to control it is important.
| | 00:24 | With the bin open here, I've
got the ability to drag through.
| | 00:27 | Now let's go ahead and just quickly
reset back to our default Editing workspace
| | 00:31 | for CS6, and I'll just reset this.
| | 00:38 | Here we go, and in the Project panel,
I'm going to turn off the Preview Area;
| | 00:44 | just letting us have
these really large thumbnails.
| | 00:46 | Now with the particular clip here,
as I'm dragging, nothing is happening.
| | 00:51 | If we click the submenu, you'll see
the ability to turn on Hover Scrub.
| | 00:56 | Hover Scrub allows you to drag
through a clip and see its contents.
| | 01:00 | So as you see here, it updates.
| | 01:03 | It will automatically adjust, so as you
drag to the left of the clip, it'll go
| | 01:08 | all the way to the first frame,
| | 01:10 | and to the right of the clip,
it'll go all the way to the last frame.
| | 01:15 | If you have a very short clip, this
dragging left or right will go more quickly.
| | 01:20 | If it's a really long clip, as you skim
left or right, it will jump more frames.
| | 01:24 | The sensitivity dynamically adjusts
based on the duration of the clip.
| | 01:29 | So you see here, a nice quick way to
review a shot and decide what you want to use.
| | 01:34 | If you want to turn that off
however, the shortcut is easy.
| | 01:38 | Notice we can always go to the menu
here and there is the shortcut of Shift+H.
| | 01:43 | So pressing Shift+H will turn that option off.
| | 01:45 | So now as I move my mouse
pointer over a clip, nothing scrubs.
| | 01:50 | Let's just take this full-screen for a
second by pressing the Grave key and I'll
| | 01:54 | make these little bigger.
| | 01:57 | So dragging here and mousing over
with the cursor, nothing is changing.
| | 02:01 | If I press the Shift+H, it will
enable the Hover Scrub option and now it's
| | 02:06 | back on for all clips.
| | 02:09 | Shift+H again, and it's off.
| | 02:12 | If you want to temporarily enable it,
just hold down the Shift key and as you
| | 02:16 | mouse over clips, they will Hover Scrub.
| | 02:19 | When you let go of the Shift key, that
behavior will stop, and it goes back to
| | 02:23 | the standard Thumbnail view.
| | 02:26 | I find Hover Scrub to be very useful.
| | 02:28 | I like skimming, and the ability to
quickly jump in and see what's in a clip
| | 02:31 | without having it load it is useful
for spotting clips in the bin, especially
| | 02:36 | with tapeless sources these days,
where we don't necessarily have as
| | 02:39 | descriptive names to work with.
| | 02:41 | Being able to quickly skim the clip,
find the slate, if it's for a field
| | 02:44 | production, or review the contents
of the shot to decide if it's the
| | 02:48 | right-click is very useful.
| | 02:50 | Remember this option is available
both in the Project panel and over in the
| | 02:55 | Media Browser, and the same shortcut
Shift to temporarily enable works, and the
| | 03:00 | option here to turn Hover Scrub off and on.
| | 03:04 | So, there you have it.
| | 03:05 | Decide if Hover Scrub works for you and
make it part of your editing workflow.
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| Working with the updated audio meters| 00:00 | As you're working with a sequence,
you're likely going to want to keep track with
| | 00:02 | what's going on in the audio.
| | 00:04 | Fortunately, Premiere gives you
really good audio meters for doing this and
| | 00:07 | they've seen a dramatic
update with Premiere Pro CS6.
| | 00:11 | I've gone ahead and open up the stereo
track here and let's just take a look
| | 00:15 | at the sequence.
| | 00:16 | (music playing)
| | 00:18 | Notice the VU meters seem fine, but I
want to show you a couple of options here.
| | 00:23 | Notice I could reposition these.
| | 00:24 | So if I pull this off, I could do
things like attach it down here at the
| | 00:28 | bottom, and we'll just adjust the size of that,
and now I could see that as a place.
| | 00:35 | (music playing)
| | 00:39 | That might be useful to see the VU
meters right below your sequence.
| | 00:42 | If you don't want them there, you can
always tear that off and put it over here,
| | 00:48 | just dock that on the side, and notice
I can dynamically adjust their width as
| | 00:53 | well to make it easier.
(music playing)
| | 00:56 | Now the number of channels that show in
the VU meter are dependent upon the sequence.
| | 01:01 | When you make a new sequence, remember
one of the options you have is over in
| | 01:05 | the tracks and this is where you
determine how the master track behaves.
| | 01:10 | So you can have a Stereo track,
surround sound, or Multichannel, and this lets
| | 01:16 | you assign the number of channels.
| | 01:18 | This sort of workflow is typically used
when working with advanced tape decks,
| | 01:22 | where you need the ability to
keep everything separate for output.
| | 01:26 | Multichannel output is very common
with high-end professional decks in
| | 01:29 | broadcast environments where you might
be using 4, 8 or 16 audio channels to
| | 01:35 | keep things split out.
| | 01:36 | For example, you might want to keep
the music separate from the narration or
| | 01:40 | have multiple narration tracks for
things like international languages.
| | 01:44 | Let's go ahead and cancel that.
| | 01:47 | In this particular case, when I open up
the Four Track sequence, you'll see that
| | 01:51 | things change a little bit.
| | 01:53 | In this case, if we look at the Audio
Mixer, which we'll explore more later in
| | 01:58 | our lessons, you'll see that
we've got four tracks of audio.
| | 02:02 | I've got my natural sound and
narration currently routed to track 1 and 2.
| | 02:08 | You'll notice that I have panned my
natural sound all the way to the left and my
| | 02:13 | narration to the right.
| | 02:15 | Let's go ahead and play that for a second.
| | 02:17 | And you'll see how the different channels play.
| | 02:26 | On the other hand, my two music tracks
have been routed together into a submix.
| | 02:31 | So I'm using two tracks because I often
go between two tracks of audio and those
| | 02:36 | are routed together into Submix1, which
is assigned to tracks 3 and 4, therefore
| | 02:43 | total control over the audio.
| | 02:46 | Now there're a lot of things you
can do with the Audio panel itself.
| | 02:49 | If you right-click here, you'll see a whole
bunch of options that are really useful.
| | 02:54 | Normally, you have the ability to see
just the peak area, but you can also see
| | 02:59 | the valleys, and when you do this
you'll actually notice how different areas
| | 03:03 | will be marked, and the little purple
bar there is showing you the low point for
| | 03:09 | the last three seconds.
| | 03:11 | This helps you track if the audio is
jumping all over the place and may make it
| | 03:15 | more useful as you work to actually
tell what's happening in the overall mix.
| | 03:23 | Besides seeing the valleys, we have the
ability to change how sensitive this is.
| | 03:28 | Currently, it's showing us the 60 dB range.
| | 03:31 | However, if we're dealing with
different broadcast standards, you might have
| | 03:34 | different sensitivity levels you need
to show, and this will just adjust the
| | 03:38 | scale from 0 down to the lower decibel range.
| | 03:42 | I'm going to stick with 60 right now.
| | 03:46 | The Dynamic Peaks are showing you the
top point, but if you switch those to
| | 03:49 | Static, it becomes a lot easier
to tell where the audio is hit.
| | 03:54 | So these will keep rising up as the
audio gets hotter in a channel, as opposed
| | 03:58 | to adjusting and this makes it easier
to tell, like in this case, that this
| | 04:02 | channel is running a bit
hot for my delivery standard.
| | 04:06 | So by using this method, I can track
if my audio has ever exceeded my maximum
| | 04:11 | threshold or target, which in this case is -12.
| | 04:14 | I could tell in this particular
instance, I need to go ahead and adjust the
| | 04:18 | natural sound and the narration
track to pull those down, so they're not
| | 04:22 | running as hot.
| | 04:24 | Other important options are the
ability to change how you monitor solo,
| | 04:29 | mono, and stereo content.
| | 04:31 | For example, with Solo in Place, we
have the ability to actually listen to just
| | 04:36 | the individual channels without
changing where they go to the speaker.
| | 04:40 | This is going to be most useful in a
surround sound environment and it will
| | 04:44 | allow you to actually just send out the individual
track to the speaker you've targeted.
| | 04:50 | If you want to monitor mono channels,
this could be useful because it's going to
| | 04:54 | let you send a specific
channel to both speakers.
| | 04:57 | In this case, if you've a mono clip and
stereo speakers attached, it'll make it
| | 05:01 | easier to hear things out
to the individual channels.
| | 05:05 | And lastly, the stereo pair output is
going to become available when you're
| | 05:09 | dealing with a multitrack sequence.
| | 05:11 | In this case, it's going to send it
out to tracks 3 and 4 as a stereo pair.
| | 05:15 | If I go to my stereo sequence, you'll
notice that that option becomes disabled.
| | 05:20 | So these mono and stereo pair options
really are useful for multitrack sequence.
| | 05:27 | If you're mixing audio for a standard
stereo delivery, many of these options are
| | 05:31 | not going to be available.
| | 05:32 | And remember, stereo is the standard
format if you're delivering to web and even
| | 05:36 | many tape-based formats.
| | 05:38 | You're ultimately concerned about
stereo delivery for most of the world.
| | 05:42 | However, if you do need to work in
advanced audio, multitrack environment, or
| | 05:46 | surround sound, Premiere Pro is very robust.
| | 05:50 | Be sure to explore some of the other
training we have available on lynda.com
| | 05:54 | to get a handle on some of the
advanced options in working with audio for
| | 05:57 | Adobe Premiere Pro.
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| Using the Timecode panel| 00:00 | Timecode is one of those things that
professionals rely on to accurately
| | 00:04 | communicate information.
| | 00:05 | Now remember, when used properly,
timecode will record a unique frame for each
| | 00:10 | clip in your production.
| | 00:12 | This could be based on the time of day
or the point in the duration at which
| | 00:15 | the clip was recorded.
| | 00:17 | The use of timecode allows
professionals to reference a specific point in time.
| | 00:22 | That could be in an individual
clip or for the overall sequence.
| | 00:26 | With Premiere Pro CS6, we have an
easier way to view timecode, especially when
| | 00:31 | working in a collaborative editing situation.
| | 00:34 | I've gone ahead and opened up just a
timeline here, and I've set it back to the
| | 00:39 | default workspace for CS6 editing.
| | 00:41 | Under the Window panel, you'll see that you
have a Timecode panel that could be brought up.
| | 00:46 | This gives you a resizable window that
you could position on screen as well as
| | 00:51 | adjust the size for.
| | 00:53 | This particular sequence has been set
to start at one hour which is a standard
| | 00:57 | for many editing workflows.
| | 00:58 | If you need to modify the starting
timecode for a sequence, you could just go to
| | 01:03 | the Start Time and then set it
there and it'll work accurately.
| | 01:08 | Let's go ahead and press Play, and
you'll see that the timer updates to reflect
| | 01:14 | the point in time in the sequence.
| | 01:17 | This might make it easier during a
client review session for the client to
| | 01:21 | write specific notes.
| | 01:23 | At this point, it's jumping around
because the Timecode panel is referencing the
| | 01:27 | individual timecode for each clip.
| | 01:28 | So as we drag through, it
seems to be constantly resetting.
| | 01:33 | If we click up here though, we have the
ability to change which timecode we view.
| | 01:37 | For example, if I was stringing out and
reviewing a bunch of sound bites from an
| | 01:42 | interview, I might use the
timecode from Video track 1.
| | 01:46 | This is useful when you want to review
the source timecode of the clip itself.
| | 01:50 | So if you've gone ahead and dumped in a
bunch of clips into a timeline and you
| | 01:54 | want to sit there, maybe with the
producer, and take some notes about what
| | 01:58 | parts the interview are most useful,
leaving the Timecode window up and being
| | 02:02 | able to actually see the source
timecode will let you more actually describe
| | 02:06 | the clips you want to use.
| | 02:08 | On the other hand, in a review session
for the edit, I'm going to want to switch
| | 02:12 | this to the Sequence Timecode.
| | 02:14 | So remember, with that flyout menu, I
could just choose to Sequence Timecode,
| | 02:19 | and now as we go through and review
the spot, we have a giant counter that
| | 02:23 | relates to the point in time
we're at for the individual sequence.
| | 02:27 | This makes it very easy to get specific
feedback about an effect or a dissolve,
| | 02:32 | or perhaps that we want to tweak the
color correction for the outdoor shot at 24
| | 02:37 | seconds and 8 frames into the production.
| | 02:41 | Just like any other panel, the Timecode
panel can be dragged around on screen.
| | 02:45 | So if you want you can go ahead and dock it.
| | 02:47 | I could dock it here,
right with the sequence itself.
| | 02:50 | So if I just want the client to focus
on the program and the timecode, they're
| | 02:54 | not actually seeing the tracks in the
sequence, they're just seeing the video
| | 02:59 | and a very large display of
what point in time we're in.
| | 03:02 | And of course, you can always close that
window, and if you need it, just pop it
| | 03:07 | back up under the Window menu,
there is the Timecode panel.
| | 03:11 | Drag it as needed anywhere on screen or
simply choose to Undock it, and it will
| | 03:18 | be a floating window that you
could position and resize as needed.
| | 03:23 | And remember, in Premiere Pro now,
we have the ability to make changes to
| | 03:27 | windows and other panels
without interrupting the playback.
| | 03:30 | So while reviewing this, you could
still make changes to the actual panel,
| | 03:35 | even changing what's being monitored without
stopping playback in your Program monitor.
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| Working with a display in Cinema mode| 00:00 | Throughout our lesson today, I've been
showing you the use of the Grave key or
| | 00:04 | the Tilde key to maximize a window.
| | 00:06 | Remember, if we place the mouse cursor
over an item on the screen and press the
| | 00:10 | Tilde key, it'll take it full-screen,
and this is useful as you want to review
| | 00:15 | individual elements, giving you more
room to see things like your Timeline or
| | 00:19 | the Program or Source
monitor, and that works great.
| | 00:23 | However, if you want to, you
can even minimize things further.
| | 00:28 | If I hold down the Ctrl key on a PC or
the Command key on a Mac, and then press
| | 00:33 | that Grave key, notice it goes
to a full screen Cinema mode.
| | 00:38 | All of the controls are minimized and
I could watch this back in full-screen.
| | 00:44 | This is really useful because it
allows you to take a look at clips on a
| | 00:47 | laptop or within the Edit Suite
where maybe you don't have a professional
| | 00:51 | monitor hooked up and you could turn one of
your computer displays into a full screen display.
| | 00:56 | To exit, just press the Escape key and
you'll go back to your standard view.
| | 01:01 | It's important to know about a little gotcha.
| | 01:03 | Notice if I mouse over and
press the Tilde key, that monitor goes
| | 01:07 | full-screen, same with there.
| | 01:09 | In this case though, I have the Program
monitor selected, and I mouse over the Source,
| | 01:13 | Ctrl+Tilde does not take it full-screen.
| | 01:17 | In order to use Cinema mode, make
sure you select the panel and then press
| | 01:22 | Ctrl+Grave or Ctrl+Tilde, Command on a
Mac, and that will take it full-screen.
| | 01:28 | Escape will pull you out.
| | 01:31 | So pretty straightforward, just
remember that slight distinction to actually
| | 01:35 | select the panel you want to use first
and that Cinema mode will work with the
| | 01:39 | Source and Program monitors.
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| Using the Dropped Frame Indicator| 00:00 | As you work in Adobe Premiere Pro,
especially with the Mercury Engine, you've
| | 00:04 | got the ability to work
dynamically without rendering.
| | 00:07 | This means that Premiere will do its
best to playback frames in real-time.
| | 00:11 | Now it does a great job, especially when
you've got a supported video card and adequate RAM.
| | 00:17 | We'll explore the Mercury
Engine more in just a moment.
| | 00:20 | However, it's always possible if you
have issues like not enough GPU or RAM, or
| | 00:25 | a slow hard drive to drop a frame.
| | 00:28 | This is particularly crucial when you're
doing client review or playing back out to tape.
| | 00:33 | You are going to want some
indication that frames have dropped.
| | 00:37 | Now the Print to Tape command, if
you're actually printing for output, do have
| | 00:40 | the ability to abort when
a drop frame is detected.
| | 00:44 | However, if working in editing
environment, you want some feedback as you work,
| | 00:48 | Premiere Pro CS6 offers the
ability to show you dropped frames.
| | 00:52 | Here's how it works.
| | 00:55 | I've got a complex sequence here with
some different tracks in it, and what I've
| | 00:58 | done is I've increased the
complexity as we went through.
| | 01:02 | We'll start off with no effects.
| | 01:04 | If I click up here in the upper-right
corner of the Program monitor, I can go
| | 01:09 | ahead and turn on the
ability to see drop frames.
| | 01:12 | Let's just scroll down and I'll turn on
the Dropped Frame Indicator, and you get
| | 01:19 | a little traffic light type icon here.
| | 01:22 | Green means everything is good.
| | 01:25 | Let's go ahead and play this back and
I'll just make it a little easier to see
| | 01:28 | the video tracks, and what we have
here in this case is just three clips with
| | 01:32 | no effects applied.
| | 01:36 | As expected, everything stays green.
| | 01:42 | Now if we jump on over to our
next clip, I've applied an effect.
| | 01:45 | In this case, we're using Adjustment
layer, which we'll talk about more later
| | 01:50 | in our lessons, but essentially, I've applied
a Color Corrector effect to all three clips.
| | 01:56 | If we look in the Effects panel here,
you'll notice under our different
| | 02:00 | categories, that Color Correction is one
of our Mercury Engine accelerated effects.
| | 02:05 | There is the Three-Way Color Corrector
and this icon here indicates that this is
| | 02:09 | an accelerated effect.
| | 02:11 | If you want to see only accelerated effects,
you can click that button to filter your view.
| | 02:17 | As we play this back, the Color
Corrector is applied to all three clips and
| | 02:21 | everything has stayed green.
| | 02:24 | There's been no drop in quality, and
every single frame has played back even
| | 02:29 | though we're at full resolution.
| | 02:33 | Now let's jump on over to our next
effect here, and I've applied two effects and
| | 02:38 | some blending modes.
| | 02:40 | In this case, we have the Color
Correction on an Adjustment layer, and then on
| | 02:45 | this next Adjustment layer, I've gone
ahead and used a Fast Blur effect and
| | 02:52 | changed its blending mode.
| | 02:54 | You'll notice we toggle that off and on,
that it's giving us a little bit of a
| | 02:57 | Pro Mist type look, where we're
getting some blooming and nice highlights.
| | 03:02 | Let's play that back and still
everything is green and in real-time.
| | 03:09 | Now herein lies the confusion.
| | 03:11 | You'll notice that my
Dropped Frame Indicator is green.
| | 03:15 | However, across just about everything in
the timeline up to this point is a yellow bar.
| | 03:20 | If you're coming to Premiere Pro from
another editing application, it takes a
| | 03:23 | little getting used to.
| | 03:25 | In most NLEs, the color yellow
means frames are going to drop.
| | 03:29 | Well in Premiere Pro, it just
means that it's using hardware.
| | 03:33 | Many things like native camera media,
rely upon the hardware of your computer to
| | 03:37 | playback in real-time.
| | 03:38 | So a yellow bar across the top of the
timeline doesn't mean you have dropped frames,
| | 03:43 | it just means that the hardware in your
computer is being utilized to playback,
| | 03:47 | and that the Mercury Engine has been engaged.
| | 03:49 | Well this is good news and the
Dropped Frame Indicator is green.
| | 03:54 | I think using the Dropped Frame
Indicator is a better indication of performance
| | 03:57 | playback than the color
of the bars across the top.
| | 04:01 | Let's go the next clip the Timeline.
| | 04:04 | In this case, I've applied another effect.
| | 04:06 | I'm using the Channel Blur.
| | 04:09 | If I look at my Video Effects here in
Blur, you'll notice that Channel Blur is
| | 04:14 | not an accelerated effect.
| | 04:16 | So we've got color correction and
we've got a Channel Blur being applied, and
| | 04:22 | let's play that back. There it is.
| | 04:30 | It tries to play real-time and notice it
switched to yellow and it's dropping frames.
| | 04:35 | Well, this is the combination of factors.
| | 04:38 | This particular effect is very complex.
| | 04:41 | I'm essentially applying a separate
blur to the red, green, and blue channel,
| | 04:45 | and if that weren't hard enough, I've
gone ahead and introduced blending modes
| | 04:50 | and a real-time title and another Color
Correction effect being applied at once.
| | 04:56 | The key here is that when you stop
using accelerated effects, you can't really
| | 05:00 | take advantage of the Mercury Engine,
and that's going to show you that the
| | 05:03 | clips may drop to yellow.
| | 05:05 | Notice though that as this plays back more
and more, we're getting green indicators.
| | 05:12 | The interesting thing there is that
as you do this, and if you leave the
| | 05:15 | playhead parked on a clip, Premiere Pro
will start to automatically cache the details.
| | 05:21 | So even though those clips were
initially dropping frames, the more we play back
| | 05:25 | the sequence and the more Premiere
Pro processes those frames, the more it
| | 05:29 | intelligently cashes them
to cut down on dropped frames.
| | 05:33 | These Dropped Frame Indicators are useful
because they tell you if you are seeing a
| | 05:38 | dip in quality, and remember, you can
always drop the playback performance.
| | 05:43 | So if this is set to Full, dropping
it down to have quality may reduce the
| | 05:48 | overall burden and you'll see an
increased likelihood of things playing back
| | 05:53 | green, and at any point in time if you
need to, you can always mark an in and an
| | 06:00 | out, if you have the work area turned off,
or use the Work Area bar to define the
| | 06:05 | range and simply choose Render In to Out.
| | 06:10 | When you do that, it will process all
of those video effects and then it should
| | 06:16 | play back in real-time.
| | 06:18 | The Dropped Frame Indicators are there,
so you don't drive yourself crazy.
| | 06:22 | Instead of guessing, was that a dip
in quality or was there a problem by
| | 06:25 | footage, they'll quickly give you a
visual indication if there're any issues
| | 06:29 | with the playback on your system.
| | 06:31 | Remember, playback is the proper
balancing of lots of things, your graphics
| | 06:35 | processor unit, RAM and hard drive speed.
| | 06:39 | Having all of these things leveled out,
will improve your overall performance,
| | 06:43 | and in our next section, we're going
to explore the Mercury Engine in depth,
| | 06:46 | which will help you get a better
understanding of how to get the most
| | 06:49 | performance out of your Premiere Pro system.
