IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! My name is Richard Harrington and
I am certified trainer for Adobe.
| | 00:06 | And today we'll be taking a look at the
new features inside Adobe Premiere Pro.
| | 00:11 | There is a lot of great editions with
what's going to be coming out, and I
| | 00:15 | wanted to give you up peek at all the new
things you'll discover with the latest addition.
| | 00:20 | We're going to go ahead and start by
taking a look at some of the user interface
| | 00:24 | improvements. Things like a higher
resolution interface and the ability to
| | 00:28 | really see our actions save guides,
as well as work with ToolTips.
| | 00:31 | We will then take a look at extending
the power of Adobe Premiere Pro with
| | 00:36 | integration with both Adobe
Story and the Adobe Exchange panel.
| | 00:40 | We'll also take a look at some of the
quality and format improvements. You'll
| | 00:44 | learn how more users could take
advantage of the Adobe Mercury Playback
| | 00:47 | Engine, as well as new ways of
working with raw file formats and additional
| | 00:51 | camera native formats.
| | 00:53 | Plus the big news is both Avid and
NFX wrapped, avid DNxHD files, now work
| | 00:59 | natively with Premiere Pro.
| | 01:00 | We'll spend a lot of time exploring a
timeline panel, learning how to customize
| | 01:05 | the tracks, the heights, and their appearance.
| | 01:08 | You'll also find several time-saving
features like Dupe detection and the
| | 01:12 | ability to refine Through Edits.
| | 01:15 | Additionally, you could do things like
copy and paste ranges of clips, or work
| | 01:20 | with nested sequences.
| | 01:22 | One of the biggest areas of
improvement is improved project and media
| | 01:25 | management. It's a lot easier to bring
assets in from one project to another,
| | 01:30 | as well as selectively control how
the project is saved and target specific
| | 01:35 | sequences for output to XML or AAF.
| | 01:39 | The Effects workflow is also seen
drastic improvements, the copy and paste
| | 01:44 | attributes command has long been
sought after, and editors will be very happy
| | 01:48 | with the total control they've gained.
| | 01:50 | You'll also learn how to use new
features like an accelerated blur, work
| | 01:55 | with color lookup tables, or make
better screener files using the clip name
| | 01:59 | and timecode affects.
| | 02:02 | On the audio side we've seen a lot of
improvements including the addition of
| | 02:05 | third-party filters and the
ability to use control surfaces.
| | 02:10 | Multi-camera receives a total revamp
and you'll be excited to see intelligent
| | 02:15 | syncing based on the audio tracks,
plus the editing and the whole process of
| | 02:20 | assembly is faster and easier.
| | 02:23 | If you need to deliver closed-
captioned material, it's much simpler to import
| | 02:27 | files, and in fact, you can edit and
adjust their position as well as their
| | 02:31 | timings right within the
Adobe Premiere Pro interface.
| | 02:36 | And when the project is done you have
got a lot greater control over exports,
| | 02:40 | the ability to work with 32 channels
of audio, do multi-channel export to
| | 02:45 | QuickTime and take better
control over export to tape.
| | 02:50 | You'll also find it easier to work
with H.264 MPEG-2 and some of the latest
| | 02:55 | consumer electronic devices.
| | 02:57 | So, we have a lot to explore and discover.
| | 03:00 | Let's jump right in and see what the
new edition of Adobe Premiere Pro holds
| | 03:04 | for you.
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1. User Interface ImprovementsHigh-resolution viewing with a HiDPI user interface| 00:00 | A recent addition to the Premiere Pro
Interface is that it now supports high DPI.
| | 00:05 | So, if you're using something like one
of the MacBook Pros or another computer
| | 00:09 | that offers higher resolution
displays, you'll actually see that the user
| | 00:13 | interface draws at a higher quality.
| | 00:15 | The first thing you would want to
check is to make sure that you're actually
| | 00:19 | using one of those High DPI settings.
| | 00:22 | Under your System Preferences, you
will want to talk a look at Displays, and
| | 00:28 | if you choose Best for Retina display, the
Internal Display will use that resolution.
| | 00:36 | Now, the user interface is being
redrawn using that higher-quality, and you'll
| | 00:41 | actually notice that the texts in the
other elements are crisper and easier to read.
| | 00:47 | This edition is pretty small, but it
does come in handy when you're using a
| | 00:51 | higher-quality monitor and as
computer displays continue to get higher and
| | 00:55 | high-resolution you'll definitely notice
this as the major benefit, it cuts down
| | 00:59 | eyestrain and it's a welcome addition.