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| Reviewing improved trackpad gesture support for OS X| 00:00 | I'm going to switch on over the Mac for
a second for a Mac only update, and that
| | 00:05 | is support for multi-touch trackpad gestures.
| | 00:08 | Now the cool thing is many
Mac laptops have a trackpad that
| | 00:12 | supports multi-touch.
| | 00:13 | Much like an iPod or an iPhone, the
ability to use your fingers to give
| | 00:17 | interactive feedback to the application.
| | 00:20 | Here's how it works.
| | 00:21 | Now in this particular one here, I'm
just going to go down into a sequence and
| | 00:25 | start to drag through.
| | 00:26 | If I use a Pinch and Zoom gesture, I can zoom
in and out on the Timeline to see more detail.
| | 00:34 | Notice same thing holds up here in the
Program monitor, a pinch-zoom to zoom in
| | 00:39 | and out and see the actual footage.
| | 00:42 | That makes it really easy.
| | 00:43 | I'll set that back to Fit.
| | 00:46 | On the other hand, I could use Swipe gestures.
| | 00:49 | So if I swipe left to right, I can go
ahead and scroll through the Timeline
| | 00:54 | from left to right.
| | 00:55 | I can also go up and down to see
multiple video tracks, or move over to the audio
| | 01:01 | here and do the same thing and go
up and down to the audio tracks.
| | 01:05 | So, as you see there, really good control.
| | 01:08 | Pinch and Zoom to zoom in and out,
whether it's a timeline or a source, and
| | 01:13 | the ability to pan left or right, or up
and down, to navigate throughout the Timeline.
| | 01:17 | On a Windows laptop or a Windows
desktop, you can do a lot of these same
| | 01:22 | controls with the zoom wheel on the
mouse, but the Mac trackpads have a couple
| | 01:26 | of extra features that are worth pointing out.
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|
|
2. Mercury Playback Engine ImprovementsWhat is the Mercury Playback Engine?| 00:00 | One of the best things about
Premiere Pro CS6 is the Mercury Engine.
| | 00:05 | Now Mercury is not new to Premiere Pro,
it's been around for the last two versions,
| | 00:10 | however it's dramatically improved
with some key areas that are going to make
| | 00:14 | things better for overall editing.
| | 00:16 | Now let's step back for a
moment and take Mercury from the top.
| | 00:19 | If you're new to Premiere Pro or
you've really not dug in too deep, you might
| | 00:23 | not be familiar with what it does.
| | 00:25 | Essentially, the Mercury Engine is
a combination of three technologies.
| | 00:30 | First off is the operating system.
| | 00:32 | It requires that you use a
64-bit version of the OS.
| | 00:36 | So if you are on a Mac that's going to
be things like Snow Leopard, Lion or the
| | 00:41 | forthcoming Mountain Lion.
| | 00:43 | On a PC, you're going to need to use
Windows 7 with 64-bit, and of course,
| | 00:48 | as new operating systems come out that will
work as well, but it is the 64-bit version.
| | 00:54 | Remember, a 64-bit operating system
removes some of the barriers to addressing RAM.
| | 00:59 | Under a 32-bit operating system, an
individual application could typically only
| | 01:03 | see two to three gigs of RAM.
| | 01:05 | However, with the 64-bit
OS, this isn't the case.
| | 01:08 | For example, inside of Premiere Pro here,
we can go ahead and take a look at our
| | 01:14 | Preferences, and if we look at Memory,
you'll notice that we have total control.
| | 01:20 | In this case, I have 12 gigs of RAM
available and those are being currently
| | 01:25 | served up to two Adobe applications,
I've got Premiere Pro running and Prelude.
| | 01:30 | However, the RAM is in a shared
management configuration across After Effects,
| | 01:36 | Encore, Media Encoder, and
Photoshop and this is great.
| | 01:40 | We could dynamically manage our
memory and address as much RAM as we want.
| | 01:45 | Currently I've set aside five gigs
for other applications, but that's
| | 01:48 | actually pretty high.
| | 01:49 | I can leave three gigs to use for
other things like background applications,
| | 01:54 | file transfer, et cetera, and I can
make sure that this is set for performance.
| | 01:59 | If you are dealing with very little
installed memory, then switch to Memory to
| | 02:03 | make the most of what you have, but
Performance is going to be pretty robust and
| | 02:07 | give you really good power.
| | 02:09 | Now with this is the RAM itself, because
the 64-bit operating system removes the
| | 02:14 | RAM barrier, you're going
to want to beef up on RAM.
| | 02:18 | You can get by with very little
and if you look at the minimum system
| | 02:21 | requirements, it's not uncommon to
see things like four gigs of RAM.
| | 02:25 | However, this is a total bottleneck,
especially if you are going to be working
| | 02:29 | with complex layered sequences,
real-time effects, and multi-format.
| | 02:34 | In this particular system, I have 6 gigs of RAM.
| | 02:37 | On my laptop, I have eight.
| | 02:39 | My new laptop, that I'm waiting to buy
for the new product announcement, is going to
| | 02:43 | likely be 16, and we can easily
take this up to 32 or 64 gigs.
| | 02:48 | Remember, more RAM is better performance.
| | 02:51 | RAM is essentially the jet fuel for
your jet engine and without it you just
| | 02:55 | don't get the advantages
of that operating system.
| | 02:58 | Now another thing that's important, the
third component of the Mercury Engine is
| | 03:02 | the GPU, the Graphics Processing Unit.
| | 03:04 | When you have the GPU installed, under
the Project Settings, you'll notice the
| | 03:09 | ability to choose between using the
GPU or the Software Only, and this is
| | 03:15 | important to realize.
| | 03:17 | In this particular machine, I'm
using CUDA technology because I have an
| | 03:21 | NVIDIA graphics card.
| | 03:23 | We can though rely on Software Only.
| | 03:26 | Remember, even without a supported
graphics card, you still have the Mercury
| | 03:30 | Engine, tied to 64-bit
performance of the OS and RAM.
| | 03:34 | Upgrading your RAM was always a good option.
| | 03:37 | The good news however though, is that we
now have limited support for non-NVIDIA
| | 03:41 | graphics cards, through
the use of OpenCL technology.
| | 03:45 | Adobe has officially tested and
certified, as well as rewritten code, to take
| | 03:50 | advantage of two graphics cards.
| | 03:52 | This is the 6750 and 6770, which is
currently shipping in the MacBook Pro
| | 03:59 | models of 15 and 17 inch.
| | 04:01 | What exactly does Mercury Engine do?
| | 04:03 | Well these three components
working together will boost your
| | 04:06 | overall performance.
| | 04:07 | First off, it's going to give
you real-time multi-format support.
| | 04:12 | This means you can mix footage together.
| | 04:14 | In my own particular shop, we shoot a lot
of things on DVCPRO HD with P2-based cameras.
| | 04:20 | However, we get material from other
folks and our graphics department may render
| | 04:25 | in a codec like ProRes or CineForm.
| | 04:28 | Plus, we have DSLR footage that gets mixed in.
| | 04:31 | All of these things can be put into a
single Premiere Pro sequence without
| | 04:35 | additional rendering.
| | 04:37 | This is because the Mercury Engine
allows you to mix different formats, sizes,
| | 04:41 | and even frame rates with an
emphasis on real-time performance.
| | 04:46 | So I'll leave that set to GPU Acceleration.
| | 04:49 | Other things that are nice is that your
projects can open up up to 10 times faster.
| | 04:54 | This means quicker load times because
of the ability for RAM to quickly connect
| | 04:58 | all the files and load everything in.
| | 05:01 | We also can take advantage
of real-time color correction.
| | 05:04 | We'll explore this more later, but
let me just show you a quick peek.
| | 05:07 | If we go down here to our Color
Correction category, you'll see that we have
| | 05:11 | certain effects with the accelerated engine.
| | 05:13 | Let's go ahead and just use
the Fast Color Corrector for now.
| | 05:17 | I'll drop that on a clip, and we'll just
go ahead and select that in the Effect
| | 05:22 | Controls and start to play back.
| | 05:24 | Notice, while it's playing back, I can
make adjustments to the shot, adjusting
| | 05:29 | the hue angle, I can come down here
and I can actually adjust the overall
| | 05:33 | saturation of the shot, and as that
plays back in real-time, we can make
| | 05:39 | real-time adjustments to the clip.
| | 05:42 | This is really cool, the ability to
color correct as the clip is playing so you
| | 05:47 | can watch it back over the course of time.
| | 05:50 | And the same holds true
with tons of other effects.
| | 05:53 | As you see in here, we have
effects that are accelerated.
| | 05:56 | So if I need to, I could go ahead and
apply a Sharpen filter, and I could use
| | 06:01 | this to slightly sharpen
the amount of the footage.
| | 06:06 | Let's just twirl that down, and as I
increase that, we get better edge detail on
| | 06:12 | the particular clips.
| | 06:14 | And again, having this in real-time makes
it a lot easier to see what's happening.
| | 06:20 | And notice the Dropped Frame Indicator,
we learned about earlier in our lesson,
| | 06:23 | is still showing real-time
playback with zero frames dropped.
| | 06:27 | In earlier versions of Premiere Pro,
there was a little bit of a downside
| | 06:31 | with the Mercury Engine.
| | 06:33 | You see, there was this great
performance in the computer when you use the
| | 06:36 | graphics processing unit.
| | 06:38 | However, many professionals relied upon
third-party hardware to professionally
| | 06:42 | monitor their video signals.
| | 06:44 | Maybe they needed to go out to tape
or they had an expensive monitoring
| | 06:48 | workflow that involves scopes and
professional high-resolution monitors with
| | 06:51 | connections like HD-SDI.
| | 06:54 | However, thanks to new technology
called Mercury Transmit, you now have the
| | 06:58 | ability to take your graphics card
plus the RAM and the operating system and
| | 07:03 | pass all of that performance
through to your third-party hardware.
| | 07:07 | This means that if you have a
supported graphics card, it can work in tandem
| | 07:11 | with your video output device.
| | 07:13 | You can now take advantage of all of
the benefits with the Mercury Engine
| | 07:17 | and then pass that through your higher-
end video capture card or output card
| | 07:21 | in real-time.
| | Collapse this transcript |
| Exploring improvements in the Mercury Playback Engine| 00:00 | As Adobe Premiere Pro gets
updated, they continue to add support for
| | 00:04 | more graphics cards.
| | 00:05 | Earlier we discussed non-NVIDIA cards
on the Mac, however, NVIDIA does offer
| | 00:10 | support for both Mac and PC.
| | 00:13 | The list you see here is the list of
currently supported graphics cards,
| | 00:17 | however, this list will
continue to grow and expand over time.
| | 00:21 | Adobe does a great job of
keeping up with the latest releases.
| | 00:25 | The big thing on this list is
the Tesla Card, which is an insane
| | 00:28 | configuration of power, basically
two graphics cards stacked together for
| | 00:32 | some really sick performance.
| | 00:34 | It works great in After Effects as well.
| | 00:37 | Now, you can look at this list
and find cards priced at wide range;
| | 00:40 | you've got entry-level cards as well
as high-end performance cards, so help
| | 00:44 | yourself, take a look at that list,
jump on over to NVIDIA's web site and see
| | 00:48 | which one fits your budget and your needs.
| | 00:51 | If you'd like to keep a close eye on
what cards are officially supported, you
| | 00:54 | could just head on over to Adobe's web site.
| | 00:56 | We've headed on over to adobe.com and
we've gone to the Premiere Pro Product page.
| | 01:00 | Now the page currently shows CS5.5,
because at the time of recording that's
| | 01:05 | what's publicly available.
| | 01:07 | So if you look at this here, not a
problem, this will likely be the same URL as
| | 01:11 | well as a similar laid out page. Just
click on the Extend tab and what you'll
| | 01:16 | get is a list of compatibility.
| | 01:18 | So as we scroll down, third-party
hardware compatibility, it's going to show you
| | 01:22 | capture cards as well as
capture and edit options.
| | 01:26 | This gives you a good idea of the AJA
hardware, Blackmagic, Bluefish, Matrox, et
| | 01:32 | cetera, of what's supported, and we
can click the link here for third-party
| | 01:37 | hardware compatibility and get a
very detailed list of what's supported.
| | 01:41 | There we go, this is going to take us
to a PDF list of all of the currently
| | 01:46 | supported cards, and you get an idea
there on capture devices and cards and
| | 01:51 | what's going to work.
| | 01:55 | There's our current list of
NVIDIA cards, that's fully supported.
| | 01:58 | It tells you what the card does, and
this will continue to expand as we get into
| | 02:03 | new cards for the Mac and Windows platform.
| | 02:06 | There you have it, make
sure you keep up-to-date.
| | 02:09 | Remember, most graphic cards, the GPU
are going to have updaters or drivers that
| | 02:12 | come out from time to time.
| | 02:14 | In order to get that best performance,
you're going to want to keep both
| | 02:17 | Premiere Pro and your GPU card up-to-
date and that will let you take advantage
| | 02:21 | of the Mercury Engine.
| | Collapse this transcript |
|
|
3. Efficient Ingest and Logging with Adobe PreludeWhat is Adobe Prelude?| 00:00 | In the Adobe Creative Suite
configuration, we have a new helper application
| | 00:04 | called Adobe Prelude, which is really
useful when you partner it with Premiere Pro.
| | 00:09 | This application is all about metadata.
| | 00:11 | Remember metadata is essentially data
about data, information about your clips.
| | 00:17 | So this could be things like sub-
clips or markers, the ability to quickly
| | 00:21 | process your video source material and
make it more usable to the end editor.
| | 00:27 | Now Prelude is designed to be a simple
tool and its really mission is pretty
| | 00:32 | simple, to make metadata sexy. The
idea that anybody can do it and really get
| | 00:37 | their material organized quickly.
| | 00:39 | This program really came out of the
work that Adobe was doing with several
| | 00:43 | broadcasters on an international scale.
| | 00:45 | They wanted a tool that producers could
use but still benefited the end editor.
| | 00:50 | So that's Prelude and it's all
about bringing in your source material.
| | 00:54 | It really has a couple of key roles.
| | 00:56 | First off with Adobe Prelude,
you can Ingest your material.
| | 01:00 | It will recognize tapeless sources
and you could pull those files in.
| | 01:04 | Now you have the added benefit of
partial Ingest, meaning that you could go
| | 01:08 | ahead and set in and out points.
| | 01:10 | So if you have really long clips or
maybe a digital recording of a live event,
| | 01:15 | you could start to split that up.
| | 01:17 | You don't have to pull in everything, but
rather you could partially Ingest the files.
| | 01:21 | Now when you mark partials of native
tapeless sources, you're going to have
| | 01:25 | to transcode those. That's okay.
| | 01:28 | Prelude supports transcoding to
any codec that you have loaded.
| | 01:31 | So if you're working with a lot of
Avid or Final Cut Pro equipment, or a TV
| | 01:36 | station that uses one particular
standard for all of its acquisition, even
| | 01:41 | oddball material that comes in can be
rewrapped into this same standard codec.
| | 01:46 | So for stations that don't want to
have a multi-format workflow, Prelude is
| | 01:50 | going to allow you to
standardize on a single codec.
| | 01:53 | This is a big step for Adobe.
| | 01:55 | Earlier versions of Premiere Pro
focused on native editing and that is still
| | 01:59 | completely supported and a very solid workflow.
| | 02:03 | But if you need to, you could
partially Ingest and fully take advantage of
| | 02:07 | transcoded workflows using Adobe Prelude.
| | 02:10 | Another good thing about
Prelude is that it makes backup easy.
| | 02:14 | You could set an unlimited
number of backup destinations.
| | 02:17 | So when you're importing your media,
you could target different places for that
| | 02:21 | footage to go ahead and
automatically get written to.
| | 02:24 | This means that when you mount a card
and start pulling things in, you could
| | 02:27 | target the editing volume, a backup
network, any sort of system you need, making
| | 02:32 | sure the footage shows up in multiple places.
| | 02:35 | Also, we can use these tools to log,
setting sub-clips, marking in and out
| | 02:40 | points, and even put together a full
rough cut that quickly takes the right
| | 02:44 | clips and puts them in the right order.
| | 02:46 | When you're all done, all of this can
be published to Premiere Pro to really
| | 02:50 | jumpstart an editing session.
| | 02:52 | A quick word before you start to work
with Prelude. Adobe Prelude is usually
| | 02:57 | used at the beginning of a project.
| | 02:59 | You will process your footage
before you Ingest it into Premiere Pro.
| | 03:04 | In the exercises you're about to see,
I am going to use footage that we're
| | 03:08 | actually already using in the edit.
| | 03:11 | Now, if I start to modify this footage,
it will update the metadata within the
| | 03:15 | clips and it is slightly destructive.
| | 03:19 | I don't mean that it's going to damage
the clips, but what happens is, is it
| | 03:22 | is possible to modify clips and have those
changes propagate into the Premiere Pro Timeline.
| | 03:28 | So any markers you add or any trimming
you do for partial Ingest, could ripple
| | 03:34 | forward to an existing project.
| | 03:37 | Remember, Prelude is pre; you start with
it before you begin the editorial process.
| | 03:43 | It's the first step to Ingesting,
logging, loading, adding metadata.
| | 03:49 | I highly recommend, if you're going
to use it, take advantage of it in the
| | 03:53 | beginning, especially if you use any of the
partial Ingest features we're about to describe.
| | 03:59 | If you just want to use it to add
markers or extra comments or information, that
| | 04:04 | works very well and that
could be done after the fact.
| | 04:08 | So if you need to put an editor on a
big pool of footage, like an assistant, or
| | 04:12 | maybe you want to go ahead and let a
producer or a director look at those clips,
| | 04:16 | Prelude is very useful at any point in
time and you can use it to add markers.
| | 04:22 | However, if you use the partial Ingest
feature or you start to transcode the
| | 04:26 | footage, be careful how those
changes could ripple forward to existing
| | 04:31 | Premiere Pro projects.
| | 04:33 | I recommend if you're using our hands-
on files that you duplicate the Media
| | 04:37 | folder, or put it in a different
location and use that footage.
| | 04:42 | Don't modify the same asset that you have
Premiere Pro looking at if you could avoid it.
| | 04:47 | Now, it's not a big deal, this is just
a sample workflow, but keep in mind as
| | 04:51 | you work, you may want to make sure
that Prelude happens in the beginning of
| | 04:56 | your workflow project as not
to modify what comes after.
| | Collapse this transcript |
| Creating a project with Prelude| 00:00 | When you launch Adobe Prelude,
it's going to seem pretty familiar.
| | 00:03 | It uses a lot of the same user
interface conventions of other Adobe software.
| | 00:08 | Here is how it works.
| | 00:10 | On the splash screen, we are going
to choose to create a new project.
| | 00:14 | If you already have an existing
project you can open up that as well, but
| | 00:17 | let's start with new.
| | 00:18 | I am asked to go ahead and give it a
name and by default it's going to store it
| | 00:23 | on your internal drive in the Prelude folder.
| | 00:26 | However, you can navigate anywhere you
want and actually store and organize that.
| | 00:31 | For now, I am just going to
keep it on my internal drive.
| | 00:34 | And we'll give this a name, making
sure to keep the extension there of plproj
| | 00:39 | for Prelude Project, and
let's just give this a name.
| | 00:44 | I'm working with Source Media from the
National Foundation for Credit Counseling
| | 00:47 | and I am just going to set up a
project called NFCC and click Save.
| | 00:52 | When I do this, the interface opens up
and upon first glance, it may look a lot
| | 00:57 | like Premiere to you.
| | 00:59 | I can go ahead and choose Window >
Workspace and you'll see we have different
| | 01:02 | views for Listing our
material, Logging it and Rough Cut.
| | 01:06 | I am going to start with Logging,
because we are going to start bringing some
| | 01:09 | stuff in here, and let's just go
ahead and Reset the Current Workspace.
| | 01:14 | Everything looks fine, we've got all of
our content up and we are now ready to
| | 01:18 | move on to the next stage.
| | 01:20 | In order to work with Prelude, we need
to bring in our actual media, that's the
| | 01:24 | Ingestion part, and we'll
take a look at that next.
| | Collapse this transcript |
| Ingesting media with Prelude| 00:00 | Now that we have our project set up and
the user interface properly configured,
| | 00:04 | let's start to Ingest some media.
| | 00:06 | Remember, Ingesting is the process of
bringing the material into the application.
| | 00:11 | To do this, I am just going to click the
Ingest button and it will bring up the Ingest panel.
| | 00:17 | Now, we can navigate to any of
the drives we have hooked up.
| | 00:19 | I am going to pull in some media from
our NewFeatures project here, and in the
| | 00:24 | Media folder I could see it.
| | 00:27 | Notice in Prelude, we
have the use of check boxes.
| | 00:29 | So if I check this, the
entire folder would be Ingested.
| | 00:34 | However, I want to go ahead and take
advantage and be a little more selective.
| | 00:38 | Let's double-click here and take a look
at some of the project assets and I am
| | 00:42 | going to jump into my Footage bin.
| | 00:45 | Now here we see all of the
individual assets in a List View.
| | 00:48 | You can go ahead and navigate, but
basically you're seeing the name of the
| | 00:52 | clip and the file path.
| | 00:55 | If you had different tapeless formats
mounted, you'll see that Prelude could
| | 00:59 | properly interpret the folder structure
for a wide range including AVCHD, Canon
| | 01:04 | XF, P2 media, RED, HDV and XDCAM.
| | 01:09 | In this case, I'm working with DSLR, so
a standard File Directory is fine, but
| | 01:13 | any of these other formats are fully supported.
| | 01:17 | Now when you have this here, you've got
the ability to look at different clips,
| | 01:20 | and you might be saying, well
that list is pretty useless.
| | 01:24 | Well fortunately, you can go ahead
and switch on over to Thumbnail View and
| | 01:27 | these will go ahead and update, and
this looks just like the Media Browser
| | 01:31 | inside of Premiere Pro.
| | 01:32 | So you've now got the ability to resize
those thumbnails by dragging and quickly
| | 01:37 | start to see the clips you have.
| | 01:39 | You also can go ahead over clips and
take advantage of the same Hover Scrub.
| | 01:44 | This allows you to go ahead and Hover
Scrub over that content and decide if it's
| | 01:47 | a shot that you want to use.
| | 01:50 | When you determine that a clip is
useful, just check its box here to go ahead
| | 01:54 | and mark that as a usable clip.
| | 01:57 | A shortcut key for that is to press the V
key to toggle that as marked or unmarked.
| | 02:04 | Think of that check box as looking like a
V was put into it, to mark it as checked.
| | 02:10 | That works really well and you can
quickly browse and find your media in a
| | 02:14 | similar fashion that you would in Premiere Pro.
| | 02:18 | Now as you start to make your selections here,
you've got some important choices to make.
| | 02:23 | First off, you could decide to transfer clips.
| | 02:26 | This means that you can
add different destinations.
| | 02:30 | So you can go ahead and browse to
select a target location if you want, or add a
| | 02:36 | custom destination in
order to hold your footage.
| | 02:39 | This is really useful, because you
could target a drive on your network or even
| | 02:44 | multiple destinations.
| | 02:46 | With the Primary Destination, I can
go ahead and choose a location here.
| | 02:50 | I'm going to just go to a different
drive for a second, let me scroll on down,
| | 02:54 | and I am going to make a
copy here on my backup drive.
| | 03:04 | I'll make a new folder and I'll call it Ingest.
| | 03:13 | You'll notice that it's targeted.
| | 03:15 | I could then add a subfolder and it's
automatically going to go ahead and time
| | 03:19 | and date stamp this for me
based on the import time.
| | 03:22 | I can give it any name I want however.
| | 03:26 | Equally important is the
ability to choose Transcode.
| | 03:29 | If you go through your clips and you
actually set in and out points, you can
| | 03:34 | reduce the amount of media
being imported into your system.
| | 03:38 | This means that you can get rid of
unnecessary handles if you're concerned about
| | 03:42 | space or take a much longer clip, say
from a live event or a newscast, and cut
| | 03:47 | down just the portions that you want.
| | 03:50 | As you mark those in and outs using
the standard in and out keys, you are
| | 03:54 | determining what part of
the clip you want to import.
| | 03:58 | Doing that allows you to then target
a format, and you'll notice that all of
| | 04:02 | these options are supported.
| | 04:03 | For example, I could take this
to P2 media or the XDCAM format.
| | 04:08 | I could also go to QuickTime and
load in any other presets I want.
| | 04:13 | Now if a preset is not
available, this is pretty easy.
| | 04:17 | These presets are just what's
available inside of Adobe Media Encoder.
| | 04:21 | So there are third-party presets
available for things like Apple ProRes that if
| | 04:25 | you have that installed,
you can load on your system.
| | 04:28 | Or you can go ahead and make your own
presets for any format that you need.
| | 04:32 | Adobe Media Encoder is very robust, so
if I choose an option like P2 media, I'll
| | 04:37 | find all the standard
broadcast formats in there.
| | 04:40 | However, you can make any preset you want.
| | 04:43 | Simply launch Media Encoder first,
make the preset, and then relaunch Adobe
| | 04:48 | Prelude and the new presets will show up.
| | 04:52 | So we've got those all selected.
| | 04:54 | I am going to go in this case to a
P2 movie, and I am going to take this
| | 04:59 | material to 1080, and it's 24 frames per
second, but I am going to down-convert it to 720p.
| | 05:06 | I could add additional destinations
if I want, even targeting multiple
| | 05:09 | destinations, and when I'm ready, I
just click Ingest, and those clips will load
| | 05:15 | and they will be converted to the correct media.
| | 05:18 | You'll notice that Adobe Media Encoder
launches and it's going to process those
| | 05:21 | clips in the background and
then add them into my project.
| | 05:25 | This process will take a little bit of
time if you're going to log and transcode,
| | 05:29 | but it is no slower if not much faster
than other editing tools you are used to.
| | 05:35 | What's happening here is you've logged
the material, setting in and out points, as
| | 05:38 | well as selecting the specific clips
you want to load, and then you're able to
| | 05:42 | target a particular codec that you want to use.
| | 05:46 | If you're coming from Final Cut Pro's Log
and Transfer, this should seem really familiar.
| | 05:51 | Now if you want to bypass that
transcoding step, just uncheck the Transcode box,
| | 05:56 | just realize that you cannot do a
partial Ingest on native media, instead you
| | 06:01 | will need to import the media as
is into your project. All right!
| | 06:05 | Once this finishes processing, we'll
go ahead and start to explore how to add
| | 06:09 | additional metadata next.
| | Collapse this transcript |
| Logging media with Prelude| 00:00 | One of the main benefits of Prelude is logging.
| | 00:03 | This allows you, the producer, the end
client, to go through and start to put
| | 00:08 | notes in for the editor.
| | 00:10 | This is tremendously useful, because it
lets them spot the takes that they want to use.
| | 00:14 | Let's take a look at how it works.
| | 00:17 | I've got a bunch of clips loaded here
and I just use the previous Ingest method
| | 00:21 | to pull in the whole folder.
| | 00:23 | Now you can use whatever you want,
transcode those like you learned in the
| | 00:26 | previous exercise, or pull everything in.
| | 00:29 | There is no project file to open up here,
so you'll just need to launch Prelude
| | 00:33 | and pull in the media from the lesson
or some other media to practice with.
| | 00:38 | With this loaded, I can go ahead and
double-click a clip and then press Play.
| | 00:43 | Over here, you see the use of markers.
| | 00:45 | So we have Subclips and Comments.
| | 00:48 | I can go ahead and add a subclip marker
by clicking, or by pressing the number 1.
| | 00:55 | As the pan starts here, we'll go
ahead and enter it, I could start to type
| | 01:05 | cARRY bOX, and when I am
done hit the Return key.
| | 01:11 | That will close it out.
| | 01:15 | If you need to, you could refine those
handles by just dragging and I could use
| | 01:20 | the O key to mark the out point for that marker.
| | 01:25 | What I've essentially done
there is created a subclip.
| | 01:28 | This means that when it imports into
the Editing tool, there will be the
| | 01:31 | original clip, plus just the marked
out portion that I considered useful.
| | 01:36 | This is really good particularly for
long interviews where you may want to
| | 01:39 | cut it up by question.
| | 01:41 | Let's go to another clip.
| | 01:42 | Let's go ahead and load up another clip,
we'll say to save those changes to that
| | 01:46 | first clip and now we'll go forward.
| | 01:48 | Notice I can go ahead and use the
JKL, even tapping it multiple times.
| | 01:54 | There we go, tap 1 to mark the subclip,
I'll start to type in a name, I could
| | 02:07 | press Return to close that out, and
when the shot ends, simply press the O key
| | 02:15 | to mark the end of the subclip.
| | 02:18 | And you see that that worked really well.
| | 02:20 | Over here, we have the ability to also
click in and out manually and I could
| | 02:25 | type in any detailed notes, Cut
close and use as in-camera wipe.
| | 02:37 | When I go to my next clip here, it's going
to ask me to save that and it gets stored.
| | 02:43 | Now notice up here, we start to have our
subclips appearing, but at any point in
| | 02:47 | time, you could modify those as well by
double-clicking and that's going to load
| | 02:51 | it up and let you modify what's on
screen. Really flexible and easy.
| | 02:59 | Continuing down, let's just do one more clip.
| | 03:02 | If I've got a clip here, maybe I don't want a
subclip but I want to add a specific marker.
| | 03:09 | Let's just fast forward to the best
action, and I could put a comment in on
| | 03:18 | the couch here and we'll just click
the Comment marker and I could say,
| | 03:24 | Increase Saturation.
| | 03:30 | And I can adjust the length of that
marker if I want, and what that's going to
| | 03:34 | do is create a marker for the
clip that shows up in Premiere.
| | 03:41 | Go to our next one here and you
see it's pretty straightforward.
| | 03:47 | So you are welcome to practice with
your own media, but as you see it's not too
| | 03:52 | hard to quickly go through and mark up a clip.
| | 03:55 | Let's go ahead and press Play, one to
start it, I'll type in the name, hit
| | 04:01 | Return and then O to close it out.
| | 04:05 | And you see that works really well.
| | 04:07 | Prelude may look pretty
basic and that's by design.
| | 04:10 | It originated in newsrooms for people
who are producers and it since evolved to
| | 04:15 | be useful to producers, directors, clients.
| | 04:18 | It's designed for people
who are not video editors.
| | 04:21 | You can let other individuals
participate in the editorial process by going
| | 04:25 | through and adding markers.
| | 04:27 | They can go ahead and put markers that
define a range of time or take the time
| | 04:31 | to go ahead and subclip out the best
portions of a clip that they'd like you to use.
| | 04:36 | The good news here is that this
increases the flow of metadata and improves the
| | 04:40 | overall level of communication
within the postproduction pipeline.
| | 04:44 | Be sure to take a look at Prelude and
involve other people on your team in using it.
| | 04:49 | Now when we come back, we are going
to take a look at actually assembling
| | 04:52 | a quick rough cut with Prelude, and
then we'll move everything on into
| | 04:55 | Adobe Premiere Pro.
| | Collapse this transcript |
| Creating a rough cut with Prelude| 00:00 | The other ability that Adobe Prelude offers
is the ability to quickly assemble a rough cut.
| | 00:05 | Remember, a rough cut is just that,
the correct sequencing of shots.
| | 00:09 | Now a rough cut can easily be created
by a producer, a director, an assistant;
| | 00:13 | the goal here is to just put
the shots in the right order.
| | 00:17 | By being able to string them out, it
really helps you to see, are those sound
| | 00:20 | bites working? Or is this
the right sequence of events?
| | 00:23 | Let's take a look at the process.
| | 00:26 | I've gone ahead and imported a few more
clips in Prelude, bring in any clips of
| | 00:30 | your own to practice.
| | 00:32 | What I am going to do here is click the new
Create a new rough cut button at the bottom.
| | 00:36 | This allows me to give it a name and
I'll call this NFCC Roughcut 2, and I save it.
| | 00:47 | If I double-click, it
will load up that timeline.
| | 00:51 | Now to make things easier, click the
Rough Cut button to reconfigure the user
| | 00:54 | interface and make a little
more room for the monitor.
| | 00:57 | Remember, everything else can easily
be adjusted by just dragging between the
| | 01:01 | frames to adjust the overall
position. That might help you out.
| | 01:06 | Once you've got this, you can
now start to select your shots.
| | 01:09 | Now if you double-click, it's going to
switch to the previously loaded shots,
| | 01:13 | so this let's you find your subclips,
and remember you can go ahead and load a
| | 01:17 | clip, mark out a subclip as we learned in an
earlier movie, and it's pretty straightforward.
| | 01:23 | You then simply drag a shot down to
the Timeline to put it into order, and as
| | 01:28 | you do this, we can start to find
the correct shots that we want to use.
| | 01:33 | Notice here we could just start putting
these in to the Timeline to sequence the events.
| | 01:39 | If I add something I don't want to use,
I can select and delete it, or I could
| | 01:44 | just come in here and
pull it down. There we go.
| | 01:49 | If we decide we want to move a clip,
you can select it and under the rough cut
| | 01:54 | menu you could choose move clip right or left.
| | 01:57 | This just uses the shortcut of Comma and Period.
| | 02:01 | So with that selected I can go ahead
and move that to the right or move it to
| | 02:05 | the left to change its order.
| | 02:07 | Remember the goal here is to just
get the shots in the right order.
| | 02:11 | There are no trimming tools or
anything else down here in the Timeline.
| | 02:15 | It's simply a string-out that you
have the pieces in the correct order.
| | 02:19 | You can go ahead and drag shots in.
| | 02:21 | If you drag it between two shots, it will
do an insert edit and push everything down.
| | 02:27 | You can go and drag them left or right
to reorder them, or you can use the comma
| | 02:34 | and period keys to swap the order of your shots.
| | 02:39 | Once you've done this, it's pretty
straightforward, and remember, this is just
| | 02:43 | designed to get the shots in the right order.
| | 02:46 | In this case, I've got two instances
of the wide shot, I am going to go ahead
| | 02:49 | and pull this one out and
it re-adjusts the layout.
| | 02:52 | That looks pretty good.
| | 02:53 | I want to go ahead and move this
one forward and I think that's the
| | 02:57 | correct string-out.
| | 03:00 | Now once you've put the rough cut
together, it's easy to save this.
| | 03:03 | You could have multiple rough
cuts within the same project.
| | 03:06 | Again, this is not a full-blown edit,
but if you're using things like sound
| | 03:11 | bites and you want to play with the order of
bites, this is the perfect tool for a producer.
| | 03:16 | It's also great with a B-roll
sequence to play with the order of shots and
| | 03:19 | really find the sequence of coverage that works.
| | 03:23 | Again, it's just a rough cut.
| | 03:25 | Let the producer or the director make this
and it will speed up the editorial process.
| | 03:29 | We've got one more thing to look at
and that is moving all this good, sexy
| | 03:33 | metadata onto Premiere
Pro and we'll do that next.
| | Collapse this transcript |
| Exporting to Premiere Pro from Prelude| 00:00 | After you've done all this work in
Adobe Prelude, you are going to want to send
| | 00:03 | it onto Premier Pro.
| | 00:05 | Remember, this jump is easy because of
the integration between the products.
| | 00:10 | We can go ahead and create subclips,
add markers, and all of this stuff will
| | 00:15 | translate to Premiere Pro. Here is how.
| | 00:18 | With the project open, I can
go ahead and select any clip.
| | 00:21 | For example, here I've marked
out a subclip within the shot.
| | 00:26 | If I right-click on that, I
could choose Send to Premiere Pro.
| | 00:30 | You'll see that it gets added into Premiere
Pro and there is that whole clip available.
| | 00:36 | Now if I wanted the individual
subclip, all I'd need to do is select that
| | 00:41 | subclip up here, and choose Send to
Premiere Pro, and you'll see that the
| | 00:47 | subclip came across.
| | 00:49 | Notice the icons are very
similar between a clip and a subclip.
| | 00:53 | The benefit of the subclip of
course is that it's much easier to add
| | 00:56 | a descriptive name.
| | 00:59 | However, if necessary, in
Prelude you can rename clips as well.
| | 01:04 | So if I wanted to give this a more
descriptive name that didn't actually match
| | 01:08 | the original file name, I could do that.
| | 01:10 | For example, if I called this Carry
Couch WS1, and we went ahead Saved
| | 01:23 | that and sent it on to Premiere Pro, you'll
notice that it came in as Carry Couch WS1.
| | 01:33 | I could right-click on that and choose
to Reveal that, and you'll see that there
| | 01:39 | it is, there is the MXF file that was
created, because this is one of the clips
| | 01:43 | we transcoded earlier.
| | 01:44 | So even though I renamed it in
Prelude, the original name was preserved
| | 01:49 | with the file itself.
| | 01:52 | This gives us a lot of
flexibility with our metadata.
| | 01:55 | If you want to take a rough cut,
that's a piece of cake, you can go ahead and
| | 01:58 | send that to Premiere Pro.
| | 02:00 | That will bring over an individual
string-out sequence in the order that you had
| | 02:04 | it in Prelude, and all of the clips came across.
| | 02:08 | In the case here, we have one of
those markers, and notice there it is
| | 02:12 | attached to the clip.
| | 02:14 | We've marked out to increase the
saturation of that clip for that section and
| | 02:18 | that's the sort of feedback that can
translate from a producer or a director to the editor.
| | 02:24 | These use of clip markers are
incredibly useful, because unlike previous
| | 02:28 | versions of Premiere, the marker can
now be set to define a range of time,
| | 02:33 | giving you very useful feedback about
what to use in a clip or how to treat it.
| | 02:39 | If I jump back to Prelude here, I
can go ahead and select everything and
| | 02:44 | choose to send all of that on to Premiere Pro
and everything comes across with everything intact.
| | 02:51 | So, pretty straightforward.
| | 02:53 | Obviously, when you send it to Premiere
Pro, if you want to open up a bin first
| | 02:57 | and target that, it could work.
| | 02:59 | Or you could drag all of those
clips into a bin pretty easily.
| | 03:02 | Again, it's just going to go ahead and
put it into the Project panel and that's
| | 03:06 | a great way to go ahead and further
refine your level of organization.
| | Collapse this transcript |
|
|
4. Multi-Camera Editing ImprovementsWhy use multi-camera editing?| 00:00 | Multi-camera editing is
increasingly gaining in popularity.
| | 00:03 | The reason here is that
cameras are becoming cheaper.
| | 00:07 | Fortunately, you can get a high
definition video camera that's capable of
| | 00:11 | broadcast quality video
for a few thousand dollars.
| | 00:14 | Now there's still a need for high-end
video cameras and of course when you start
| | 00:17 | looking at cameras, there is a big
difference say between a DSLR and an Alexa,
| | 00:23 | but everything in between still works.
| | 00:27 | So here's what happens, in Adobe
Premiere Pro we can combine multiple angles of
| | 00:31 | video together, synchronize them, and
more seamlessly edit this content together.
| | 00:37 | Now longtime Premiere Pro users
will go, I've had multi-camera editing.
| | 00:41 | You did, but previous versions of
Premiere Pro were limited to only four tracks.
| | 00:47 | This has now changed.
| | 00:49 | The good news is, is you could take
multiple cameras of coverage and because of
| | 00:53 | the Mercury Playback Engine, those
formats can even be from different cameras.
| | 00:57 | You can mix and match different frame
rates, different codecs, even file sizes.
| | 01:02 | Now ideally you'll want everything
to line up, but this isn't too bad.
| | 01:07 | We can go ahead and put all of these
things together into a Premiere Pro
| | 01:10 | multi-camera project and then
quickly cut between the angles.
| | 01:14 | If you need to do things like weddings,
events, music concerts, music videos,
| | 01:20 | even corporate events, you can go
ahead and use this as a useful tool.
| | 01:25 | In fact many feature films are shooting
multiple cameras at once, especially for
| | 01:29 | things like action scenes where you
have the cost of a lot of extras or the
| | 01:33 | danger of stunts, getting multiple
camera angles will make it easier to cover
| | 01:37 | that material, broadcast as well, live events.
| | 01:41 | So I'm sure you could find the
use of multi-camera editing for your
| | 01:44 | workflows and projects.
| | 01:46 | I'd like to show you how it
works inside Adobe Premiere Pro.
| | Collapse this transcript |
| Setting up multi-camera sequences| 00:00 | In order to edit a multi-camera
project, you need to get everything set
| | 00:04 | up correctly.
| | 00:05 | Remember, the previous
limitation of four-camera angles is gone.
| | 00:09 | Now for our exercise today, I'm going
to use four-camera angles, not because
| | 00:13 | that's the limit, but because I think
that's enough footage for you to download
| | 00:17 | if you're following along.
| | 00:18 | Feel free though to play and you can
add multiple angles in there, just fine.
| | 00:23 | What I want you to understand is this.
| | 00:25 | The number of angles you can
edit is dependent upon two factors;
| | 00:29 | first off, you need to have a computer
that's fast enough to handle all that
| | 00:33 | video playing back at once.
| | 00:35 | So if you are dealing with an
underpowered system, or you're trying to throw
| | 00:39 | something at it like, I don't know,
12 streams of Red 5k, you might choke
| | 00:43 | your computer up.
| | 00:45 | On the other hand, if you've got a
really beefed up computer, you can
| | 00:48 | handle lots of streams.
| | 00:50 | The other major bottleneck is
going to be the storage drives.
| | 00:53 | Remember, when you're playing back
multiple streams of video, it is putting a
| | 00:57 | burden on the editing system.
| | 00:59 | To get around this, we'll often drop the
playback quality to make it less demanding.
| | 01:03 | All right!
| | 01:04 | Let's see how to go ahead and set this angle up.
| | 01:06 | I am going to go ahead into my Bin here
and open up some footage, and what I have
| | 01:12 | here are four angles of footage.
| | 01:15 | Let's switch on over and we are going
to go through and mark in and out points.
| | 01:21 | Now if I look at this clip, what
I'm looking for is the clapboard.
| | 01:25 | We'll select the first clip here
and I'll use J, K, and L, there it is.
| | 01:34 | If I need to really refine that, I
can load it on up as a source and I'm
| | 01:38 | basically looking for
the close of the clapboard.
| | 01:49 | And there it is.
| | 01:52 | Go off the visual and the auditory cue, it's right
there and I can mark an in point.
| | 01:58 | You're going to go ahead and want to mark
an in point for every single sync point.
| | 02:02 | If you are working with sources that
have jam timecode, you can also use that
| | 02:07 | for alignment, but in many cases, it's
difficult to get the exact same timecode
| | 02:11 | to every single camera.
| | 02:13 | So I find using the in point to be
the most accurate method to determine.
| | 02:17 | You can use a handclap onset, a
clapboard, a flash or something common that all
| | 02:23 | camera angles can see.
| | 02:25 | So I've gone ahead and I've marked an
in point for every single angle when
| | 02:29 | the clapboard closes.
| | 02:31 | There we go and I just have to go ahead into
my Bin here and select those four angles.
| | 02:38 | There we go.
| | 02:39 | Let's grab them, right-click, and I could
choose to create a Multi-Camera Source Sequence.
| | 02:47 | When I do this, a new dialog box pops
up and I could choose to mark these based
| | 02:55 | on the In Point, the Out Point, or the Timecode.
| | 02:58 | If using Timecode, you can ignore hours
because in many cases, people will use
| | 03:03 | hour 1 for camera 1, hour
2 for camera 3, et cetera.
| | 03:08 | You also can use markers if you want to
go through and put those into your tracks.
| | 03:13 | But In Point works fine, I'll
click OK and it will create a new
| | 03:18 | multi-camera clip.