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| Improved action-safe/title-safe guides| 00:00 | As we continue to make the
transition into a 16x9 world, there are still
| | 00:05 | workflows where 4x3 matters.
| | 00:07 | Many broadcasters continue to make
sure that their signals are compliant for
| | 00:11 | 4x3, unfortunately Adobe Premiere Pro
has updated the title save and action
| | 00:16 | guides to make it easier
to check things like this.
| | 00:18 | You notice as I drag the playhead here,
the window updates but I don't have my
| | 00:22 | action guides. They can be access in two ways.
| | 00:25 | I'm clicking the Settings button here, and
choose Safe Margins, and you see it pops up.
| | 00:30 | In this case while my titles are fine
for a 16x9 delivery they are not set
| | 00:36 | inside the 4x3 protected zone, if the
signal was going to get cut off when it
| | 00:41 | was displayed on the 4x3 set.
| | 00:43 | I'll go ahead and select that title
and using my Effect Controls here, I can
| | 00:49 | scale down slightly. You see
that I've pulled that title inside the
| | 00:55 | necessary guides there and it would be compatible.
| | 00:57 | If you'd like this button to regularly
appear, just click the plus button (+)
| | 01:02 | here for the Button Editor and you can add
Safe Margins by just dragging the button down.
| | 01:09 | Now, I have a simple one click overlay,
in fact I'll do that on both sides.
| | 01:14 | So, let's click the plus button (+)
here and add the Safe Margins as well to
| | 01:20 | both the source and the program monitor.
| | 01:22 | The use of Safe guides really comes in
handy and just ensures that as you're
| | 01:26 | designing graphics that everything
is going to be maximum readability.
| | 01:30 | And it's also good idea to keep these
on for most of your workflow because
| | 01:34 | it'll cut down on problems as you send
the show off for approval, or if you're
| | 01:38 | working to broadcast spec.
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| Switching between audio waveforms and video| 00:00 | As you edit you may find it useful to be
able to switch between the audio signal
| | 00:04 | and the video signal in the source monitor.
| | 00:07 | Now, you can always do this, but in
the past it required a lot of clicking.
| | 00:11 | Now, it's gotten a lot easier.
| | 00:13 | You could still use the traditional
method of clicking the Settings button, and
| | 00:17 | switching between Audio, or Composite
Video, and of course all your other scopes
| | 00:23 | are available as well.
| | 00:24 | But now, you could simply use the
Video and Audio button. With one click you
| | 00:30 | can switch between.
| | 00:33 | Now, the original behavior of being able
to drag just the audio source continues
| | 00:37 | to this day, or if you grab the
Video icon, just that comes over.
| | 00:42 | So, these buttons are really dual
purpose, for drag-and-drop they become a
| | 00:47 | Video or Audio Only edit.
| | 00:49 | But clicking once will let you switch
between and makes it very easy to monitor.
| | 00:54 | While we're at it, don't forget about
being able to go into the Audio Time
| | 00:58 | Units. This makes it a lot easier as
you zoom to really see the fine details of
| | 01:04 | the audio waveform allowing for precise
positioning as you go to make an edit.
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| Controlling the work area bar display setting| 00:00 | With Adobe Creative Cloud the
software is installed on your local machine.
| | 00:05 | However, from time-to-time, typically
monthly, it's going to dial in and make sure
| | 00:10 | that your credit card information is
still valid and that your subscription has
| | 00:13 | not become inactive.
| | 00:16 | So, if you want to make sure that
things are set up correctly, you are going to
| | 00:20 | want to occasionally log in and just
check things. H ere is how it works.
| | 00:23 | When you launch the application under
the Help menu, you'll typically see that
| | 00:27 | you're already signed in, if not, it
will prompt you when you first run the
| | 00:32 | application to Sign In with
your Creative Cloud account.