| | 03:20 | Let's go ahead and close this bin
here and we'll just open it up this way.
| | 03:25 | And if I double-click on that, you'll see
that it loads up as a multi-camera source.
| | 03:30 | The size of this grid is going to
be determined based on the number of
| | 03:33 | angles you're using.
| | 03:35 | If you're using four angles,
you'll have a 2x2 grid.
| | 03:38 | If you're using up to nine angles,
you'll have a 3x3 grid, more than nine, 16
| | 03:44 | or less, a 4x4 grid.
| | 03:46 | So you see that Premiere
Pro will dynamically resize.
| | 03:50 | Again, there is no theoretical limit to
how many angles you can have, but as you
| | 03:55 | add more angles, you are going to
make sure you need to have the computer
| | 03:57 | processing power and the drive speed
to back that up, let alone the cost of
| | 04:02 | having 96 angles of coverage at an event.
| | 04:05 | If you are going to afford 96 camera
angles to cover your next event, please
| | 04:09 | call me, I'll gladly take the job.
| | 04:11 | However, let's just say this is more
than reasonable and works very well for
| | 04:15 | just about any production
situation you might have.
| | 04:18 | All right!
| | 04:19 | We've got that, we're just going to go
ahead and drop that into a new sequence,
| | 04:23 | and then we'll do a few more
things and be ready to edit it.
| | 04:25 | To put that in a sequence, I'll just
drag it onto the New Sequence icon.
| | 04:30 | There is it.
| | 04:31 | It's added the multi-clip and we're just
about ready to start the editing process.
| | 04:36 | I am going to go one step further and
actually line up the music track here and
| | 04:41 | that's because I've got
the audio separate recorded.
| | 04:45 | In this case, if it was a true live event,
I'd be ready to go as is, but because
| | 04:49 | I'm using a prerecorded click track, I
just need to line that up really quickly.
| | 04:54 | Let's find the first line of dialog.
| | 04:56 | (video playing)
| | 05:06 | There's a nice hard consonant, the world, cold.
| | 05:09 | I'll go ahead and find
the reference audio track.
| | 05:13 | (music playing)
| | 05:19 | Let's go ahead and lower the
volume on that track a little bit.
| | 05:21 | I can modify the Audio Gain and I
am going to set that to -20 for now.
| | 05:27 | (music playing)
| | 05:37 | There's the word cold, perfect, mark an
in, mark an in, target my audio track,
| | 05:47 | and let's just go ahead and make the edit.
| | 05:52 | There we go.
| | 05:54 | Trim that back, and let's
just see if we are lined up.
| | 05:58 | (video playing)
| | 06:02 | Okay, so there is our live track
coming through from the two angles;
| | 06:05 | let's watch it without.
| | 06:06 | (video playing)
| | 06:16 | If you were cutting together something
like a scripted performance or a live
| | 06:20 | event, you probably wouldn't
have this reference audio track.
| | 06:23 | But in this case, I do have a prerecorded track.
| | 06:26 | For this particular song, it's because
we wanted to take the studio track and
| | 06:30 | lay it in under the studio performance, however,
they were recorded at separate times.
| | 06:35 | The band is essentially doing a live lip
-sync and we're swapping out the audio.
| | 06:39 | If this were a real live concert, we
might also have a soundboard recording from
| | 06:43 | the audio engineer and we
can cut that in as well.
| | 06:46 | Anyway, I just what you to understand
that it's easy to swap in a new audio
| | 06:50 | source and use that with
the multi-camera sequence.
| | 06:53 | Now that we've got the project set up,
let's go ahead and explore how to edit it.
| | Collapse this transcript |
| Cutting a multi-camera sequence| 00:00 | I've gone ahead and renamed my clips
from the previous exercise just so I have
| | 00:04 | a better name sequence, and I named it
with the name of the band and start as a
| | 00:09 | starting point.
| | 00:10 | I usually recommend duplicating the
sequence in case you want to change your
| | 00:13 | mind or go back, but because you have
that separate multi-clip here, it's very
| | 00:17 | easy to just drop that into a
new sequence and keep going.
| | 00:21 | Remember this multi-clip sequence can easily
be added to a regular sequence for editing.
| | 00:25 | All right, to do our multi-camera
editing we are going to bring up the
| | 00:28 | Multi-Camera Monitor.
| | 00:31 | This is a special user interface that
allows you to see things, and we can go
| | 00:35 | ahead and drag this out, make it a
little bit bigger, and I am just going to let
| | 00:38 | that fill the whole screen.
| | 00:41 | Drag on through, there we go, and when
we're ready I can click the Record button.
| | 00:49 | Now you'll see here the different
angles, you can click on those angles to
| | 00:53 | switch between them, and if you look,
nothing has happened down below except the
| | 00:58 | angles have been switched.
| | 01:00 | Notice that it updates in the main Timeline.
| | 01:04 | The Multi-Camera Monitor is just
a visual way to control things.
| | 01:07 | I am going to go ahead here and start
on this shot, click the Record button
| | 01:13 | and press Play.
| | 01:14 | Now to make things easier, so I don't
have to mouse from window to window, I
| | 01:19 | could just use the shortcut of 1,
2, 3 and 4 for the four angles.
| | 01:23 | If I add more angles up to 9, I
could just use all the way through the 9
| | 01:27 | key, here we go.
| | 01:28 | (video playing)
| | 01:56 | And notice how easy it is to
cut between the different angles.
| | 02:00 | (video playing)
| | 02:26 | So there you have it, very simple
multi-camera editing and remember, just
| | 02:31 | close the Multi-Camera Monitor and
you could see everything that's happened
| | 02:34 | down in the sequence.
| | 02:36 | If you were a little late or early on
any of the shots, like I was there, I
| | 02:40 | could just grab the Ripple tool and
roll that edit left or right and that
| | 02:45 | improved that particular edit.
| | 02:47 | (video playing)
| | 02:52 | And like any other edit, you could jump
on over to effects and take advantage of
| | 02:57 | any of your transitions, and put those
between the tracks, and it will treat it
| | 03:02 | just like it was two separate files.
| | 03:05 | (video playing)
| | 03:10 | This improves your overall editing
approach and a multi-camera production is
| | 03:14 | great for musical performances, live
events, or complex scripted pieces, because
| | 03:19 | it speeds up both the
production and the postproduction.
| | Collapse this transcript |
|
|
5. Improved TrimmingWhy trimming has changed| 00:00 | If you talk to an experienced editor,
you may hear the phrase "the power is in
| | 00:04 | the trim," and what that's all about is the
fact that trimming lets you find an edit. Sure,
| | 00:10 | you can go ahead and get the story
quickly put together, but it's really
| | 00:13 | trimming that lets you refine it, matching
the beat, or the pacing of the interview,
| | 00:18 | the actual sounds in the music,
getting just a feel that you have the rhythm
| | 00:23 | down pat, and that the story is working.
| | 00:26 | So why did trimming change in Premiere Pro CS6?
| | 00:30 | Well, if you've migrated from another
application, you probably thought trimming
| | 00:34 | sucked, and that's just really where it was at.
| | 00:37 | Premiere Pro had an okay Trim
Monitor, but it was so different than
| | 00:41 | other applications.
| | 00:42 | So, with Premiere Pro CS6, you have a
lot of choices, and initially, it could
| | 00:48 | seem a bit overwhelming.
| | 00:50 | See, it appears to me that the Premiere
Pro team took a look at what Apple was
| | 00:55 | doing, and what Apple editors wanted,
and it looked at what Avid editors wanted,
| | 00:59 | and it still preserved what it did before.
| | 01:02 | So, when you go to trim, you are going
to find a whole mishmash of tools, and
| | 01:07 | you're going to need to filter.
| | 01:09 | If you like to work the way you used to
work in Premiere Pro, the Trim Monitor
| | 01:12 | window is absolutely there.
| | 01:14 | If you come from Avid, and you are really
keyboard-driven, keyboard controls are still there.
| | 01:20 | If you are a Final Cut person, and you
like the ability to drag around with the
| | 01:23 | mouse or have interactive feedback or
drive from the keyboard as well, those
| | 01:27 | shortcuts are there.
| | 01:28 | But, what's going to happen is you
are going to need to look closely at the
| | 01:31 | trimming tools, potentially adjust a
few of the trimming preferences, and then
| | 01:37 | spend some time getting
familiar with what's there.
| | 01:40 | After a bit of time, you are going to
feel more comfortable, and I suspect you
| | 01:43 | are going to really like the trimming tools.
| | 01:45 | But on first blush, it could be a bit
overwhelming, and some of the stuff you
| | 01:49 | expect to be there is going to be hidden.
| | Collapse this transcript |
| Examining trim types| 00:00 | When trimming in Premiere Pro, we
essentially have three kinds of trim:
| | 00:03 | a regular trim, a roll trim, and a ripple
trim, and each of them has a different purpose.
| | 00:09 | Before we explore how to specifically
trim and use the interface, I just want
| | 00:14 | to bring these three types
to life. Let's have a look.
| | 00:17 | First off, if you want to use the
regular trim, this is essentially going to
| | 00:21 | move the edge of one clip,
and basically, it goes like this.
| | 00:27 | If I go ahead and drag, you see it
pulls that back and it leaves a gap behind.
| | 00:32 | An Avid system would call this a single
roller or a trim away or maybe an overwrite trim.
| | 00:38 | And you see here as we drag, we have
the ability to go all the way up to the
| | 00:42 | original edit point or back it off.
| | 00:45 | Now, this particular type of trim is
not used that often, but it is useful
| | 00:50 | for dialog, or shortening a clip, and it just
basically lets you lop off some area from the end.
| | 00:58 | Now, when you are selecting one of
these types of trims, you'll notice as you
| | 01:01 | mouse over, it will point to the left
or the right, and that's indicating which
| | 01:06 | clip is being selected.
| | 01:07 | Let's go ahead and just
choose a couple undos there.
| | 01:11 | Another type of trim is the roll trim.
| | 01:15 | To do this, I am just going to go ahead
and grab the Roll tool and click on an
| | 01:19 | edit point here, and notice I have to
mouse over the specific edit point for the
| | 01:23 | tool to become valid.
| | 01:24 | If I'm off to the side, it's in Do Not
Trim mode, but if I mouse over that point
| | 01:28 | and I click, now I'm doing a roll
trim. And you'll notice that both the
| | 01:32 | outgoing and incoming
shot are equally selected.
| | 01:36 | So, as the clip on the left is getting
shorter, the clip on the right is getting
| | 01:40 | longer, and this is useful as you
want to adjust shots like B-roll.
| | 01:45 | So if I am looking at this particular
shot here--and let's just watch this back--
| | 01:52 | notice there that the action is not
right, that she is putting her hand down
| | 01:56 | and then reaching back in.
| | 01:58 | I can go ahead and adjust that so that
the outgoing clip happens a little later,
| | 02:09 | when her hand is down. There we go!
| | 02:16 | And we make adjustments so the
edit doesn't seem like a jump cut.
| | 02:20 | That's pretty straight forward,
and the roll trim is available in most
| | 02:23 | editing applications.
| | 02:25 | The last type we have is a ripple.
| | 02:26 | We could do this with the Ripple Edit
tool, and there are a few other ways.
| | 02:31 | The benefit of a ripple edit, which is
yellow, simply means that as I shorten
| | 02:36 | this clip, it automatically closes the
gap and pulls things down. Or if I make
| | 02:42 | that clip longer, it will push
everything in the Timeline further down.
| | 02:47 | So this is useful when you don't want
to knock things further down out of sync,
| | 02:53 | and you just want to make one shot
longer and make room for everything else.
| | 02:58 | We have the ability to trim an out
point or trim the in point by simply
| | 03:03 | flipping over here.
| | 03:07 | And notice as we go from left
to right, it switches sides.
| | 03:11 | So if I shorten that clip,
everything else gets pulled down.
| | 03:15 | So, these three basics,
| | 03:17 | a regular trim, a roll, and a
ripple, are the standard types of tools.
| | 03:22 | These have not changed; however, we
have lots of new ways to access these
| | 03:28 | commands, and some of them are
easier in specific situations.
| | Collapse this transcript |
| Configuring trimming preferences| 00:00 | Just like most things in Premiere Pro,
there are some preferences you could
| | 00:03 | tweak to make everything
run a little bit better.
| | 00:07 | Let's start with the standard
preferences and modify those, and then a little
| | 00:10 | later, we will start to
adjust some keyboard shortcuts.
| | 00:15 | To access Preferences, on a Windows
machine, I will go under the Edit menu and
| | 00:19 | choose Preferences > Trim.
| | 00:21 | On a Mac, you'll find that
under the Premiere Pro menu.
| | 00:25 | Now, trimming only allows a few preferences,
| | 00:28 | first off, the Large Trim
Offset, and the Audio Time Units.
| | 00:33 | Audio Time Units are going to come in
handy when you're trimming, using the
| | 00:37 | Audio Time Unit view.
| | 00:39 | Remember, Premiere Pro has the
ability for both the Source and the Program
| | 00:43 | Monitor to switch from frames to audio
time units, which lets you really get in
| | 00:48 | there and start to work at the sample level.
| | 00:51 | Trimming 100 audio time units at a
time is much further refined than
| | 00:55 | trimming individual frames.
| | 00:57 | But if you're only trimming one time
unit at a time, you would likely have to
| | 01:01 | sit there and tap the Trim button a
couple thousand times to get what you want.
| | 01:07 | So this is just going to speed
things up and make it easier.
| | 01:10 | The Large Trim Offset is the number of
frames that are going to be used when
| | 01:14 | we click Large Trim.
| | 01:16 | Now, let me just put this in context.
| | 01:19 | If I bring up the Trim tool here,
you'll notice that we have individual single-
| | 01:23 | frame trim backwards one frame,
or I can go five frames at a time.
| | 01:28 | We're going to explore this
new Trim window in just a moment,
| | 01:33 | but you get the idea of what happens there.
| | 01:35 | If you want this to be, say, 1 in 10 or
if you are working with 24P material, you
| | 01:41 | might want to switch that.
| | 01:42 | In this case, I am working with 24P
material, so I am going to change this over.
| | 01:48 | And I will set the Large Trim
Offset to 4 frames and click OK.
| | 01:55 | In this case, it's still a sixth of a second,
and it's moving 4 frames with each click.
| | 02:05 | Now, when I am down in the Timeline,
if I'm mousing over and I click on an
| | 02:10 | edit point, you'll see that it will
go ahead and allow me to select the
| | 02:14 | individual edit points.
| | 02:16 | I can click off and select here.
| | 02:18 | But if I hold down a modifier key like
Ctrl, it will now do a ripple edit.
| | 02:24 | Or f I go right over the middle of a
particular edit with the Ctrl key held down,
| | 02:29 | it switches to roll.
| | 02:30 | So, you see that modifier key can come in handy.
| | 02:33 | Of course, like all things,
maybe you don't want that.
| | 02:37 | So back in that Preference dialog,
we could remove the use of the modifier key
| | 02:41 | and have Premiere Pro
guess on which method you want.
| | 02:44 | Let me show you what that looks like.
| | 02:46 | I will go ahead and bring back up the
Trim Preferences, and if I click this
| | 02:52 | here, it says Allow Selection tool to switch
between roll and ripple without the modifier key.
| | 02:59 | Click OK, and you see now we can
mouse over, or if I click directly in the
| | 03:07 | middle, it's going to switch. So, this is nice.
| | 03:12 | We have the ability to choose any type
of command. In this case, it's going to
| | 03:19 | ripple, and I don't need to use the
modifier key, because I find a ripple edit
| | 03:25 | as far more common where it closes out the gap.
| | 03:29 | Without that preference turned on,
you would be getting the single side or
| | 03:33 | regular trim, which leaves a gap.
| | 03:37 | Turning on that option to intelligently
switch means that it makes the better choice.
| | 03:43 | We can now do a ripple, or if I click
over the middle, a roll, and you see
| | 03:50 | that that works better.
| | Collapse this transcript |
| Selecting an edit| 00:00 | We've already taken a look at a
lot of different ways to trim.
| | 00:02 | What I'd like to do is take a look
at the specific options you have.
| | 00:06 | Premiere Pro has many choices, and I
think it's important for you to know what
| | 00:10 | you can and can't do.
| | 00:12 | I am going to zoom in a little bit with
the Plus key so it's easier to see, and
| | 00:18 | I want to show you that now in Premiere Pro CS6
we can actually select an edit point by clicking.
| | 00:25 | Remember, I've already switched my
preference so that when I click on an edit
| | 00:29 | point, it'll allow me to select that edit
point and switch between my different tools.
| | 00:36 | If yours behaves differently, you
will want to go Preferences and Trim and
| | 00:40 | enable the option that says Allows
Selection tool to choose Roll and Ripple
| | 00:44 | trims without modifier key.
| | 00:47 | Once I have an edit point selected,
I could take advantage of all sorts of options.
| | 00:53 | I can go ahead and scrub that by just
clicking and dragging, and you'll notice
| | 00:58 | that the Program Monitor now updates to
show us the beginning and end frames, so
| | 01:04 | I could adjust this and I see
the outgoing and incoming shots.
| | 01:14 | I also can use the numeric keypad.
| | 01:16 | For example, if I typed in -12 and
pressed Enter, you will notice it moves back
| | 01:24 | 12 frames, or +14. It moves the other direction.
| | 01:30 | So it becomes very easy to move that around.
| | 01:34 | Another thing that's very cool is the
keyboard shortcut of Shift+T. This will
| | 01:38 | cycle through all your trim types.
| | 01:40 | If you're a Final Cut editor,
you might have used the U key for this.
| | 01:44 | Notice I could choose between
different ripple types, regular trims, or a roll,
| | 01:51 | and tapping Shift+T simply
cycles between all my options.
| | 01:56 | Another way to change your trimming
is to simply click on a selection point
| | 01:59 | and then right-click, and you'll
notice that from the pop-up menu, you could
| | 02:04 | choose any Trim type.
| | 02:07 | Plus I can move to the previous edit
point with the up arrow and the same type
| | 02:11 | of trim I had selected will stay.
| | 02:14 | So if I'm in Roll and I pressed the
down arrow, I will go to the next type of
| | 02:18 | edit and it moves down.
| | 02:21 | So notice how easy it is to move
from one edit point to another.
| | 02:24 | And if you need to switch, a quick
right-click will let you change the method, or
| | 02:31 | that shortcut of Shift+T will let you cycle.
| | 02:34 | Let's go ahead for a moment and
temporarily turn off that option that allows the
| | 02:40 | Selection tool to dynamically switch.
| | 02:44 | You'll notice when you do this that
depending upon the tool, the behavior will vary.
| | 02:49 | With the Selection tool, by default
it's going to select a single side.
| | 02:54 | If I hold down the Ctrl key, it will go
ahead and choose a ripple option or if I
| | 03:02 | click off to the side, it gives me the ripple.
| | 03:08 | Additionally, you can click to select
an individual edit point and then hold
| | 03:13 | down the Shift key to
select multiple edit points.
| | 03:17 | This allows you to go ahead.
| | 03:19 | Let's just cycle there.
| | 03:22 | Now if I press Ctrl+Right Arrow, you
will notice that I'm actually extending
| | 03:27 | those clips and pushing them down further
in the Timeline, doing an asymmetrical trim.
| | 03:32 | Let's undo that.
| | 03:36 | Remember, if you need to, you can
always call up the History panel and see
| | 03:40 | exactly what sort of editing you've been
doing, and this allows you to jump back in time.
| | 03:45 | There we go.
| | 03:47 | If I select the Ripple Edit tool,
similar behavior. The Ctrl key will switch the
| | 03:56 | tool to allow me to switch between,
and the Shift key will allow me to go ahead
| | 04:03 | and select multiple edit points.
| | 04:06 | So in this case, I'm actually going
ahead and rolling all of those shots earlier
| | 04:12 | or later and they're adjusting.
| | 04:14 | You will notice if I zoom out in the
Timeline, we are not actually changing the
| | 04:19 | duration of the Timeline, because the
incoming and outgoing shots are being
| | 04:24 | adjusted in the exact opposite amounts.
| | 04:27 | So as I make the outgoing shot shorter,
the incoming shot is getting longer by
| | 04:32 | the same number of frames.
Let's go ahead and undo that.
| | 04:46 | Another option that's handy is that we can
go ahead and break clips that are linked.
| | 04:51 | For example, notice if I click here,
all the edit points have been selected,
| | 04:57 | because this particular video clip
is linked to these two audio tracks.
| | 05:03 | Now, if we hold down the Alt key and we
click on an individual edit point, notice
| | 05:08 | that just the video track was selected.
| | 05:11 | Or similarly--let's click off to
deselect--I can hold down the Alt key and the
| | 05:16 | Shift key to select those two audio tracks.
| | 05:20 | So if you really need to get specific,
you could do that. And once you have a
| | 05:25 | selection, you can use Shift+T to
cycle through your selection types.
| | 05:30 | So maybe I just want to do an offset
there on the audio, so we have an L cut or
| | 05:34 | a J cut, where the natural sound
is going to change before the edit.
| | 05:40 | This way, as I go from this shot to the
next shot, the edit point of the sound
| | 05:45 | happens at a different point,
making it a little bit easier.
| | 05:49 | Another thing you can do is you can
actually select the edit point on an empty track.
| | 05:55 | So if I wanted to here, I can go ahead
and click and now I could drag that and
| | 06:02 | you see it pushed everything out, creating a gap.
| | 06:05 | Trimming on an empty track
essentially puts filler in and will offset items
| | 06:11 | either forward or backwards in
the Timeline, usually creating a gap.
| | 06:16 | As you see, lots and lots of choices.
My recommendation is go into the
| | 06:22 | Preferences menu and set that to
dynamically switch between tools.
| | 06:26 | In this case, the program is doing a
better job of guessing which tool you need.
| | 06:31 | Remember, you can always use the
modifier key of Ctrl to force the tool
| | 06:36 | to behave differently.
| | 06:38 | If you want to break the link between
two clips, using the Alt or the Option key
| | 06:43 | on the Mac will allow you to select a
video or audio track without selecting all
| | 06:48 | of the other tracks that it's linked to.