| | 00:34 | I'll go ahead and Sign Out and you see
that it's giving me the ability to exit.
| | 00:42 | Now, you notice it didn't quit, that's
because you still have the ability to run
| | 00:47 | in trial mode for short a time.
| | 00:50 | If I'm ready to I could choose to
Sign In and it's just going to walk me
| | 00:56 | through the process.
| | 00:58 | I can create a new Adobe ID or login
with my existing one. I'll click Sign In.
| | 01:06 | You'll now notice that I'm signed in,
and if I need to I can go ahead and Update
| | 01:11 | or Complete Adobe ID Profile, this is
your entire My Adobe page, and it becomes
| | 01:18 | very easy to customize your info, as
well as check and make sure that your
| | 01:22 | products and subscriptions are upto date.
| | 01:26 | Clicking on My products and My
subscriptions shows me that I'm currently
| | 01:29 | subscribed to Creative Cloud through June 2013.
| | 01:34 | Later on, I could just click Renew and
it will go ahead and simply charge my
| | 01:39 | credit card again and keep me active.
| | 01:42 | You do have multiple options and
pricing depending upon your country and the
| | 01:46 | type of account that you want.
| | 01:48 | So, be sure to explore Creative
Cloud and its many options on your on.
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| Creating a new sequence| 00:00 | To streamline things a bit you'll
no longer be prompted to create a new
| | 00:04 | sequence, when you first make a project.
| | 00:07 | Instead, the Sequence dialogue won't
appear until you actually create your first
| | 00:12 | sequence, but for many users
they'll bypass this altogether.
| | 00:15 | Let's take a look at the process.
| | 00:18 | If you need a new sequence one
method is to choose File>New Sequence, the
| | 00:23 | shortcut is Command+N or Ctrl+N. When
you do this the New Sequence dialog comes
| | 00:29 | up, and it's very similar to past versions.
| | 00:33 | You'll find several Presets to choose from.
| | 00:36 | Once I select an initial preset, I
can click over Settings or Tracks. The
| | 00:42 | Settings menu has not changed much
except for the addition of Composite in
| | 00:46 | Linear color, which we will
discuss a little bit more later.
| | 00:51 | Under Tracks you continue to have the
ability to choose the number of Video and
| | 00:55 | Audio tracks that you want to use.
| | 00:58 | You also, of course, can Save Presets to
make it easier for default and when you
| | 01:03 | click OK, a new Sequence that
matches those specks will be created.
| | 01:09 | However, you've a couple of
additional options you need to be aware of.
| | 01:12 | For example, if I select a clip and I
drag it into a Sequence, it may offer to
| | 01:20 | change. In this case the Sequence
doesn't exactly match the initial clip.
| | 01:25 | So, if I go ahead I can choose to keep
the Existing Sequence settings that I
| | 01:29 | manually assigned, or change the
settings to match the first clip, and this is a
| | 01:36 | behavior that may match what you
are used to in other editing tools.
| | 01:40 | Additionally, if you want to create a
sequence you could simply select the
| | 01:44 | clip and drag it on the New Item icon,
and a New Sequence will be made that
| | 01:50 | matches those settings.
| | 01:52 | So, if you ever found the New Sequence
dialog box a bit intimidating, you really
| | 01:57 | don't have to worry too much anymore,
just be careful that the first clip you
| | 02:01 | bring in is actually going to match
the primary format of your sequence.
| | 02:06 | If that's the case you can use the
first clip to set the dimensions and the
| | 02:10 | frame rate and really speed up your workflow.
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| Controlling tooltips| 00:00 | If you find yourself switching
applications often it's easy to get a bit
| | 00:04 | confused by all the different user-
interface buttons. Fortunately, Adobe apps tap
| | 00:09 | settings that make it easy to
learn what each button does.
| | 00:12 | However, you might accidentally disable
it or decide after time you no longer
| | 00:17 | want to see those tips; you
now have greater control.
| | 00:21 | The default behavior, when you mouse
over things in Premiere Pro, is that you'll
| | 00:25 | see what a button does.
| | 00:27 | So, hovering the cursor over a button
for little bit will pop up the ToolTip and
| | 00:33 | this behavior works very well.