And of course the Shift key, like most
| | 06:53 | things Adobe, allows you
to add to the selection.
| | 06:57 | So lots of choices, but with a
little bit practice they will soon become
| | 07:01 | second nature.
| | Collapse this transcript |
| Trimming in the Timeline| 00:00 | Now that you have the hang of
selecting an edit point and choosing what type
| | 00:04 | trim method you want to use, let's go ahead
and try to use the keyboard to drive trimming.
| | 00:11 | Personally, I find the keyboard much
faster than dragging around with the mouse
| | 00:15 | or clicking on buttons.
| | 00:17 | True, powerful editing is
often driven from the fingertips.
| | 00:21 | So the good news is that
the keys are pretty logical.
| | 00:25 | The better news is if you don't like them,
you could change them. Let's explore.
| | 00:30 | In our Timeline here, let's select
an edit point, and I am going to use
| | 00:34 | a keyboard shortcut.
| | 00:35 | If I want to trim backwards--let's
just do a simple ripple edit here--
| | 00:39 | I will press Shift+T to
cycle, and now I am going to trim.
| | 00:44 | Holding down a Ctrl key on a PC, I could
tap the left button and trim backwards.
| | 00:56 | If we want to go ahead and trim
multiple frames at once, adding the Shift key
| | 01:01 | will make that a super trim.
And you see it's jumping.
| | 01:06 | If I zoom in there, you could see it
even better, plus key to zoom in, and
| | 01:12 | that allows it to jump.
| | 01:17 | Let's talk about two types of edits
that power editors use: slip and slide.
| | 01:23 | With a slip and a slide you are
essentially taking the clip and changing it
| | 01:28 | without changing duration.
| | 01:31 | Well, what do I mean?
| | 01:32 | Well, in a slide edit you're going to go
ahead and take the selected clip in the
| | 01:36 | middle of a group and you're going to
go ahead and move it down the Timeline.
| | 01:41 | Now, this could leave a gap or it can go
ahead and shorten the clip in front and
| | 01:45 | make the other clip longer so that
essentially, you're moving it along the track.
| | 01:50 | Think of it like having two clips, with
one floating above that just shuttles
| | 01:54 | left and right. Pretty easy.
| | 01:56 | On the other hand slip edit is
something I use all the time.
| | 02:01 | In this case, slipping means slip in place.
| | 02:06 | So you want the shot to be
the exact duration that it is.
| | 02:09 | You want to start and end at the
point it already does in the Timeline.
| | 02:13 | However, you want to adjust the
contents of what's being shown.
| | 02:18 | Here is how they both work.
| | 02:21 | In order to slip and slide
you want to choose a clip.
| | 02:23 | I will go ahead in lasso here,
and I can go ahead and slide this clip.
| | 02:29 | I will do Alt+Shift+Left Arrow, and
notice in doing that, it moves it on down.
| | 02:36 | Now in this case it's
destructive and it left a gap.
| | 02:40 | I will choose undo.
| | 02:46 | If I want to change simply where
the shot begins, I could do the slip.
| | 02:52 | So she is already in the frame, and
I'd like her to start out of the frame.
| | 02:56 | So I will hold down Ctrl+Alt+Shift
and with the left arrow, I can move her
| | 03:02 | through or the right arrow, I mover her so
she starts before she crosses the frame.
| | 03:08 | Notice the duration of the Timeline
hasn't changed. The clip has not appeared to
| | 03:13 | move down in the Timeline, but we've
managed to adjust the contents of the shot.
| | 03:19 | So now, she starts clear
and walks through the frame.
| | 03:25 | And that works really well.
| | 03:27 | I find the Slip command much
more useful than the Slide command.
| | 03:32 | There are two more edit types that
I think will save you a lot of time.
| | 03:34 | If you've cut a bunch of sound bites
together, maybe a string out from an
| | 03:39 | interview, you often want to go
through and just delete away the parts that
| | 03:42 | you don't find useful.
| | 03:44 | Well, this is often done with a tops
and tail edit where essentially you could
| | 03:49 | park the playhead and delete
away the parts you don't want.
| | 03:52 | To do this, however, you need to
change your keyboard shortcuts.
| | 03:58 | Up here in the search field, I will
type in ripple, and we are going to take
| | 04:03 | advantage of ripple here for Next and Previous.
| | 04:07 | We'll set Next to R and Previous to W.
Those are on the keyboard right next to
| | 04:16 | the E key, which is used for Extent edit.
| | 04:25 | All three of those tend to
behave in similar fashions.
| | 04:29 | Let's load a simple sequence, and I
want to show you how these come into play.
| | 04:35 | Now that I've properly mapped the
keyboard, I could start lopping footage off.
| | 04:39 | So if pause right here and I press the
W key, you'll see that everything to the
| | 04:47 | left of the playhead is
thrown away. Let's undo.
| | 04:52 | If I pause right there, just as he
crosses the door and I press the R key,
| | 04:57 | you'll see that everything to the right of
the playhead up to the edit point is deleted.
| | 05:03 | So, what just happened?
| | 05:04 | Well, you could have done this the
hard way, of pausing, setting an end point,
| | 05:10 | jumping to the end, setting an
out point, and pressing Extract.
| | 05:13 | However, we've done a ripple delete
based on the playhead, and with a single key
| | 05:19 | we've performed four
functions at once. Here it is again.
| | 05:23 | As I go forward in the Timeline,
I decide I want to stop right there.
| | 05:29 | Pressing R will go ahead and pull that
down. We'll go to the next clip. It looks
| | 05:35 | good. I want to get out
right there. R closes the gap.
| | 05:41 | I want to trim the front of this. W pull that up.
| | 05:48 | So this tops-and-tails-type
editing is extremely useful.
| | 05:52 | I think you'll really enjoy it when
you have a long string out of sound bites
| | 05:55 | and you just want to go through and
start purging away the parts of the clips
| | 05:58 | you think are useless.
| | 06:00 | This lets you watch in real time,
and as soon as they finish the bite, you can
| | 06:04 | go ahead and pause it and lop off the
rest that you don't want. Or if you're
| | 06:08 | pressing Play and you get past the question
being asked by the director, pause right after that,
| | 06:13 | just before the person starts in the
good answer, and go ahead and press the W
| | 06:17 | key, and it will go ahead and close
that up, lift it, and do the extract.
| | 06:21 | So this tops-and-tail-type editing,
really useful and really hidden.
| | 06:26 | You're going to have to go into
the keyboard shortcuts and turn it on.
| | 06:28 | Just type in ripple and
then remap those two commands.
| | Collapse this transcript |
| Trimming in the Trim Monitor panel| 00:00 | Earlier versions of Premiere Pro had
the Trim Monitor panel, and this panel was
| | 00:04 | useful and still exists.
| | 00:06 | If you'd like to access it, just choose
the Window menu and you'll see Trim Monitor.
| | 00:13 | Now, this window is fine, and we are not
going to explore it now, because this has
| | 00:16 | been thoroughly covered in
earlier lynda.com training titles.
| | 00:20 | However, this is old because people
found that having to pop up a window and
| | 00:24 | then constantly close and open it got in the
way of the trimming process. So what's new?
| | 00:31 | Now the Program Monitor will
dynamically change for trimming.
| | 00:36 | This means that when you start to trim,
you can go ahead and flip it over to see
| | 00:40 | both the outgoing and incoming shot.
| | 00:43 | To do this, I'll just double-click on
a trim point and you see it opens up.
| | 00:48 | Plus, what's really nice is the ability
here to see the source timecode of the
| | 00:51 | clip, if you're trying to
target a specific point.
| | 00:55 | Notice as I move from left to right,
I could choose to a roll edit and both
| | 01:02 | sides are now highlighted as well as
selected down here in the Timeline, and I
| | 01:07 | can just drag between.
| | 01:09 | So if I wanted to go ahead and get
to that shot a bit earlier, I could.
| | 01:14 | Now when we play that, there it is.
| | 01:21 | When the Program Monitor is showing you
trimming, pressing the spacebar will loop
| | 01:25 | around the current trim point.
| | 01:28 | While it's playing, you can use these
buttons to nudge it or take advantage of
| | 01:33 | any of the keyboard
shortcuts we've already discussed.
| | 01:35 | Ctrl+Right Arrow there, Ctrl+Shift+
Right Arrow, jumping multiple units at a time.
| | 01:42 | So you get feedback up above and
out down below, and that works nicely.
| | 01:47 | Let's press the spacebar to stop.
| | 01:53 | Additionally, if I click on an individual
side here, it will switch to a ripple edit.
| | 01:59 | So dragging may or may not work.
| | 02:04 | In this case, audio has been blocked.
| | 02:06 | Let's go ahead and unselect that
track. And I am going to lock these tracks
| | 02:14 | down. And I just extended that shot by
dragging to the left, or shortened it,
| | 02:29 | dragging to the right.
That works nicely. Just undo.
| | 02:45 | So as the Program Monitor updates
here, the Two-Up view is very handy.
| | 02:51 | Remember, you can click on one side
or the other to switch. Use the same
| | 02:56 | keyboard shortcuts of Shift+T to cycle
through your different trimming methods,
| | 03:02 | roll, ripple, or a single-sided, or
regular, trim, and we can always take advantage
| | 03:13 | of using the numerical buttons up here
to make that change. Click in between
| | 03:20 | there and the counters adjust.
| | 03:25 | What's really nice is that these
counters will keep track for the entire session,
| | 03:29 | how many frames have been changed.
| | 03:33 | If you decide you like it and want to
dissolve, you don't even need to leave
| | 03:36 | the Program Monitor.
| | 03:37 | Clicking the center button here will
apply the default transition, and then the
| | 03:42 | spacebar will let you review that
edit point with the transition applied.
| | 03:50 | That's working nicely.
| | 03:51 | I will press the spacebar to stop, and
I can now switch by pressing the up or
| | 03:57 | down arrow to change edits.
| | 03:59 | The up arrow takes me to the previous
edit point. Press the Spacebar and I can
| | 04:05 | go ahead and review that edit.
| | 04:11 | And if I want to change it, I can use
these simple buttons to nudge it forward
| | 04:16 | while playing, or Ctrl+Left and Ctrl+
Right arrow to tweak the frames. And because
| | 04:22 | I'm in Review mode here, it becomes
very easy to see what's happening.
| | 04:29 | Press the spacebar to stop and
what's nice about that is, remember, playing
| | 04:35 | looping is very effective, and it
assumes that while you want to be in here, you
| | 04:40 | probably want to see your edit point repeated.
| | 04:43 | This allows you to refine the edit point with
confidence because you can see it multiple times.
| | 04:49 | Gone are the days of pressing Stop,
moving the playhead, pressing Play, watching
| | 04:55 | it, stopping, moving the
playhead, and pressing Play.
| | 04:59 | Just double-click a trim point to
bring up this trimming mode in the Program
| | 05:03 | Monitor and it's much easier to review.
| | 05:08 | When you're ready to switch edits, press
the spacebar to stop and use the up and
| | 05:12 | down arrow keys and you can begin
the review process all over again.
| | Collapse this transcript |
| Dynamic trimming| 00:00 | With Premiere Pro CS6, we have
the advent of dynamic trimming.
| | 00:04 | Essentially, this means you can
use play controls to change where an edit occurs.
| | 00:10 | This is really nice when you
want to listen to what's happening,
| | 00:12 | maybe dialog or action, or you just
want to be a little more organic as you're trimming.
| | 00:18 | For many, trimming doesn't work
when they have to sit there and think,
| | 00:21 | "maybe this is 7 frames," or "let me
click this button 14 times in a row."
| | 00:27 | Dynamic trimming lets you
just play back and go by feeling.
| | 00:31 | Here's how it works.
| | 00:33 | In my Timeline here, I am just going
to zoom in with the Plus key and take a
| | 00:37 | look at this action.
| | 00:38 | (video playing)
| | 00:41 | We go from one box to another, and
I'd like to play with the point here
| | 00:46 | where the edit happens.
| | 00:47 | I am going to double-click on that edit
to go into Trim mode, and because I
| | 00:54 | want to do a ripple here, I am
going to make some selections.
| | 00:58 | Let's hold down the Alt key and I'll
click right on the edit point to select
| | 01:04 | just the video and not the audio track,
and then I can use Shift+T to cycle,
| | 01:08 | and I've got it.
| | 01:10 | I also could have made that easier by
just choosing the actual Rolling Edit
| | 01:13 | tool and clicking on the individual
edit, or with the Alt modifier key,
| | 01:19 | selecting an unlinked track.
| | 01:22 | Now, if you've done that and you don't
see the Program Monitor update, pressing
| | 01:26 | the T key will put you in that special mode.
| | 01:30 | Now that we're in this Trimming mode,
I could just go ahead and press J to roll
| | 01:36 | back and it makes the change.
| | 01:43 | Let's undo that.
There we go!
| | 01:49 | And you see it updates. L to roll forward.
| | 01:53 | There we go!
| | 01:55 | Undo. And if I want to be a little
bit more controlled with it, I can hold
| | 01:59 | down the K key and then press J to
roll backwards in slow motion, or L to roll forward.
| | 02:10 | Notice that the Timeline doesn't
update until you release the key.
| | 02:18 | So that's dynamic trimming with J, K, L.
If you want to get out of that, you can
| | 02:23 | just select another edit point and
it will exit, or of course, click in an
| | 02:30 | empty space and you'll escape.
| | 02:33 | Lots to the trimming commands.
Again, I highly recommend you take the time to
| | 02:37 | tweak a couple of Preferences, jump
on over to the Trim Preferences where
| | 02:42 | you will allow the tools to
dynamically switch, so it chooses the right tool intelligently.
| | 02:47 | You might want to go in there and also
adjust your Large Trim Offset based on
| | 02:51 | the type of material you work with.
| | 02:53 | 5 frames is fine for 30 frames per
second or 25 frames per second, but if
| | 02:58 | working with 24P, 4 or 6
might be a better choice.
| | 03:03 | And then take advantage of
the Keyboard Shortcut menu.
| | 03:06 | If you call that up and you start to
explore it, you'll notice that there is an
| | 03:11 | entire category for trimming.
| | 03:18 | There is our Trim Edit window. And if
we start to type in simple commands like
| | 03:23 | ripple, there is our ripple trim edit,
to previous and next that we customize
| | 03:30 | with R and W, and many more
options, all under the Edit menu.
| | 03:35 | So, just twirl that down and take a
look and you'll see lots of choices
| | 03:42 | for cleaning things up.
| | 03:44 | If you're a Final Cut editor, an Avid
editor or a long time Premiere Pro editor,
| | 03:48 | substantial changes.
| | 03:49 | I highly recommend you pull up a
sequence and log some practice time.
| | 03:54 | The tools are great, but they will
take a little bit of getting used to, and
| | 03:58 | probably some configuration.
| | Collapse this transcript |
|
|
6. Improved Editing PerformanceUsing the new keyboard shortcuts| 00:00 | Power editors drive Premiere Pro from
the keyboard, and with CS6, initially,
| | 00:07 | no one is going to be happy.
| | 00:08 | See, what happened is is the team
went back and revised the shortcuts.
| | 00:14 | Now, we're not talking major revisions,
and in most cases, I agree with the
| | 00:18 | shortcuts, but I wanted to point out
some of the big ones that have changed.
| | 00:22 | Throughout our exercises,
we've been pointing out shortcuts to you.
| | 00:25 | Many of those are new, but there are
some specific ones with core editing tasks
| | 00:30 | that I'd like to take a
moment and just walk you through.
| | 00:33 | First off, if you want to see your
keyboard shortcuts, you can go under the Edit
| | 00:37 | menu or the Premiere Pro menu
and just choose Keyboard Shortcuts.
| | 00:42 | One of the nicest things here is
that it's easier to discover shortcuts.
| | 00:46 | In previous versions, we'd have to flip
between the different categories, between
| | 00:50 | Panels, Application, and Tools.
And many of the best shortcuts are really panel
| | 00:55 | shortcuts, not application
commands that appear in the top menus.
| | 00:59 | So this new user interface makes
shortcuts much more discoverable.
| | 01:04 | For example, let's type in the word
"out," and you'll see that we have the
| | 01:08 | ability to zoom out or mark out, the
ability to do splits or play in to out or
| | 01:13 | go to those points.
| | 01:15 | And as you go through, you'll notice
that lots of keyboard shortcuts are in here.
| | 01:20 | Now, up at the top, we have the
ability, of course, to change sets.
| | 01:25 | There is the old Premiere Pro CS5.5 set.
| | 01:28 | So you're welcome to switch to that,
and that will put you back exactly where
| | 01:32 | you were with CS5.5, with a few exceptions.
| | 01:36 | On the other hand, under CS6.0, this is
going to be a new shortcut set, and many
| | 01:41 | of these shortcuts will seem
familiar to longtime Final Cut Pro users.
| | 01:46 | There are, of course, preset shortcuts
for Media Composer 5.0 and Final Cut 7.0.
| | 01:51 | So, why all this change?
| | 01:53 | Well, Premiere Pro went through and
got rid of some menu commands and added
| | 01:58 | others that never existed,
| | 02:00 | so they had to make changes.
| | 02:02 | The team really looked at the user
interface and tried to refine it to make it a
| | 02:06 | middle ground for professional editors.
| | 02:08 | Avid editors, Final Cut Pro editors,
and longtime Premiere Pro editors should
| | 02:12 | feel at ease using the application.
| | 02:15 | With the default presets here to
match common editing systems, these will be useful.
| | 02:19 | I recommend, if you're a newer user,
just start with the CS6 shortcuts, or even a
| | 02:24 | longtime user, give them a try.
| | 02:26 | Remember, it's very easy to search
for a specific shortcut and then change
| | 02:30 | it to a new key.
| | 02:32 | For example, if I type in Mark, I can
go ahead and change any of these, for
| | 02:36 | example, Add Marker.
| | 02:38 | If I just double-click, I could type in
a new command, like the asterisk key, or
| | 02:44 | I will just undo that and
put it back to the letter M. All right!
| | 02:48 | Here we are, in our Timeline, and I just
want to go over some of the core editing
| | 02:52 | ones that are useful.
| | 02:53 | First off, we have Match Frame,
and that has been changed to the letter F.
| | 02:58 | Tapping the F key will go ahead and
match-frame the clip from the sequence back
| | 03:05 | to the Source Monitor.
| | 03:07 | So if you need to find a particular
clip and you just want to load it, F for
| | 03:11 | Match Frame is very intuitive.
| | 03:14 | Another useful shortcut is to play
around, which is Shift+K, and this will
| | 03:19 | automatically jump it back a couple of
seconds and loop around your playhead.
| | 03:24 | If you want to just review near the
playhead, press Shift+K to create a loop.
| | 03:33 | Another one I really like is the ability
to set an in and an out point to define
| | 03:38 | a range, and then I could do
Ctrl+Shift+Space on a PC to go ahead and cycle
| | 03:46 | through that individual in
to out point and review it.
| | 03:49 | (video playing)
| | 03:53 | Think of that as you'd like to control or
command how you shift between the in
| | 03:58 | and out point.
| | 04:00 | Speaking of in and out points, it's
gotten a lot easier to control them.
| | 04:04 | Shift+I will shift to your in point
and Shift+O will shift to your out point.
| | 04:10 | That's really easy,
go to in and go to out.
| | 04:13 | On the other hand, if you want to
clear those, Ctrl+Shift+I will clear the in
| | 04:17 | point and Ctrl+Shift+O will clear the out point.
| | 04:23 | If you have an in and an out point
and you want to get rid of both of them,
| | 04:27 | simply press Ctrl+Shift+X to clear it.
| | 04:32 | Speaking of X, you might be used
to "X marks the spot" in another NLE.
| | 04:37 | That doesn't work in Premiere, but if you
select a clip, and you press the slash
| | 04:44 | key, it will mark the in to
out for the selected range.
| | 04:48 | Another thing I really like is the
ability to quickly jump between edit points.
| | 04:52 | Let's just select the individual video track 1.
| | 04:56 | Using the up and down arrows, I can move
between edit points in my sequence very
| | 05:00 | quickly, and this makes it simple
to jump through in spot points.
| | 05:06 | If I want to use specific tracks,
just make sure those tracks are highlighted.
| | 05:11 | If you want to use all tracks, add the
Shift key, and now it will stop at every
| | 05:16 | single edit point on all tracks,
irregardless of which tracks are selected.
| | 05:26 | Lastly, one of the best things about
Premiere Pro is how easy it is to export
| | 05:31 | a still frame.
| | 05:33 | If you've got the playhead on a
position that you want and you want to post a
| | 05:36 | clip, maybe as a thumbnail for a YouTube
post or to a website, just position the
| | 05:42 | playhead and press Ctrl+Shift+E. You're
going to need to have the Program Monitor
| | 05:46 | selected, and this will bring
up the Export Frame dialog box.
| | 05:51 | Depending upon your operating system,
you will have different choices.
| | 05:54 | For example, the Windows bitmap format
is only available on Windows, as is GIF,
| | 05:59 | but formats like JPEG or PNG work very
well for the web, and things like TARGA or
| | 06:05 | TIFF will work for print or multimedia use.
| | 06:08 | This allows you to send out
a stillframe very quickly.
| | 06:11 | There are lots more changes inside
Premiere Pro to the keyboard shortcuts.
| | 06:15 | Remember, you can always mouse over a
button and see its shortcut, look in the
| | 06:20 | menu--you'll see shortcuts there--
and of course, the customized Keyboard
| | 06:24 | Shortcut dialog is a great way to
browse, customize, as well as learn
| | 06:29 | essential keyboard shortcuts.
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| Using uninterrupted playback efficiently| 00:00 | One of the great things in Premiere Pro
CS6 is the Don't Stop Playback feature.
| | 00:05 | Now, this may sound a little silly,
but essentially what's happening is the
| | 00:08 | application is going to keep
playing unless you tell it not to.
| | 00:12 | Now, in earlier versions, clicking just
about anywhere would stop the playhead.
| | 00:18 | This is how pretty much every other NLE works.
| | 00:21 | The computer tends to think, oh!
| | 00:23 | You're clicking in the Effects Browser,
you want to go ahead and grab an effect.
| | 00:26 | Well, in Premiere Pro, it's going to
keep trying to play things until you
| | 00:29 | actually push the Stop button.
| | 00:31 | That could be the spacebar or clicking.
| | 00:34 | There are a couple of other things
that will stop playback, but in general,
| | 00:37 | pretty much nothing does.
| | 00:38 | Let's see how it works.
| | 00:40 | Within the sequence here I am just going
to go ahead and turn on looping so it
| | 00:44 | keeps playing back as we run
through. And I'll hit the Spacebar.
| | 00:48 | While this is running, I've got the
ability to go ahead and even switch to a
| | 00:53 | different application.
| | 00:55 | If I was launching something
like After Effects in the background, I
| | 00:58 | could still be playing out my sequence
to my monitor in my edit suite, and if we
| | 01:03 | come back to Premiere Pro, you'll see
that that it's still playing. Even though we
| | 01:07 | switch applications, nothing has stopped.
| | 01:11 | This makes it really easy to continue
tasks like reviewing or letting something
| | 01:16 | play in the background if you are
listening to sound bites and you want to
| | 01:18 | switch over to After Effects
and start to build some titles.
| | 01:22 | That's pretty cool.
| | 01:24 | We can also do things like add titles
while playing, dragging them right from the
| | 01:28 | bin, or adjusting audio parameters.
| | 01:31 | I can come on over to the Audio Mixer
here and start to make changes while
| | 01:35 | everything plays back in real time.
| | 01:37 | This allows me to start to adjust my
mix and refine it. And notice I can
| | 01:43 | make changes on the fly.
| | 01:46 | If you need to make more room for
things while it's playing back, you could
| | 01:49 | still resize the windows.
| | 01:51 | So if I need more room for my
Audio Mixer, I could do that.
| | 01:57 | Notice there, I'm still getting my real-
time playback as I work on audio. There we go.
| | 02:08 | I can go ahead and reset my
workspace, and that did stop playback.
| | 02:17 | See when I engage certain dialog boxes
that caused things to reset, there is a stop.
| | 02:23 | However, we could select the window
and keep playing, and let's do things like
| | 02:28 | browse for an effect.
| | 02:29 | I am going to go ahead and select
my Effects Browser and type in Color
| | 02:33 | Corrector. There we go.
| | 02:35 | Or say you know what, I
want to process that shot.
| | 02:39 | Drag it right on there. Let's go ahead
and set in to out points here for a second.
| | 02:44 | I'll just go right on top of that clip.
There it is. Select it. Slash key to
| | 02:54 | mark the in to out. Ctrl+Shift+Spacebar to loop it.
| | 02:58 | And while that's running there, with
the clip selected, I can come up here to
| | 03:02 | the Effect controls, grab my Three-Way
Color Corrector, and start to process the shot.
| | 03:08 | Let's open up those midtones just a
little bit, bring the black levels in.
| | 03:13 | It's crushing a little bit.
| | 03:15 | I am going to back off the output of
the whites and tweak the saturation. There we go!
| | 03:25 | Notice no playback interruption,
until of course I hit the Stop key.
| | 03:31 | This Don't Stop Playback feature is
going to seem a little weird at first,
| | 03:36 | but with use, I think you
are going to really like it.
| | 03:38 | For example, while I'm reviewing sound
bites, I like the ability to continue to
| | 03:42 | actually organize media inside my bins,
| | 03:45 | or to let the sequence keep playing
while I switch over and launch Photoshop or
| | 03:50 | After Effects to do some title work.
| | 03:52 | I really think Premiere has focused on
performance with this release, and this is
| | 03:56 | just one more way to see that
power of the Mercury Engine in action.
| | Collapse this transcript |
| Using the improved clip markers| 00:00 | It seems like whoever was in charge of
metadata at Adobe finally won the argument.
| | 00:04 | You see, with Premiere Pro CS6, we have a
lot better control over how markers perform.
| | 00:09 | Let's take a look.
| | 00:12 | We can of course add markers to a sequence.
| | 00:14 | So if we are dragging through,
we can choose Marker > Add Marker.
| | 00:20 | The shortcut is M. And notice it gets
added there at the top of the Timeline.
| | 00:25 | I could go ahead and precisely
move that marker if I need to.
| | 00:29 | If I double-click, up pops the dialog
box, and you see that we could choose what
| | 00:34 | type of marker we want.
| | 00:36 | I can go ahead and specify that
this is simply a comment, and that for a
| | 00:41 | certain duration here,
| | 00:44 | I really want this scene to be more muted.
| | 00:49 | "Tone down colors" and I could say
"Make this scene more depressing."
| | 00:59 | Click OK. There is the marker, right in the Timeline.
| | 01:03 | Now if that's not precisely where I
want it, I could go ahead and adjust.
| | 01:10 | Notice I could drag the markers by
just pulling their handles and give
| | 01:14 | really good comments.
| | 01:16 | The use of markers like this can come in handy.
| | 01:19 | You could let a producer or a
director or a DP work with the copy of your
| | 01:23 | sequence and show them how to add
markers, or you can go through during a session
| | 01:28 | and add very detailed notes so you could
then go back unsupervised and work your
| | 01:32 | way through those changes.
| | 01:34 | Another nice thing is the ability to
add multiple markers at the same time.
| | 01:38 | For example here, I could add another marker--
| | 01:41 | let's just tap M--and I am going
to double-click on that marker.
| | 01:45 | I am going to say, "Pop the photo."
| | 01:51 | I'll adjust its duration, click OK, and
I could go ahead and adjust the handles
| | 01:59 | there so they just apply to that shot.
| | 02:02 | Notice, more than one marker
occupying the same point in time.
| | 02:07 | This really gets handy.
| | 02:09 | The cool thing here too is that
you don't just have sequence markers.
| | 02:13 | We now have parity with our source clips.
| | 02:16 | Let's go ahead and press F for Match
Frame, and if I wanted to put a marker up
| | 02:19 | here, I could go ahead and just
say, right about there, M for marker,
| | 02:29 | double-click on the marker to edit,
and type in any information I need to.
| | 02:36 | "Darken this shot." There we go.
| | 02:42 | And there is my individual marker.
| | 02:45 | You can go ahead as you drag through
here and add additional markers by simply
| | 02:48 | clicking the button.
| | 02:52 | Double-clicking on a marker
will bring up the Marker dialog.
| | 02:56 | So, very precise control!
| | 03:00 | To move between markers,
you can use the keyboard.
| | 03:04 | To go to the next marker, you will
simply press Shift+M, and this will jump from
| | 03:10 | one marker to the next.
| | 03:12 | In this case, we are using sequence markers,
so let's add a couple in here just for practice.
| | 03:17 | There we go.
| | 03:22 | Using Shift+M will jump
from one marker to the next.
| | 03:27 | To go backwards, Ctrl+Shift+M will
take you through your markers backwards.
| | 03:32 | So Shift+M to go forward, Ctrl+Shift+M or
Command+Shift+M on a Mac to change the direction.
| | 03:39 | If you need to clear an individual
marker, just press Ctrl+Alt+M. On a Mac that
| | 03:48 | would be Option+M. If you want to get
rid of all markers, just add a Shift key
| | 03:53 | and that will clear
everything out of your sequence.
| | 03:57 | To do it for a clip, just go ahead and
match-frame back to the Source Monitor
| | 04:03 | and the same shortcut will
work for clip-based markers.
| | 04:06 | Markers really let you communicate
with others in the production process.
| | 04:10 | Remember these will move onto After
Effects as well if you need to leave
| | 04:14 | comments for the graphic artist who
is working with you, or if you are a
| | 04:17 | producer/director, this is a great
way to communicate with the editor.
| | 04:21 | Just give them short descriptive names
and then use the description field to
| | 04:25 | really fill in more information.
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| The Clip Mismatch Warning alert| 00:00 | One challenge as you work in a tapeless
world is mismatching sources to sequences.
| | 00:06 | What often happens is you have a
bunch of different formats and you quickly
| | 00:10 | choose a sequence, and it
can get a little confusing,
| | 00:13 | especially since Premiere Pro automatically
would scale the footage to match the sequence size.
| | 00:19 | This would mean that you
might not spot a problem.
| | 00:21 | For example, I've seen instances of
people cutting square-pixel content into
| | 00:26 | non-square-pixel-type HD sequences,
maybe using the DVC Pro or the HDV setting
| | 00:32 | when they have square-pixel
content that came from DSLR.
| | 00:35 | In this day and age, it's important
to do your best to match the sequence
| | 00:39 | material to the actual sources,
so you're not doing any additional image
| | 00:43 | processing that's unnecessary.
| | 00:45 | Well, fortunately with Premiere
Pro CS6, it's a lot easier to spot potential problems.
| | 00:50 | I've got a sequence here, and this is a DV
sequence. And let's makes one more sequence.
| | 00:54 | I'm going to choose File > New >
Sequence, and you see here with this illustrious
| | 01:01 | dialog box, there is a lot of choices.
| | 01:03 | So I'm going to go ahead and choose a 1080
sequence here, and let's just name that 1080i.
| | 01:10 | There we go. And I've got a
source clip I'm going to drag in.
| | 01:23 | Now this particular material, if we take
a look at the properties for it, you'll
| | 01:28 | see that this is source material that's
1920 x 1080, with a frame rate of 24P.
| | 01:35 | Let's go ahead and load a clip and
I'll set some in and out points. In, out.
| | 01:47 | Now if I click the Overwrite button,
it adds it into the sequence, and it's
| | 01:52 | scaled, with no dialog
warning. Kind of strange to me.
| | 01:56 | Let's do the same here with the DV sequence.
| | 02:01 | It edits it in and autoconforms.
However, if you drag it, same thing here, but
| | 02:08 | watch as we go from the bin.
| | 02:10 | If I take the clip and I drag it into
the sequence, it's going to warn me that
| | 02:15 | the clip did not match the sequence
settings, and I could change that to match
| | 02:20 | the sequence settings.
| | 02:22 | Doing that reconforms the
sequence to match the clip.
| | 02:26 | If we go up to Sequence Settings,
you'll notice here that it's now has 1920x
| | 02:31 | 1080 and the frame rate is correct.
| | 02:36 | Let's go on over here to the
1080i sequence, and I drag in a clip.
| | 02:41 | Same thing. Change the Sequence
Settings and they now match with the correct
| | 02:48 | frame rate and the frame size.
| | 02:53 | The key here, while it seems a
little bit unusual, is to do the following:
| | 02:57 | If you want to create a new sequence,
just drag a clip onto the New item and
| | 03:02 | that will make a
sequence that matches that clip.
| | 03:05 | If you want to make sure that the
sequence you've set up correctly matches your
| | 03:09 | primary footage, drag a clip
from the bin into the sequence.
| | 03:14 | Doing this we'll go ahead and autoconfigure
the sequence so it matches your source clip.
| | 03:20 | This is a good idea to just
check your Sequence Settings.
| | 03:23 | Then, when you're done, delete the
clip away and go about editing as you
| | 03:28 | would normally.
| | Collapse this transcript |
|
|
7. Better Effects PerformanceUsing adjustment layers| 00:00 | There is a new addition to Adobe
Premiere Pro specifically aimed at Effects.
| | 00:04 | That's the use of adjustment layers.
| | 00:07 | An adjustment layer is essentially a
clear wear that can contain an effect, and
| | 00:11 | it applies to all the clips down below.
| | 00:13 | Here is how it works.
| | 00:15 | Let's go here into our layer and with
my bin open, I am going to click the new
| | 00:21 | item and choose Adjustment Layer.
| | 00:25 | This creates an adjustment layer
that's automatically sized and matches the
| | 00:28 | current open sequence.
| | 00:30 | Whether it needs square pixels or non-
square pixels, it will automatically
| | 00:33 | conform to the open sequence.
| | 00:35 | I will go ahead and
click OK and it brings it in.
| | 00:38 | All right, that's looking pretty good.
| | 00:40 | What I am going to do is load that, and I
can just drag it down into my Timeline,
| | 00:47 | dropping it where it needs to be.
| | 00:49 | Notice with snapping on, it
automatically clicks into place. That works well.
| | 00:55 | Let's go ahead and close that bin. And I will
drag that out over the shots I want to affect.
| | 01:00 | Let's take a look at the sequence
from the top here. That works well.
| | 01:08 | Let's just drag that to line it up.
| | 01:10 | That looks pretty good, right about
there. And we'll have it end. Good!
| | 01:19 | And what I could do here is apply an effect.
| | 01:22 | Let's go on in and we'll do a little
bit of a Three-Way Color Corrector.
| | 01:26 | We'll explore this effect more in
detail in a second. But I will drag that
| | 01:30 | onto the adjustment layer and by
selecting the adjustment layer, I get all my
| | 01:37 | controls. And what I want to do is open
up the midtones, pull down the whites a
| | 01:45 | little bit, and desaturate the image,
pulling down the Master Saturation and
| | 01:54 | really stripping out the color in the
shadows, and a little will more so in the midtones.
| | 01:59 | That's looking pretty good.
| | 02:01 | I will go ahead and put a
little bit of a defocus on that.
| | 02:05 | Let's just grab the Fast Blur, drop
that on, and I want to take that up to a
| | 02:14 | value of say 2. It looks pretty good,
do a little more. There we go,
| | 02:20 | just a little soft focus and desaturated look.
| | 02:22 | Now as I drag through, you will see
that that's applied to the whole sequence,
| | 02:27 | at least for the duration
of the adjustment layer.
| | 02:33 | There we go. Now it goes
back to the normal look.
| | 02:36 | Now if we need to, we can apply a
second adjustment layer right after that.
| | 02:40 | I'll just drag this over, drop it
into place, and you will see that that
| | 02:46 | adjustment layer doesn't have any effects.
| | 02:48 | So you can reuse the same adjustment
layer from the bin into your clip here.
| | 02:55 | Let's apply a separate look--there we
go--and we'll trim this out to the end of
| | 03:00 | the shot--there we go. There is our
morph. And this time I want to get a little
| | 03:08 | bit of a more saturated look.
| | 03:11 | Back in the Effects browser, let's
go with the Three-Way Color Corrector
| | 03:16 | again, drop that on, and I am going to
bring the Saturation up a little and
| | 03:29 | crush the midtones a bit. There we go.
| | 03:34 | Now, in between these two, I will do
a little dissolve, and you'll see that
| | 03:43 | the two effects mix.
| | 03:46 | So it's hidden right there between the
two states. So I was able to globally
| | 03:51 | apply a color correction effect to
stylize the look of the clips, and it affects
| | 03:55 | everything down below the adjustment layer.
| | 03:58 | The use of adjustment layers is really
good, because it makes it a lot easier to
| | 04:02 | consistently affect several shots.
| | 04:05 | Instead of affecting one clip and then
having to copy that and paste it to a
| | 04:09 | bunch of other clips, I could just
apply it to the adjustment layer.
| | 04:13 | This also makes it a lot easier
to adjust the shot down the road.
| | 04:16 | If the client or the producer wants
a change, I don't have to go through
| | 04:20 | and select one shot, change it, and
then remove the effect and reapply it to
| | 04:24 | all those other clips.
| | 04:26 | By having it on an adjustment layer
that's trimmed to just the clips I want to
| | 04:29 | affect, I can more easily adjust several shots.
| | 04:33 | This is just one of the new things
in Premiere Pro to make working with
| | 04:36 | effects faster and easier.
| | Collapse this transcript |
| Introducing effects improvements| 00:01 | There are a few other things with
effects in Premiere Pro CS6 that are
| | 00:04 | really advantageous. Let's have a look.
| | 00:07 | I can go ahead and have a clip or an
adjustment layer selected and then over in
| | 00:11 | the Effects Browser here,
I can just double-click to apply.
| | 00:15 | So let's say I wanted to
use the Fast Blur effect.
| | 00:18 | Instead of having to click and drag all
the way over, I could just double-click
| | 00:23 | and it will apply it to the selected layer.
| | 00:26 | You'll notice, too, that it put a little
green bar on there to indicate that that
| | 00:30 | is a real-time effect that's been applied.
| | 00:32 | So for example, I can now
adjust the blurriness for that layer--
| | 00:36 | let's just drag that through
and make sure the track is visible--
| | 00:41 | repeat the edge pixel, and then I could
take advantage, under Opacity, of things
| | 00:46 | like blending modes.
| | 00:47 | So putting that in an Overlay or
perhaps a Soft Light does a nice film look.
| | 00:53 | We can adjust the opacity of that
adjustment layer to dial in the effect, and
| | 00:57 | what we have there is a really nice
look that sort of blooms out the color.
| | 01:02 | And if we look at that there,
without and with, I really like that.
| | 01:07 | That's a very common technique.
| | 01:10 | Remember, adjustment layers can be trimmed,
| | 01:11 | so if I want to put that over all of
these other effects, I can do that and now
| | 01:16 | it's getting applied everywhere. Without, with.
| | 01:21 | Notice you can have multiple
adjustment layers. And as I play this back, even
| | 01:25 | though there are two different levels
of the effects with lots of different
| | 01:29 | filters, several clips playing, everything is
playing back in real time with no drop frames.
| | 01:36 | So we have had zero drop frames
during our playback here, which is great,
| | 01:39 | with the Mercury Engine.
| | 01:41 | I don't have any drop
frames, and that's a good thing.
| | 01:43 | When you have your system properly
configured for the Mercury Engine, you will
| | 01:47 | very rarely need to render.
| | 01:50 | Now, remember, when you export from
Premiere Pro, you don't use those render files.
| | 01:55 | The render files that Premiere Pro
generates on the fly are, by default, dynamic
| | 02:00 | files meant for preview purposes only.
| | 02:02 | They are generated at a high enough
quality to use to see what's happening in
| | 02:06 | the Timeline, but you don't actually
want to use those in the final export.
| | 02:10 | When you do the final export, Premiere
Pro will concatenate everything together
| | 02:14 | and produce a very high-quality master file.
| | 02:17 | However, if you find yourself with a
very complex effect, multiple tracks,
| | 02:22 | keying, et cetera, you can force
Premiere Pro to render. Here is how.
| | 02:27 | Normally, with Premiere Pro on earlier
versions, you would set the work area bar
| | 02:32 | to define the range of
what you wanted to render.
| | 02:35 | However I could turn the work area bar
off and now take advantage of things like
| | 02:40 | O for out point and I for in point and
then choose Sequence > Render In to Out or
| | 02:48 | specifically just the effects and
it will use those in and out points.
| | 02:53 | In this case, no rendering is needed,
because everything is real time.
| | 02:56 | Let's keep stacking the effects until
we break the real-time playback, by using
| | 03:00 | some non-accelerated effects.
| | 03:02 | I want to go ahead and toss on yet
another adjustment layer. There we go.
| | 03:10 | Let's set that above here, and what I am doing at
this point is only to illustrate the point.
| | 03:16 | There is such a thing as too many
effects, both artistically and technically.
| | 03:21 | Let's go ahead here with the
adjustment layer selected and I am going to grab
| | 03:26 | another effect. Let's look for one
that is not accelerated, so we'll go in
| | 03:31 | to the Stylize category here and I am going
to use Brush Strokes, which is pretty intense.
| | 03:36 | There we go.
| | 03:40 | Let's crank that up a little bit,
giving this sort of a painterly look, roughen
| | 03:45 | the edges, we'll make the strokes nice
and long, and I press Play, and you will
| | 03:51 | see that it is definitely dropping frames.
| | 03:54 | Now this is not a very attractive effect,
but it did effectively break the engine.
| | 03:59 | So I'll go ahead and mark the in to out
and choose Render Effects In to Out and
| | 04:05 | you see it begins to process the video
frames. You can twirl down and see the
| | 04:09 | render details of what's happening and
how long it's going to take to process.
| | 04:14 | When picking effects, I highly
encourage you to stick with those
| | 04:18 | accelerated effects.
| | 04:20 | Those are the ones with the triangle
icon on them, and remember, you could
| | 04:24 | filter your view in the Effects Browser.
| | 04:26 | Using accelerated effects is a great way
to speed things up, and then you're only
| | 04:32 | going to use those renders if you have to.
| | 04:34 | So hopefully between adjustment layers,
which cut down on how many effects get
| | 04:38 | applied in total, and the ability to go
ahead and be a little bit more specific
| | 04:43 | by trimming them and using in and out
points, you can be more effective with the
| | 04:48 | use of your effects.
| | Collapse this transcript |
| Using the more intuitive Three-Way Color Corrector| 00:00 | One of the effects that got a lot
more powerful and easy to use is the
| | 00:04 | Three-Way Color Corrector.
| | 00:06 | Previously, I was a much bigger fan of
the Fast Color Corrector because of its
| | 00:10 | simplified interface.
| | 00:12 | The Three-Way Color Corrector in
earlier versions of Premiere Pro suffered
| | 00:16 | from too many controls.
| | 00:18 | And fortunately, the team redesigned the interface.
| | 00:21 | All the core power is there, but it's
much simpler to jump in and start to get
| | 00:25 | results with your shots.
| | 00:26 | Here is how it works.
| | 00:29 | So, we've got a sequence here,
and this particular shot is a bit dark.
| | 00:32 | In the Effects Browser here, let's
just type in three. We'll grab the
| | 00:35 | Three-Way Color Corrector.
| | 00:37 | Quick double-click and it's applied
to the selected clip. There it is.
| | 00:43 | You see the green line down below,
indicating that it's been applied.
| | 00:47 | Now I am going to go ahead here and
take a look and you see right away we have
| | 00:51 | got the ability to fix color-cast issues.
| | 00:54 | Now, one of the unique things about the
Three-Way Color Corrector is the ability
| | 00:57 | to affect areas independently.
| | 00:59 | So I can take the Highlight eyedropper,
find something that's pure white, and click.
| | 01:04 | I could find something in the midtone
range and click to remove a color cast,
| | 01:11 | and you see that what it's doing there is
it's independently moving these hue offsets.
| | 01:17 | Now, what's cool is the ability to do
something like mark an in to out and with
| | 01:22 | that, I'll do Ctrl+Shift+Space
and it's going to play in to out.
| | 01:26 | Now that works pretty well,
if we want, we can also loop.
| | 01:30 | I am just going to customize this and
drag my looping button down instead.
| | 01:38 | And now with looping turned on, Ctrl+Shift+
Space will just keep looping that shot
| | 01:44 | over and over again, which is nice.
| | 01:46 | I can now watch it as I color-grade.
| | 01:49 | So notice here we can continue to drag
the hue offset, and I am going to make
| | 01:54 | this shot a little warmer. I really like the red.
| | 01:57 | Let's scroll on down and
take a look at the Levels.
| | 02:00 | And this is just like
Levels in another application.
| | 02:03 | Using the middle slider here you could
darken down the midtones or brighten them up.
| | 02:09 | I like this opened up a little bit,
but I feel the highlights are a bit high.
| | 02:12 | So I'll go ahead and pull them
down to clip the output levels.
| | 02:17 | Down below is the definition
of what's a highlight and a shadow.
| | 02:20 | So if you are getting any posterization,
you can drag that feathering out for a
| | 02:24 | smoother transition between them.
| | 02:27 | Under Saturation, you now have the
ability to control overall saturation with
| | 02:32 | the Master Saturation slider.
| | 02:34 | So I could bring that saturation up and
then specifically go after the midtones,
| | 02:39 | shadows, or highlights
with a more dialed-in value.
| | 02:44 | Now, back up here at the top, if you
needed to fix color balance uniformly,
| | 02:48 | clicking Master will let you go after
everything all together and they all move together.
| | 02:53 | But really, the benefit here with the Three-
Way is doing these independently. All right!
| | 02:59 | Let's keep looping that.
| | 03:01 | Down here at the bottom, we can get
into other advanced options, like Secondary.
| | 03:05 | This allows you to make a mask, no
different than before though, and of course
| | 03:10 | our ability to control Auto Levels for Contrast
to fix the contrast in a shot. That looks great.
| | 03:17 | Everything down below that is really just
numeric controls for what you had up top.
| | 03:22 | It's a lot easier to use
the visual user interface.
| | 03:26 | So, when you're happy with that--
it's a piece of a cake--I could just
| | 03:30 | right-click and choose Copy, come down
to my next shot, and Paste Attributes, and
| | 03:38 | that allowed me to paste that filter
and reuse the color values of that effect
| | 03:42 | from one shot to the next.
| | 03:44 | If I need to tweak it--piece of cake--
just come in, pull that down a little,
| | 03:49 | and by adjusting my out point,
Ctrl+Shift+Space will let you loop that in to
| | 03:54 | out, so you can look at those two shots
back to back. And that looks pretty good.
| | 03:59 | I want to go ahead and just bring
Saturation up here on this wide shot.
| | 04:02 | Let's just bring the Master up a little.