| | 00:35 | However, some users decide they don't want it.
| | 00:39 | Under Premiere Pro>Preferences you can
go to General and you'll notice here that
| | 00:45 | you have the ability to uncheck Show Tool Tips.
| | 00:49 | So, turning that off means that the
Tool Tips no longer pop-up when you hover.
| | 00:54 | Many users find the Tool Tips a
distracter and they just want to keep things
| | 00:58 | clean and uncluttered.
| | 01:00 | So, if you fall in that case, simply
go to Preferences and turn them off. If
| | 01:05 | you're still finding your way around
the application, you might want to choose
| | 01:09 | Preferences>General and make sure
that Show Tool Tips remains checked.
| | 01:15 | This will give you the standard
behavior that as you mouse over you will learn
| | 01:19 | how each button behaves and its official name.
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2. Extending the Power of Premiere ProFinding new technology with the Adobe Exchange panel| 00:00 | A new edition to Adobe Premier Pro is
the Exchange panel, which gives fresh
| | 00:05 | content to extend the power of the application.
| | 00:08 | At the time of this recording only a
few things are in there, but overtime
| | 00:13 | you'll expect to see additional content
from third-party developers as well as
| | 00:17 | Adobe itself. Let's take a look at how it works.
| | 00:21 | You access the exchange panel by
choosing Window>Extensions>Adobe Exchange.
| | 00:27 | You'll need to be logged in with your Adobe ID.
| | 00:32 | When you do that, you'll find a lot of content.
| | 00:35 | So, for example here, under the All
category I can see everything that's
| | 00:40 | currently available for Adobe Premiere Pro.
| | 00:44 | Some of these are free things such as
a text plug-in or some textures. Others
| | 00:51 | cost money and depending upon the
functionality could be a few hundred or even a
| | 00:56 | few thousand dollars.
| | 00:58 | The content that's in here allows you to
access different things to extend the application.
| | 01:03 | For example, I really like these new
video transitions here from FilmImpact.
| | 01:10 | If I double-click I could actually see
information about them and find purchase
| | 01:15 | and trial information.
| | 01:19 | I could see a preview of what it does
and there may be some embedded screen
| | 01:23 | shots to give you an idea about the
product and then, depending upon how it's
| | 01:28 | built, some notes as well as
potential reviews from other users.
| | 01:33 | Right now, at the time of this
recording this software hasn't officially
| | 01:36 | released, so you won't find a lot of
comments, but in the future you will start
| | 01:41 | to see a whole community
here of digital content.
| | 01:45 | As you go through, you have the ability
to filter based on paid or free content.
| | 01:51 | If you select an item, you simply
click Free if it's free or the Purchase
| | 01:56 | button to go ahead and make the purchase.
| | 02:00 | Doing so will download the content,
launch the Extension Manager, and install that
| | 02:05 | into Adobe Premier Pro. And as you see,
I've got that extension ready to use and I
| | 02:11 | can use the Extension Manager
to actually remove or add things.
| | 02:18 | The Adobe Exchange panel is just
getting started, but I encourage you to keep
| | 02:21 | an eye on it for fresh content and the
ability to add new plug-ins or things
| | 02:27 | like textures, stock footage or
extensions to enhance the ability of Premier
| | 02:31 | Pro to do great things.
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| Script integration with the Adobe Story panel| 00:00 | One of the companion applications that
ships with Adobe Creative Cloud is Adobe
| | 00:05 | Story and it's a full-featured scripting
tool. It allows you to write scripts as
| | 00:10 | well as collaborate with other people.
Plus, the enhanced edition Adobe Story
| | 00:15 | Plus, offers all sorts of
tools for collaboration.
| | 00:18 | Now, Adobe Story Plus is available as a
stand-alone subscription that you can
| | 00:22 | add on and bring in other users, but
if you're Adobe Creative Cloud user you
| | 00:27 | may have it as well.
| | 00:29 | Fortunately, Adobe Premier Pro adds
some excellent integration with Adobe story
| | 00:34 | making it easy for you to always
have the latest script right within the
| | 00:38 | editing environment.
| | 00:39 | To access it simply choose Window>
Adobe Story. You'll need to login to your
| | 00:48 | Adobe Story account using your Adobe ID.