That looks pretty good to me, and we'll call that good.
| | 04:08 | So you see, the Three-Way Color
Corrector, very, very versatile.
| | 04:13 | Now a full course in color correction
is beyond our focus today, but if you are
| | 04:17 | a lynda.com subscriber, you will find
another class by me in the Online Training
| | 04:21 | Library all about fixing exposure
problems, as well as color correction.
| | 04:25 | Be sure to check that one out.
| | 04:27 | It was done with CS5, but
everything in it works great in CS6.
| | Collapse this transcript |
| Stabilizing footage with the Warp Stabilizer effect| 00:00 | One of my favorite additions to
Premiere Pro is the Warp Stabilizer.
| | 00:04 | Now, if you're Creative Suite user and
you've had After Effects CS5.5, this was a
| | 00:09 | hit-it-out-of-the-park
feature for After Effects.
| | 00:12 | However, it meant jumping from
Premiere Pro into After Effects every time
| | 00:16 | you needed this effect.
| | 00:17 | Fortunately the Premiere Pro team moved
the effect right into Premiere, and it's
| | 00:23 | even Mercury-Engine-accelerated.
| | 00:24 | Here is how it works.
| | 00:26 | I've got a couple of shots here.
Let's just watch these back.
| | 00:29 | You'll see that they are not
excessively shaky--the effect is really good at
| | 00:34 | even really rough footage--but
this is normal camera movement.
| | 00:38 | I personally like the energy, but my
client felt that there was a little too much
| | 00:42 | movement in the shot and they
wanted a couple of these locked down.
| | 00:47 | Let's go ahead with the clip selected
and in the Effects Browser, I've just
| | 00:51 | typed "Warp" to filter the view to the
Warp Stabilizer. A quick double-click and
| | 00:57 | it applies the effect.
| | 00:59 | Now, when you first apply the Warp Stabilizer
what it needs to do is analyze the frames in use.
| | 01:05 | You see here that it's going
ahead and processing those.
| | 01:07 | I am going to go ahead and select my
other shots and apply the Warp Stabilizer
| | 01:12 | to those and let those start
to process in the background.
| | 01:16 | See, each effect will process on its own.
| | 01:18 | And so you can use that and let the
effect run and then come back to them.
| | 01:24 | You can apply as many as you need; just
realize that ganging them up will start
| | 01:28 | to tax your processor.
| | 01:29 | All right, there we go. And this has
smooth motion with a 50% value, and it just
| | 01:36 | smooths out the camera movement a little.
| | 01:38 | I am going to go ahead and choose No
Motion and watch how it changes it.
| | 01:46 | Now sometimes, depending on the movement,
you might get a little wobble there,
| | 01:50 | and that's because we have a lot of
hard, angular lines moving through.
| | 01:55 | So if it's more than I want, I am
going to go back to just Smooth Motion and
| | 01:59 | change this to Perspective.
| | 02:01 | This will change the interpolation method.
| | 02:06 | And if needed, you can even simplify
further to just Position, Scale, and
| | 02:10 | Rotation. There we go.
That smoothed it out nicely.
| | 02:15 | Not all shots need to be warped.
| | 02:18 | Sometimes you'll use
Position to only move the shot;
| | 02:22 | sometimes you'll adjust Scale and Rotation;
| | 02:25 | and sometimes you'll need the Perspective
to deal with a more complex camera track.
| | 02:29 | Let's take a look at our next shot here, and we'll
try that with a Subspace Warp. That looked good.
| | 02:41 | It smoothed out some of the
movement. And here is that last one,
| | 02:50 | definitely smoother.
| | 02:51 | Now, if you want to see what's happening,
you can always come on down here and
| | 02:56 | tell it to only stabilize, not autoscale.
| | 02:59 | This will show you how much
is actually being adjusted.
| | 03:04 | And the black edges of the frame there
indicate the movement of the shot to stabilize it.
| | 03:12 | When you're satisfied, switch that back
to Auto-scale and it will now scale the
| | 03:18 | clip up to fill the frame.
| | 03:21 | So, there we have it.
| | 03:22 | We've quickly stabilized several shots
with different methods, adjusting the
| | 03:28 | amount of the smoothness, not an
auto value, but rather dialing it in.
| | 03:33 | Remember, if it's too much, you can
always pull that back to leave some of
| | 03:36 | the energy of the shot in there and
it will quickly re-stabilize the clip
| | 03:41 | with a different amount.
| | 03:43 | The Warp Stabilizer is tremendously useful.
| | 03:46 | You're going to find, though, a need to
switch between the different options.
| | 03:50 | Sometimes you'll use
Perspective; sometimes you'll Warp;
| | 03:53 | sometimes you'll just use Position and Scale.
| | 03:55 | It's all going to depend
upon your source material.
| | 03:58 | And remember, while you have the
option for No Motion, it tends to be more
| | 04:02 | effected when you adjust the smoothness setting.
| | 04:05 | There is one more option hidden inside
as well as broken out, and that is the
| | 04:09 | ability to get rid of rolling shutter.
| | 04:13 | On the effects here, if I need to, I
could go ahead to the bottom of the effect
| | 04:19 | and you'll see, under Advanced, the
option for Detailed Analysis, which does a
| | 04:24 | really good job of looking at all the
frames and processing them. And this gives
| | 04:29 | you the ability to also, when that
detailed analysis is done, reduce the amount
| | 04:34 | of overall rolling shutter.
| | 04:35 | Now, you need to let the frames
process first, but this option is built in to
| | 04:41 | the Warp Stabilizer.
| | 04:43 | The automatic reduction will attempt to
remove it for you, and this is going to
| | 04:47 | look for any bending.
| | 04:49 | Rolling shutter is very
common in CMOS-type chips.
| | 04:53 | You'll find these on DSLRs, as
well as RED cameras, for that matter.
| | 04:56 | And what happens is the chip is doing
a progressive load from top to bottom.
| | 05:01 | It's possible with the refresh
rates for there to be fast movement that
| | 05:05 | literally creates a bending in the image.
| | 05:08 | Rolling shutter is very prevalent and
lots of these cameras, especially with
| | 05:12 | whip pans or very fast movement.
| | 05:15 | So now we've turned on that option,
it's done the detailed analysis, and I am
| | 05:20 | going to switch this to using the
Perspective option, and you'll see the option
| | 05:25 | there for Enhanced
Reduction for the rolling shutter.
| | 05:30 | Okay, that works well. And if you need
to, you can go ahead and split that out.
| | 05:38 | You'll find the rolling shutter
effect on its own right there under Distort,
| | 05:43 | with Rolling Shutter Repair, so you can
apply it to an effect without doing any
| | 05:47 | stabilizing at all.
| | 05:49 | If you need to stabilize, use the
Warp Stabilizer with the Rolling Shutter
| | 05:53 | option; otherwise, just take advantage
of Rolling Shutter Repair which can be
| | 05:57 | applied to clips as is.
| | Collapse this transcript |
| Exploring Dynamic Link enhancements| 00:00 | I just wanted to show you how Dynamic
Link is also improved in the CS6 suite.
| | 00:05 | Remember, Dynamic Link allows you to
jump from one Adobe app to another and have
| | 00:09 | things dynamically update as you move between.
| | 00:13 | Now we've had this feature for a long
while, but it just keeps getting better.
| | 00:17 | Premiere Pro and After Effects
have a very great relationship.
| | 00:21 | It's super easy to send a clip or an
entire sequence over to After Effects for
| | 00:26 | additional processing.
| | 00:27 | Plus, you no longer need
the entire Creative Suite.
| | 00:31 | If you have Premiere and After Effects
installed, this dynamic link will work
| | 00:36 | between the two apps.
| | 00:37 | Of course, there is a lot of value in
the entire Creative Suite, so pick the
| | 00:41 | version that works best for you.
| | 00:43 | Here's how to use Dynamic Link.
| | 00:45 | With the clip in the Timeline
selected, I can go ahead and right-click and
| | 00:50 | say Replace With After Effects Composition.
| | 00:54 | If you haven't launched it
already, After Effects will open up.
| | 01:04 | A new project is created,
and you're asked to give it a name.
| | 01:08 | I recommend storing it in the same
location as your assets that you've been
| | 01:13 | building, but you could decide to
put it anywhere that's useful to you.
| | 01:16 | I'll go ahead in here and I'll
just give this the same name.
| | 01:24 | Let's call it something simple,
like Premiere Pro CS6 Dynamic Link.aep,
| | 01:33 | for After Effects project, and save.
| | 01:37 | Now, you'll see that a new sequence is
created, and it automatically links back
| | 01:42 | to the same name as the Premiere Pro project.
| | 01:45 | In this case, the clip came over;
| | 01:47 | however, all the handles are intact.
| | 01:50 | So if I need to, I could re-trim and
recompose that, but I am just going to go
| | 01:54 | ahead and choose Undo here to keep
the exact same in and out points.
| | 01:58 | The advantage here is I can use all
sorts of great features in After Effects.
| | 02:02 | For example, I want to use the Vibrance effect.
| | 02:06 | I really like this one as a color-
grading tool, because it allows me to pop the
| | 02:10 | colors in the non-skin-tone regions.
| | 02:12 | There we go. Let's bring that up a
bit. And I like how I am bringing up the
| | 02:19 | overall colors without
affecting the skin tones too heavily.
| | 02:22 | While I'm here, I am also going to use
Shadow Highlights to lift things a bit.
| | 02:33 | Uncheck the Auto Amounts, and we
could adjust the shadow intensity, pull
| | 02:37 | down the highlights.
| | 02:39 | You do have the same effect in Premiere
Pro, but if I'm here in After Effects, I
| | 02:44 | can use similar effects to get things.
| | 02:46 | Let's just change the stacking order
there to bring the color out after the fact.
| | 02:50 | That's looking pretty good.
| | 02:52 | And what I want to do now is actually
apply a little bit of blurring and a vignette.
| | 02:57 | I am going to add a new adjustment
layer, just like the adjustment layers we
| | 03:03 | have inside of Premiere Pro, and I
am going to apply a blur to this.
| | 03:08 | Let's go with a nice Fast Blur,
or the more robust Camera Lens Blur
| | 03:20 | would actually be nice.
| | 03:23 | This allows us to do some pretty cool
things. I am going to crank up the blur,
| | 03:28 | repeat the edge pixel, and have
it blow out the highlights a bit.
| | 03:35 | Lower the threshold there. It looks
good. And now we are going to mask that.
| | 03:40 | So with the Pen tool, I am going to go
ahead and create a custom mask to apply
| | 03:46 | this blurring only to my edges.
| | 03:48 | So we get a little bit of
a vignette and a falloff.
| | 03:56 | There we go. M-m for mask
properties. I can invert that.
| | 04:02 | And then give it a nice heavy
feather, and that allows it to blend from
| | 04:07 | blurred to in focus.
| | 04:09 | Notice how we are getting a
nice soft dreamy look at our edges.
| | 04:14 | I'm now going to go ahead and make
another adjustment. And with that adjustment
| | 04:18 | layer selected, we are going to make a
darkening exposure adjustments, so let's
| | 04:23 | just type in "exposure," drag that on,
and we'll pull down the exposure for those
| | 04:30 | outside edges a little bit
so they get a tad darker.
| | 04:34 | It looks pretty good. I am going to put on
a little bit more of a vignette. Layer >
| | 04:41 | New > Solid. I am going to sample a
dark shadow from the scene and click OK.
| | 04:50 | Let's take the mask from this layer,
copy it--Ctrl+C--and paste it to that top layer.
| | 05:05 | We can now set that to Multiply to
darken things down, T for Opacity, and
| | 05:13 | blend that back a bit.
| | 05:14 | So you see there a very complex
vignette where I have blurred and darkened the
| | 05:20 | edges, as well as
introduced some dramatic shadow cast.
| | 05:24 | Everything is completely flexible,
so if needed, I could go ahead and just
| | 05:28 | select an individual point on that mask
and refine it. And that's what's great
| | 05:34 | about After Effects: really good
controls for advanced compositing.
| | 05:39 | Now, I'm happy with that.
| | 05:41 | If I want to preview it, I could just
click RAM Preview and it will load a
| | 05:45 | preview and play it back.
| | 05:49 | It looks good to me. I'm happy with that.
Because I like to, I press Save, although
| | 05:55 | there really is no reason.
| | 05:57 | And now I could switch back to Premiere.
| | 06:00 | You'll see that that's currently red,
but the After Effects composition has swapped out.
| | 06:06 | If we play that, you'll see that it
now has the blurring and the darkening.
| | 06:11 | Now initially, those frames will not play,
because it's processing it in the background.
| | 06:17 | But over time, what's going to happen
is that animation will start to cache and it
| | 06:22 | will hand off its frames over to Premiere Pro.
| | 06:25 | You can leave this Dynamic Link
cop alone and what will happen is
| | 06:29 | that background action.
| | 06:30 | The frames will get cached and handed off.
| | 06:34 | If you're impatient or you just want to,
you could of course render at it any
| | 06:38 | time right inside of Premiere Pro.
| | 06:42 | Notice that it's playing better.
We started to get frames updating. But I am
| | 06:49 | just going to go ahead and
select that and choose to render it.
| | 06:58 | It doesn't take too long, about a minute
here, to process that complex effect and
| | 07:03 | that counter is actually
going down so it's taking less.
| | 07:06 | This cuts down on that intermediate render.
| | 07:09 | You don't have to render in After
Effects and then export a file and drop it in.
| | 07:13 | You only render when you're ready to publish
or when you're sure you'll like the effect.
| | 07:17 | However, one of the best things about
Dynamic Link is how easy it is to jump
| | 07:21 | back and forth in between.
| | 07:23 | I could just go ahead and select that
and press Ctrl+E or Command+E for edit.
| | 07:27 | I jump right back into After Effects
where I can make changes. Let's go ahead and
| | 07:32 | make that a little darker at the edges,
switch on back to Premiere, and you'll
| | 07:39 | see, when I move the
playhead, that it actually updates.
| | 07:43 | So, super-easy workflow, and
you only render when you want to.
| | Collapse this transcript |
|
|
8. Audio Workflow ImprovementsExploring new audio track functionality| 00:00 | A pain point for a lot of migrating
editors is how Premiere Pro worked with audio.
| | 00:06 | You see, Premiere actually had too
much power, support for tons of formats,
| | 00:11 | multiple tracks, surround soundtracks,
mono, stereo, all sorts of choices.
| | 00:18 | Well, with CS6, there is even more choices.
| | 00:21 | Fortunately though, one of the
choices is basically an automatic track that
| | 00:26 | makes it easier to work with the material.
| | 00:28 | Let's see how it works.
| | 00:31 | Now, when I go ahead here and let's
take a look at some audio files, I am just
| | 00:35 | going to open up my bin
and talk about the tracks.
| | 00:41 | I've got a bunch of different track
types here, and I want to show you what
| | 00:44 | happens when we put those into a sequence.
| | 00:46 | I am going to make a new sequence and
from the sequence, I could choose a preset
| | 00:52 | to match my delivery spec.
| | 00:54 | Let's go with an XDCAM HD track, and
I'm doing a 1080p master at 30 frames for broadcast.
| | 01:05 | If I go on over to the Tracks tab,
I have the ability to customize here.
| | 01:10 | Notice, for example, I could tell this
to be a multichannel track output, which
| | 01:15 | is great, and then there are four
audio tracks assigned by default.
| | 01:20 | I could add more if necessary.
| | 01:23 | We have a bunch of different options
here, including Standard, Adaptive, 5.1,
| | 01:30 | Mono, Stereo, et cetera.
| | 01:34 | I really like these new
standard audio track formats. Watch.
| | 01:40 | Let's name this Audio Sequence,
and we'll drag in three different clips.
| | 01:55 | Notice, Premiere Pro was smart enough to adjust.
| | 02:01 | I put in three very different types.
| | 02:05 | First off, I dragged in a four-channel WAV file.
| | 02:09 | If I twirl this down and we zoom in
here, you'll get a better idea of what
| | 02:14 | we're dealing with.
| | 02:23 | Notice, we could see the different tracks.
| | 02:28 | On the other hand, on the same track,
we had a video clip that had two audio
| | 02:34 | tracks interpreted as A1 and A2.
| | 02:39 | You'll see here that it mapped those
to Audio 1 and Audio 2 in a traditional
| | 02:44 | way, like I was used to.
| | 02:49 | However, I then put in
another file that was a stereo file.
| | 02:56 | And in this case, it kept the left
and right channels on a single track.
| | 03:02 | Now, while this may seem
confusing, think of it this way.
| | 03:07 | This Audio 1 track was set up to
handle either stereo or mono clips.
| | 03:13 | So, I have a stereo file, and the
other two channels from that four-channel
| | 03:18 | source went to another
track as a second stereo set.
| | 03:23 | I had a clip that had two mono tracks in
it, and each of those went on the track.
| | 03:31 | And then I had a stereo audio file with a
left and right channel, and it got added.
| | 03:38 | Now, you can always come over to the
clips and take a look at modifying the audio
| | 03:43 | channels and this will give you a
good idea of how something is set up.
| | 03:50 | Let's take a look here at the StereoVideo.
| | 03:54 | Right now it's treating it as two
audio tracks, with the left two being
| | 03:59 | mapped independently.
| | 04:01 | From the Preset list here, I
could say treat that as stereo
| | 04:07 | and only use one audio track.
| | 04:13 | When I do that--let's go ahead
and put that into the Timeline now.
| | 04:19 | And you'll see that it only uses a
single track, and that the two channels are
| | 04:27 | occupying one audio track.
| | 04:29 | If this seems confusing,
you should've seen what it used to be.
| | 04:34 | The good news here is that the
Timeline uses fewer tracks, and unlike in the
| | 04:39 | past, where content couldn't go in one
track because it was the wrong type--
| | 04:43 | for example if you tried to drag a
stereo track into A1 which was set as a mono
| | 04:48 | track, it would instead drop it all the way
down to A5 where your first stereo track appeared.
| | 04:54 | Well now, you don't have those problems.
You could precisely patch audio where you want,
| | 05:00 | putting stereo files onto stereo,
mono under the same track, and what will
| | 05:06 | happen is Premiere Pro will intelligently adapt.
| | 05:09 | So if you want to target a source to
track one, it will go to track one.
| | 05:14 | And when you twirl that down,
you could precisely see what's in it.
| | 05:19 | It'll show you the stereo file;
| | 05:20 | it'll show you the mono file.
| | 05:22 | If the files are not behaving how you
expect, you could simply go into the
| | 05:27 | Project panel and modify the audio sources.
| | 05:31 | Previously, you didn't have that
luxury once you used a clip in a Timeline.
| | 05:36 | Now, we can modify our audio sources on
a channel, even after the clip has already
| | 05:41 | been used, and the good news is
is it won't screw things up.
| | 05:44 | You can go ahead and reuse a clip and
modify its behavior and have it carry that
| | 05:50 | going forward, without
screwing up what's already happened.
| | Collapse this transcript |
| Looking at audio channel improvements in the Source Monitor| 00:00 | Because Premiere Pro supports so
many different audio formats and channel
| | 00:03 | workflow, I want to show you how the
Program and Source Monitors have gotten
| | 00:07 | better to handle audio material.
| | 00:10 | So if I jump into the a bin here,
let's just open up some clips.
| | 00:14 | Here is a four-channel file, and you notice
that right inside of the mixer, I could see that.
| | 00:22 | As we drag through,
we could see all four channels.
| | 00:25 | Remember, with these sources, you
have the ability to click and switch to
| | 00:30 | showing audio time units.
| | 00:32 | Now, what does that mean?
| | 00:33 | From a practical standpoint, I am just
pressing the Plus key here. You notice it zooms in.
| | 00:40 | This is the maximum magnification of
an audio file when viewing it in frames.
| | 00:46 | However, when I switch that to
audio time units, I can keep zooming.
| | 00:52 | This makes it a lot easier to see
the content and really zoom in on those
| | 00:56 | individual audio details.
| | 01:00 | Notice there, we are seeing
extremely close views of that audio waveform.
| | 01:07 | Again, when you look at that in frames,
you just don't get that level of zooming.
| | 01:12 | But audio time units, we can go in a
lot further and really see our waveforms.
| | 01:20 | Now, if you load up a video clip,
you might not see the waveforms by default.
| | 01:27 | Remember, clicking the Settings menu
here lets you choose from seeing the video
| | 01:32 | signal on over to the audio waveform.
| | 01:37 | This allows you to go in
and really see that content.
| | 01:41 | Again, as we zoom in, with the audio
units turned on, we can get a lot closer
| | 01:47 | than we could without.
| | 01:50 | Without those audio time units,
this is my maximum zoom level.
| | 01:57 | Turning on audio time units, I could
continue to magnify that waveform and
| | 02:04 | really see the individual audio,
to do precise subframe audio edits.
| | 02:10 | As you bring clips in, you
have the ability to modify them.
| | 02:15 | So by choosing Modify > Audio
Channels, I could remap this.
| | 02:20 | If I don't want this to be treated as a
mono pair, I could switch it to Stereo.
| | 02:25 | It will use the left and right on a
single audio track, or Mono and it will end
| | 02:31 | up using two audio tracks, putting the left
channel on one and the right channel on two.
| | 02:35 | Let's switch that back to Stereo for
a moment and click OK, and you see it
| | 02:41 | updated to show you the stereo pair.
| | 02:43 | There is no dividing line.
| | 02:46 | If I modify that back to a mono
treatment, notice how the clip there is clear,
| | 02:53 | and this is showing us that we have
two individual audio tracks: track 1 and
| | 02:58 | track 2 at the bottom.
| | 03:00 | So, much greater control
over viewing your audio sources.
| | 03:05 | Make sure you take advantage of the
audio time units for precise subframe
| | 03:08 | editing and pay attention to the
subtle but essential feedback points when
| | 03:14 | viewing audio files in the Source Monitor.
| | Collapse this transcript |
| An easier way to use the Audio Mixer| 00:00 | Just as audio files and audio tracks got
better, so did the audio mixer, where you
| | 00:05 | take control over the mix for a sequence.
| | 00:08 | Here is what it looks like.
| | 00:10 | I have opened up a stereo sequence
here, and I am going to click on the
| | 00:13 | Audio Mixer tab.
| | 00:14 | Let's go ahead and press play for a moment.
| | 00:16 | (video playing)
| | 00:20 | Notice I could see what's
happening with this particular sequence.
| | 00:26 | I've named my tracks in the Timeline,
or I could rename them right here in the
| | 00:31 | mixer to make it easier
to track what's happening.
| | 00:34 | I could see my natural sound,
my narration, and my audio tracks.
| | 00:38 | Now, as we are playing this back, we
are getting nice performance; however, we
| | 00:43 | have got a lot of options on
how these VU meters behave.
| | 00:46 | I can go ahead and right-click on
the VU meters here and actually use
| | 00:51 | gradients or no gradients.
| | 00:53 | Notice there that it's a little
bit flatter. Some people prefer the
| | 00:55 | simpler interface.
| | 00:57 | However, I do like the color gradient.
| | 00:59 | It makes it a little easier to
see, a little more photorealistic.
| | 01:03 | I'm also using the Valley indication
to show me the low point of my mix.
| | 01:07 | If I turn that off, you are only
going to see the peak values here.
| | 01:11 | But I think it's equally important to
track the valleys to see if we ever get
| | 01:15 | too low on the track.
| | 01:18 | That's working nicely.
| | 01:20 | I see that on my master I am never
really falling below -40 decibels, and my
| | 01:26 | peak is a little bit hot here,
so I am going to pull that down.
| | 01:32 | Let's take that back to the beginning.
It's looking pretty good.
| | 01:38 | Remember, you can make little tweaks
and then when you start it back up,
| | 01:42 | the peaks will refresh.
| | 01:45 | Now choosing Dynamic Peaks means that
they'll bounce in relation to what's been
| | 01:49 | happening for the last few seconds.
| | 01:52 | This is useful if you blink or you
just want to sort of keep track of what's
| | 01:55 | happening in the here and now.
| | 01:57 | However, if you don't want those
changing and you want to track the whole
| | 02:00 | sequence, unchecking that will
keep those peaks static for the entire playback session.
| | 02:09 | We also could change the amount of
range we have in here and force those peaks
| | 02:13 | to reset at any point in time.
| | 02:15 | Now let's switch on over to the
four tracks here, and I want you to see a
| | 02:22 | couple more things.
| | 02:24 | First off, these buttons are a lot clearer.
| | 02:27 | Previous versions had these with cute
icons, and now we see things a little more
| | 02:32 | logical, like M for mute, S for solo to
isolate the individual track, R to go
| | 02:38 | ahead and record track
automation, so we can mix on the fly.
| | 02:42 | Now the only thing that
changed here is the icons.
| | 02:45 | The same functionality of
recording and mixing on the fly is there.
| | 02:51 | If you're new to Premiere Pro and if
you've not fully explored the audio mixer,
| | 02:54 | be sure to head on over to some of our
other titles here on lynda.com and check
| | 02:58 | some of those out to really get a
good idea on what can be done when mixing
| | 03:02 | your sequence.
| | Collapse this transcript |
| Exploring enhancements to the Merge Clips command| 00:00 | Premiere Pro CS5.5 had the
ability to support merged clips.
| | 00:05 | This is really common when you're
dealing with sync sound workflows. Whether
| | 00:09 | that be on a DSLR shoot or a film shoot,
it's becoming more and more common to
| | 00:13 | record audio to a separate device,
while having multiple video tracks just
| | 00:18 | recording reference audio.
| | 00:19 | Well, fortunately with CS6, we have seen
improvements to the Merge Clip command.
| | 00:27 | I want to show you how it works.
| | 00:28 | I have got two clips here, and let's
just switch this over to icon view. And what
| | 00:30 | I am going to do is load these up,
one at a time, to find my sync point.
| | 00:35 | What I am looking for is the two pop.
There it is, my flash frame, and I am just
| | 00:42 | going to advance through to find that point.
| | 00:48 | There we go, and I will press I to mark my in.
| | 00:53 | Come on over here to the audio clip,
and I'm going to find the spike where
| | 00:59 | the two pop popped.
(audio playing)
| | 01:05 | Now I'm currently viewing this in
audio units, so that's a lot of scrubbing.
| | 01:09 | Let's go ahead and switch that back,
and we'll just deal with whole frames.
| | 01:17 | I've found it. I to mark my in.
| | 01:21 | Now, I could select both clips,
right-click, and choose to merge those clips.
| | 01:26 | Here's what's changed.
| | 01:29 | We now have better support
for merging based on timecode.
| | 01:32 | So if you have audio timecode, you
could actually use that and have these
| | 01:37 | go ahead and line up.
| | 01:39 | Also, if the timecode was recorded to
the audio track and not the video camera,
| | 01:45 | this could be particularly useful.
| | 01:46 | For example, many DSLR cameras do
not record timecode; only the latest
| | 01:53 | generation coming out has added support
for that feature. Plus, getting all those
| | 01:57 | cameras to sync up could be pretty tough.
| | 02:00 | Now the use of timecode on an audio
recorder, very, very common. In many cases,
| | 02:06 | it's the audio engineer
helping set the sync point anyways.
| | 02:09 | So now, you could choose to actually
use that audio timecode as the timecode
| | 02:13 | for the new clip.
| | 02:14 | If I want to use the audio source,
I could just choose that, and that'll become
| | 02:19 | the new timecode for the recording.
| | 02:22 | I also have the option--and I
really like this--to remove the audio from the clip.
| | 02:28 | Now I am going to do it first without,
and click OK, and here is the merge clip.
| | 02:33 | Let's load that up and view the audio channels.
| | 02:38 | Notice there are four
tracks of audio with this clip.
| | 02:42 | I have the audio here from the
original video file, and the replaced audio down here.
| | 02:48 | Let's have a listen.
(audio playing)
| | 02:53 | Notice in the merge clip, I have all
the audio of the camera operator and the
| | 02:58 | background sound being picked
up by the camera mic. Not ideal.
| | 03:01 | I'd have to be very careful to
keep that out of my production.
| | 03:06 | Let's go ahead and delete this
clip, and we'll re-merge those.
| | 03:12 | In this case, I am going to go ahead
and remove the audio from the original
| | 03:16 | video clip and click OK.
| | 03:19 | There's my newly merged clip.
| | 03:22 | Let's take a look at the audio
waveforms. Notice only two. The crew is very
| | 03:33 | minimized, only being picked up
faintly in the background by the microphone
| | 03:37 | used by our actors.
| | 03:39 | (video playing)
| | 03:52 | So we have got rid of the bad audio
and replaced it with a much better audio.
| | 03:56 | The use of the Merge Clips
functionality was tremendously helpful in CS5.5, and
| | 04:01 | I really like the improvements they have made.
| | 04:04 | Being able to choose which timecode
source is used, as well as to discard the
| | 04:08 | reference audio, is tremendously helpful
as you put together professional clips
| | 04:13 | for use in your project.
| | Collapse this transcript |
|
|
9. Increased RAW Format SupportExamining Premiere Pro's increased support for raw video| 00:00 | The advent of raw video is
dramatically changing the quality in the video and
| | 00:05 | motion picture industry.
| | 00:07 | What we are seeing is that we now
have cameras capable of doing some
| | 00:10 | pretty amazing things.
| | 00:12 | First off, raw cameras can
capture in a wider dynamic range.
| | 00:16 | This means that because you could
essentially develop the file after the
| | 00:20 | fact, you can go in and lift shadows, recover
highlights, and just get a better overall exposure.
| | 00:27 | This is working really well with the
RAW footage, and it's really changing the
| | 00:31 | way that people both shoot
and light their productions.
| | 00:34 | We are seeing much more
dramatic lighting options being used.
| | 00:37 | We are also getting higher-resolution files,
| | 00:40 | in this case up to 5K in resolution.
| | 00:43 | This is becoming really useful for
things like digital cinema applications,
| | 00:47 | where people want that extra
resolution, as well as the merger of advertising,
| | 00:52 | where we are seeing people using
cameras like the RED to shoot the spot and
| | 00:56 | then going back through in post and pulling
out individual frames for print and web campaigns.
| | 01:02 | Now, all of this works well because
we have greater bit depth in the files,
| | 01:06 | often 10 or 12 bit, giving us a
wider range of information and a lot more
| | 01:11 | material being captured.
| | 01:13 | This gives you much greater
latitude during the color-grading stages.
| | 01:17 | And all of this is coming together
with things like digital cinema where we
| | 01:20 | are seeing bodies specifically designed to
take the best practices of film, great lenses,
| | 01:26 | great support packages, and merge that with some
of the sensibility of working in video formats.
| | 01:32 | Now, the great news here is that
Adobe Premiere is on the forefront of
| | 01:36 | working with these sources.
| | 01:38 | Premiere Pro has better support
for RAW video than any other NLE,
| | 01:43 | and it allows you to work with
the files natively directly.
| | 01:47 | This means you could import right on set
and start checking things back, look in
| | 01:51 | on scopes, even off of a bus-powered
hard drive dropped on the quality and start
| | 01:55 | working right away in an
offline edit. It's really pretty cool.
| | 01:59 | Throughout our next two exercises, we are
going to take a look at improvements on
| | 02:02 | both the RED and the ARRI forefront.
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| Reviewing improvements in RED footage support| 00:00 | Premiere Pro CS6 builds upon
its support for the RED format.
| | 00:04 | With Premiere Pro, we've previously had
great support for the RED 1, and with
| | 00:10 | CS5.5 we saw beta
support for the Red Epic in 5K.
| | 00:14 | All RED cameras are now properly
supported, and it's built in, with no need to
| | 00:19 | load additional plug-ins or modify
the application. Let's take a look.
| | 00:23 | I am going to go over to the Media
Browser and just make this full screen.
| | 00:28 | With the mouse cursor over the window,
I'll press the grave or tilde key to maximize
| | 00:33 | it, and I am going to
navigate out to some footage.
| | 00:37 | Now, I'm taking a look at some material
from Adobe, and these files are extremely
| | 00:42 | large, so you won't be able to download these.
| | 00:44 | You'll notice here that we
have some Alexa and Red footage.
| | 00:48 | Let's start with the Red.
| | 00:51 | When I jump into the Red folder, it
automatically switches and goes to the RED format.
| | 00:56 | And if we switch this back to file
directory, you'll see that really, there's a
| | 01:00 | bunch of nested folders here with content.
| | 01:03 | But what we want to do is stick
there and view this in the RED format.
| | 01:08 | And what's cool is how this will
update and show us the clips properly.
| | 01:14 | Now the clips may need to process,
depending on what's there, but it'll click in
| | 01:18 | and then you have a real-time preview.
| | 01:21 | Remember, the Media Browser allows us
to drag and make these clips bigger.
| | 01:26 | I could then take my mouse and hover scrub
through the clip to see the source material.
| | 01:33 | I could also click on the clip and
drag the handle here to queue it up.
| | 01:42 | Now this particular shot is a little bit long,
so it's taking a few minutes, but there it is.
| | 01:47 | And notice there is the hover scrub.
Dragging through makes it really easy to see.
| | 01:52 | Once it's finished processing that
preview, I actually get a scrubber handle, and
| | 01:58 | I could be more precise as I look at the clip.
| | 02:04 | Now, when you're ready to import those
clips, you just go ahead and lasso them
| | 02:09 | right-click, and choose Import.
| | 02:13 | When we switch back over to the Project panel here,
| | 02:16 | you'll see that it's added them.
| | 02:20 | Now, it went to the selected bin.
Let's go ahead and just press the grave key
| | 02:24 | to return here, and I want to show you how
we could drop these right into a sequence.
| | 02:29 | I'll go ahead and take this clip,
| | 02:32 | drag it onto the new item, and it
autoconfigures the sequence to match. There we go.
| | 02:37 | Let's go ahead and close that.
| | 02:46 | And you see we have an R3D file
playing back in real time off of a standard
| | 02:52 | drive in just my desktop tower here.
| | 02:54 | Now it is starting to drop a few frames,
so we can drop the playback quality, and
| | 03:02 | that's going to improve
the real-time performance.
| | 03:05 | Notice here as I scrub through, this
is a slow-motion clip, but we're getting
| | 03:10 | really nice performance there.
| | 03:12 | And I can go ahead and drop that down
to eighth quality and get even better
| | 03:17 | performance with no dropped frames.
| | 03:20 | A couple of things here about RAW files.
First off, you want some high-performance
| | 03:24 | storage, RAIDed drives, maybe even a
Thunderbolt RAID, so you can work with
| | 03:29 | these really high-resolution sources.
| | 03:31 | They have very high data rates,
and transferring that through is going to be a challenge.
| | 03:35 | However, I wanted to show you how
even on just a base configuration of a
| | 03:39 | desktop computer with a standard regular hard
drive, I'm able to work with RED files natively.
| | 03:47 | Dropping down the playback
resolution will give you that performance, and
| | 03:50 | it works really well.
| | 03:52 | So if you don't have a performance
RAID or you're on a laptop in the field,
| | 03:56 | being able to drop the playback
quality down will let you work with this
| | 04:00 | material without having to
transcode it or switch to proxy files.
| | 04:04 | A couple of more things. With the RED
footage here, I've got the ability to go
| | 04:09 | ahead and redevelop this.
| | 04:11 | Let's select the clip, and I'll just
choose to reveal it in the project.
| | 04:17 | There it is. I can now go to the
Source Settings and open up the R3D Sources.
| | 04:24 | This is just like the RED Media Database.
| | 04:26 | It will load the original settings
from the database that was put on set.
| | 04:30 | If we're working with 5K footage,
we then even have an epic track here.
| | 04:35 | I could go ahead and adjust the
white balance in post--there we go, warm
| | 04:41 | that up a little bit--
| | 04:44 | and even deal with the color space.
| | 04:47 | For example, if I was doing this
for HD, I could switch to Rec.709.
| | 04:52 | Adjust the sensitivity to light with
the ISO, and then go in and play with the
| | 04:58 | shadows and the highlights and the
contrast, really lifting or dropping those
| | 05:03 | down, nice and rich.
| | 05:04 | I'll pull the saturation
down a little bit in this shot.
| | 05:08 | And I am going to go ahead and remove
some of the noise, as well
| | 05:15 | as sharpen the image a bit.
| | 05:18 | Notice all of these settings,
including powerful controls like curves, right
| | 05:23 | within the original source.
| | 05:25 | Clicking OK will update it in the
bin and update it right in my project.
| | 05:33 | So you get that ability to work with
the native resolution and make powerful
| | 05:37 | adjustments to the clip itself, or load
color-grading options from right on set.
| | 05:43 | Remember, later on, you'll also have
the ability to send this material to
| | 05:47 | Adobe SpeedGrade, which is a color-
grading utility now included with the
| | 05:51 | Creative Suite.
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| Exploring support for ARRI cameras| 00:01 | In Premiere Pro CS5 and 5.5, we had
excellent support for RED, which made
| | 00:06 | everyone happy who wanted to work with
RAW files, except of course for those
| | 00:10 | people who shoot with ARRI.
| | 00:12 | Now, the Alexa is also a great camera,
and widely in use in digital cinema and
| | 00:17 | advertising applications.
| | 00:19 | And with Premiere Pro CS6, we have
great support for its formats as well.
| | 00:24 | Let's go ahead and bring in some ARRI
footage, and I'll show you how it works.
| | 00:29 | In the Media Browser here, we'll just
select the tab and take it full screen.
| | 00:35 | And I am going to go ahead and click on the
Alexa folder, and you'll see it has a few shots.
| | 00:40 | Let's just jump in--there we
go--and there is the RAW file.
| | 00:50 | Notice, hover scrub works with the RAW clips.
| | 00:54 | I am previewing and skimming
through RAW footage that fast.
| | 00:59 | Keep in mind, just like last time,
| | 01:01 | I'm working off of the
internal drive on a desktop computer.
| | 01:05 | Take a look at another clip. There we go.
| | 01:11 | Great performance of how quickly
things are loading. There we go.
| | 01:23 | Now, if I double-click that clip, it
will go ahead and open it and bring it into
| | 01:29 | the bin in my project.
| | 01:31 | There it is, up here in the Source Monitor.
Let's set that up to Full Quality for
| | 01:36 | a moment and press Play.
| | 01:39 | You'll notice that Full Quality is a
little bit rough on this particular system.
| | 01:44 | Remember, with RAW footage you want to
look at having high-performance disk drives.
| | 01:49 | However, that is going pretty well, nonetheless.
| | 01:51 | And with RAW footage, you always have
the ability to drop the playback quality.
| | 01:57 | Dropping this to quarter quality
doesn't produce any real visible issues,
| | 02:02 | because we're not looking at
this window at its native size.
| | 02:05 | Let's go ahead and turn on the Dropped
Frame Indicator and maximize this window
| | 02:14 | for a second and press Play.
| | 02:17 | Notice at quarter quality, we're
getting a few drop frames, but it's
| | 02:21 | playing pretty well.
| | 02:22 | I'll drop that down to 1/8, and we're
still dropping a couple of frames, but
| | 02:30 | it works well here.
| | 02:33 | With these sources, you're going to
want to make sure you put them into a
| | 02:36 | correctly formatted sequence.
| | 02:40 | You'll find in the New > Sequence menu
that you have proper formatted presets
| | 02:45 | for ARRI, for both the 2K and the HD workflow.
| | 02:50 | These work great. And of course, just
like any other format, if we go ahead and
| | 02:54 | drag that onto the New Item icon,
it'll make a new sequence that's properly
| | 02:58 | configured for that clip.
| | 03:00 | Let's play that back--there
we go--and we're seeing it.
| | 03:12 | This is nice because we have the
ability here to work with the material with no
| | 03:15 | need for Transcode, provided we
have a fast enough disk drive.
| | 03:21 | You can also of course take advantage
of any of the color-grading effects.
| | 03:25 | Remember, stick with some of the 32-
bit color spaces and you'll be working in
| | 03:29 | that wider dynamic range, which works very well.
| | 03:32 | For example, drop on a Three-Way Color
Corrector, I'll go ahead and do an Auto
| | 03:40 | Contrast, pull my blacks in a little
bit, adjustment my midtones, and I am
| | 03:49 | going to bring the saturation up, and all of
that was applied to the clip in its native state.
| | 03:58 | In these particular exercises, I've been
showing you RAW footage off of a single
| | 04:02 | disc to illustrate the performance challenges.
| | 04:05 | RAW files are huge;
| | 04:07 | you absolutely, positively
need to invest in proper storage.
| | 04:11 | You can use a two-disk performance RAID
with a Raid 0, and by dropping down the
| | 04:16 | playback quality, be able
to work quite efficiently.
| | 04:19 | However, for proper editing, I would
recommend a four-disc configuration, and
| | 04:24 | look at connection types like
Serial ATA or better yet, Thunderbolt.
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ConclusionGoodbye| 00:00 | I hope you are as excited
about Adobe Premiere Pro as I am.
| | 00:03 | I'd like to thank you for checking out
this course, and I invite you to look at
| | 00:06 | the Online Training Library, just under
my name Rich Harrington, and you'll find
| | 00:09 | lots of other Adobe training.
| | 00:11 | Plus, go ahead and do a general search
for Adobe and you'll find tons of great
| | 00:15 | stuff about Premiere Pro
and the entire Creative Suite.
| | 00:18 | This is a very solid release,
so log some time and practice and
| | 00:22 | I think you'll find that
you're faster and getting more done.
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