| | 00:53 | Once you've done that, you'll see all
the projects that you're working on.
| | 00:57 | So, I can open up an individual episode
here and I see my different scripts and
| | 01:03 | I can go right to the scene
that I happened to be cutting.
| | 01:06 | On two monitor system you might set
this on your second monitor or you can
| | 01:12 | easily dock it up here with the source monitor.
| | 01:16 | I now have access to my script and
could read along as I'm editing. This makes
| | 01:22 | it easy if I need to cut the script to
make sure that I have the latest version
| | 01:26 | available and it always keeps me up-to-date.
| | 01:29 | As edits are made by other
contributors or the lead writer, as the editor I
| | 01:34 | don't have to wait for e-mail or print out.
| | 01:36 | If I simply login and the script is
being shared with me I can always see the
| | 01:41 | latest scripts and stay current. It
also makes it easy if I want to go back
| | 01:46 | and check something from a previous script just
to see how things were done in the past episode.
| | 01:52 | All and all, this is a great tool and
it's another example of how Adobe tends to
| | 01:56 | integrate their applications with one another.
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| 3. Creative Cloud Essentials |
4. Quality and Format ImprovementsThe Composite in Linear Color setting| 00:00 | There's a new quality option when you
go to build the sequence and you could
| | 00:04 | choose to enable this temporarily or at final
output and that is Composite in Linear color.
| | 00:10 | When I choose to create a new sequence,
you'll see all the settings and one of
| | 00:18 | those is Composite in Linear Color.
| | 00:21 | However, this is going to want you to
use the Maximum Render Quality option,
| | 00:26 | which really requires some high
performance, so be sure to change your memory
| | 00:30 | preference to Memory.
| | 00:31 | Now, I'll show you that in just second.
| | 00:36 | When I click OK I have my new sequence
and let's check our Memory preferences.
| | 00:41 | You'll notice here that you can
optimize memory for Performance or Memory.
| | 00:46 | And, because I'm using this maximum
quality mode here, I'm going to switch to
| | 00:51 | Memory and click OK.
| | 00:55 | Now, this option is not something
you're going to need for every project, so
| | 00:59 | as you're working especially if
you're working with 8-bit video files I
| | 01:03 | generally will leave it off.
| | 01:05 | You can choose to access this under the
Sequence Settings and simply disable it.
| | 01:11 | If you need to turn it on at the end.
| | 01:14 | Where this really comes in handy is
when working with files like ARRIRAW or
| | 01:19 | R3D files from Red.
| | 01:21 | However, if you are doing a lot of
compositing or advanced color correction you
| | 01:25 | may still find it useful.
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| Expanded Adobe Mercury Playback Engine support| 00:00 | Many users like to take advantage of
the mercury playback engine to ensure that
| | 00:04 | they're getting as much real
time performance as possible.
| | 00:07 | With the current update you'll find
that additional cards are supported plus
| | 00:12 | Adobe has removed some of the limitations.
| | 00:15 | So, if your computer detects that a
graphics card is installed that meets the
| | 00:19 | minimum requirements of 1 GB of VRAM,
even if it's not an officially supported
| | 00:25 | card, you'll see that Premier
Pro gives you the option to use it.
| | 00:29 | It will warn you that that card may not
be officially supported, but it's going
| | 00:33 | to go ahead and let you proceed at you own risk.
| | 00:36 | This is really in reacting to the fact
that so many users were trying to install
| | 00:41 | multiple cards that didn't
meet the official requirements.
| | 00:45 | Adobe decided it's easier to allow
you to access that, but they continue to
| | 00:49 | offer a complete list of cards that have
been thoroughly tested with official drivers.
| | 00:54 | Personally, I recommend you stick with
one of those cards, but perhaps you're
| | 00:58 | working on a system where upgrading the
laptop card or maybe the computer's card
| | 01:03 | isn't currently an option.
| | 01:05 | So, this is going to give you some
greater flexibility as you go forward.
| | 01:09 | To find out the latest specs you can
always visit the Adobe's product page and
| | 01:13 | click on Technical specs. This will show
you the number of features and the cards
| | 01:17 | that are officially
supported and it makes it easier.
| | 01:21 | Within the application you will want
to make sure that you also enable it
| | 01:25 | under Project Settings.
| | 01:26 | To access Project Settings I can
choose File>Project Settings>General, and
| | 01:31 | you'll see that you have the renderer available.
| | 01:35 | If you have a supported graphics card
or it thinks it meets the specs, you'll
| | 01:39 | see it listed here. Depending upon how
your computer setup you may see CUDA or OpenCL.
| | 01:46 | If you don't have a supported
graphics card then you could switch to the
| | 01:49 | software-only mode, but the
performance benefit of hardware is significant.
| | 01:54 | So, I highly recommend you try to take
advantage of that if it's available or if
| | 01:59 | an upgrade is reasonably priced.
| | 02:02 | Ones that's set and I click OK it will
take advantage of that mercury playback
| | 02:07 | engine and my preview files will
allow it to achieve real-time playback.
| | 02:12 | So, as we start to add effects or do
other processing everything will keep up and
| | 02:16 | you will see better overall performance.
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| Merging and syncing clips with audio sync| 00:00 | The latest version of Adobe Premier Pro has
gotten smarter when it comes to merging clips.
| | 00:05 | Now, this Synchronize feature really comes in
handy when you have a synch sound workflow.
| | 00:10 | For example, with project shot on DSLR
or many digital cinema cameras where you
| | 00:15 | choose to record the audio
separately to a dedicated digital recorder.
| | 00:20 | In the past we had merged clip
functionality, but we needed to do things like
| | 00:24 | use timecode or markers to sink things up.
| | 00:28 | Now, it's gotten the lot easier. I
can go ahead and select two clips that
| | 00:32 | I believe go together. I'm going to
select this first audio waveform and
| | 00:36 | the second clip here.
| | 00:39 | When I right click I could choose Merge Clips.
| | 00:44 | One of the new options is to merge
them based on their audio tracks.
| | 00:49 | Once I've synchronize things using the
audio, I could choose what I'd like to use.
| | 00:53 | For example, I could choose to take the
timecode just from the audio track and
| | 00:58 | this might allow you to add constant time
code to multiple cameras from a single source.
| | 01:04 | Additionally, I could remove the
reference audio from the video clip and replace
| | 01:09 | it with the just the new audio. I can
give this a name and when I click OK an
| | 01:14 | entirely new clip is created.
| | 01:18 | Let's drop that into the timeline here.
| | 01:20 | And you see that it has the video from
one angle plus the audio from the other
| | 01:25 | source and everything's been lined up, and
you see that the audio and the video is synced.
| | 01:34 | This becomes very simple and you could
just go through and select the relevant
| | 01:38 | tracks. When you choose to merge
those clips, remember just choose to use
| | 01:45 | the audio source. It'll generate a new
clip for you. There it is. And if there
| | 01:53 | is a difference in duration you may have to
drag until you see the video come into play.
| | 02:01 | But we've got proper sync there and
it works very well much easier than
| | 02:05 | the previous edition.
| | 02:07 | This merging based on audio is very useful
for a single clip or a sync sound workflow.
| | 02:13 | However, it can be applied to multiple
camera angles as well and when we look at
| | 02:18 | the updated multi camera editing
features we'll explore it then.
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| Expanded format support| 00:00 | Continuing the tradition of supporting
just about any format the new edition of
| | 00:04 | Adobe Premiere Pro adds
additional functionality.
| | 00:08 | Besides native camera formats though,
you'll find two important to postproduction
| | 00:12 | codecs included as well, that is the
fact that you now have native support for
| | 00:17 | both Avid MXF Media and Apple ProRes.
| | 00:20 | For ProRes that support is going to be
in code only on a Mac, but decode for
| | 00:26 | both Mac and PC and that's a
limitation of the ProRes Codec itself.
| | 00:31 | However, for Avid you get full cross-
platform support and both of these features
| | 00:36 | are built in by default
with the latest addition.
| | 00:40 | You'll also find broad support
for new formats like ARRIRAW.
| | 00:44 | Now, we're able to work with these
files before, but now we actually have
| | 00:48 | even better support.
| | 00:49 | For example, let me open up a
RAW clip here and drag through.
| | 00:57 | This RAW file is using the log color
space and I'll open up a sequence where I've
| | 01:04 | already placed that in. Here we go.
| | 01:12 | If I select that clip I can now choose
to modify its source settings. Let's
| | 01:22 | just drag through until we see a
good frame that's representative.
| | 01:27 | I can now switch from the Log space into
Rec 709 for broadcast HD and I can adjust
| | 01:34 | the sensitivity there of the camera, and
you see how it changes the behavior and
| | 01:40 | responsiveness to light.
| | 01:43 | So, that's one of the major benefits of
working with RAW files is just how much
| | 01:47 | latitude you have when it comes to exposure.
| | 01:52 | If necessary, you can manually set the
white balance, dialing into degrees Kelvin
| | 01:57 | and we have similar features that
already existed for Red R3D files or
| | 02:02 | introduce a little bit of a tint. You
could reload from the original file or
| | 02:08 | click OK to store that setting and you
see that the clip updates having worked
| | 02:16 | directly with the RAW data.
| | 02:18 | If you compare that to working with
the native file in the log space, you see
| | 02:24 | that it's not nearly as flexible.
| | 02:27 | So, I highly encourage that you actually
take advantage of those source settings
| | 02:31 | to really dial things in. Here we go and
I'll click OK to have the clip updated.
| | 02:41 | Now, when you consider this done
you'll see all sorts of options to make it
| | 02:45 | easier to work with other systems.
| | 02:47 | For example, I could choose
to export this clip and I'll
| | 02:52 | choose File>Export>Media.
| | 02:54 | Under the Presets here I have lots of
options; one of those new options is to
| | 02:58 | stick things into the Avid DNxHD Codec
wrapped inside MXF file. You'll find
| | 03:05 | full support for the many different
data rates that Avid works with from
| | 03:09 | off-line resolution to online resolution all
the way up to the maximum bit depth there a 4x4.
| | 03:17 | So, a lot of flexibility to make it
easier to exchange your media across systems.
| | 03:21 | So, if you're working with camera
material such as the new Sony XAVC or
| | 03:27 | Panasonic AVC-Intra 200 that's going
to give you additional support for the
| | 03:31 | cameras. You'll also find support for working
with both Apple ProRes and Avid DNxHD Media.
| | 03:39 | So, be sure to explore some of these
options and if you work with the Arri
| | 03:44 | Alexa, you've got the ability to
actually modify the raw files giving you the
| | 03:48 | option to work with them natively, but
still take advantage of a better decode
| | 03:52 | method and assign the correct color
space and sensitivity as well as a white
| | 03:58 | balance and a tint.
| | 03:59 | So, overall some great improvements to
the formats and the quality of working
| | 04:03 | with camera material as well as
exchanging media cross application.
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|
|
5. A Better Timeline PanelTrack targeting and source track indicator states| 00:00 | The timeline in Premiere Pro has
seen some major changes to give you
| | 00:04 | additional feedback.
| | 00:05 | One of those areas is in track
targeting, so you really have a clear idea
| | 00:09 | of what's happening.
| | 00:11 | For example, you'll notice now that
it's very easy to say which tracks you're
| | 00:15 | going to. A quick click will switch
things and you get a great visual indicator.
| | 00:21 | I really like how clean this is and it's
very easy to tell what's being targeted.
| | 00:28 | Additionally, Track Locks and Sync
Clocks have larger icons making it easy to
| | 00:33 | see what's happening.
| | 00:35 | This track targeting will actually
come into play for all types of edits, of
| | 00:39 | course it works with the traditional
insert and overwrite, but it's also
| | 00:44 | respected now when you do a drag-and-drop edit.
| | 00:46 | Now, if you drag directly down to the
timeline it's going to be ignored because
| | 00:52 | that's going to be where you dropped it,
but going from source to program you
| | 00:56 | will see a very traditional edit.
| | 00:59 | One of the other things that's
nice is that you actually have one
| | 01:02 | additional option here.
| | 01:04 | In the past if you decided you wanted
to do an insert edit, you really didn't
| | 01:09 | have much choice when it came time to the gap.
| | 01:13 | So for example, if I turn this off and
I did the Insert edit, you'll see it put
| | 01:18 | some space in their, but it
wouldn't if Sync Locks were turned off.
| | 01:24 | Notice in this case, things
were knocked out of sync.
| | 01:28 | However, you have an option here, if
you Option+Click on that it gets a black
| | 01:33 | border indicating that even though
there is content on that track, it's going
| | 01:39 | to treat it as black slug. So, when I do my
edit here it pushes things down and leaves a gap.
| | 01:47 | This can be useful as you're working
particularly if you don't use sync locks,
| | 01:51 | this allows you to force a gap
or a space as you make the edit.
| | 01:57 | If you'd like to speed things up
you can also take advantage of the
| | 02:00 | shift modifier key.
| | 02:02 | Shift clicking on individual track can
allow you to enable or disable everything
| | 02:07 | within that category. So, I'm turning
on all my audio or video track targets
| | 02:12 | there. Same thing here for audio.
| | 02:14 | Shift-clicking on a lock icon will
similarly lock all of the video or audio
| | 02:20 | tracks or unlock them, this makes it
very easy to quickly do what you need.
| | 02:26 | If you had 10 tracks it might be
easier to Shift+Click to lock them all than
| | 02:30 | unlock the one or two
tracks that you wanted unlocked.
| | 02:33 | In any case this is a very quick way
to quickly take control of the timeline.
| | 02:40 | So, overall, all sorts of improvements
with track targeting here making it easy
| | 02:45 | to tell what's happening and giving
you an excellent visual indication of how
| | 02:49 | your tracks are targeted for your edits.
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| Working with scrollable track heights and creating track height presets| 00:00 | As you're working in the timeline,
you can take control over the height of
| | 00:04 | tracks, this makes it easier if you
want to do advanced operations like
| | 00:08 | keyframes or just to get a better
idea of the contents of that track.
| | 00:12 | For example, if I mouse over a track
I can use the scroll wheel or a two
| | 00:16 | fingered gesture on the track pad to
adjust the height. Let's press the tilde
| | 00:21 | (~) or grave key to
temporarily make that window bigger.
| | 00:25 | Notice how easily I can get in
there and start to adjust the height.
| | 00:31 | This might make it easier to see the
contents of the track as you're working
| | 00:34 | with it. You can also use the Command+
Plus(+) or Minus (-) keys to zoom the
| | 00:40 | height of all of the tracks.
| | 00:42 | So, if I've moused over the audio tracks
here and I click to select, Command+Plus(+)
| | 00:48 | or Command+Minus(-) works well to adjust
the height of the video tracks or I can
| | 00:52 | mouse down here and use the scroll
wheel or the two finger drag to quickly size
| | 00:57 | the height of the audio tracks making
it easier to really see my waveforms.
| | 01:03 | We'll talk about customizing the audio
waveforms later, but many people find
| | 01:06 | this more useful because instead of
seeing the top and bottom half, which is
| | 01:11 | really a mirrored image, they could just
see the individual spikes. That makes
| | 01:15 | it easier as you're trying to adjust and
read where the amplitude changes occur.
| | 01:20 | Now, besides the ability to jump in and
out here of these track heights you'll
| | 01:25 | also find easy presets.
| | 01:27 | I have already made a few presets that work
for me and I encourage you to do the same.
| | 01:31 | So, you can choose things like Minimize
All Tracks or switch to Giant view and
| | 01:38 | really see a lot. Or go ahead and Expand
All Tracks and you see how quickly
| | 01:44 | you can go through and start to change heights.
| | 01:48 | This makes it simple as you're
working to decide what's visible and what's
| | 01:52 | not, and as you make those changes you can
decide how much detail you want as you're working.
| | 01:59 | The ability to quickly scroll with the
two fingered gesture or the scroll wheel
| | 02:04 | mouse I find to be quite useful.
| | 02:06 | And remember, if you hold down the
Option or the Alt key, that scroll wheel will
| | 02:11 | expand or contract based on the playhead.
| | 02:15 | You can also always use plus or minus
to zoom in and really see additional
| | 02:20 | detail in a horizontal scale.
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| Customizable track headers| 00:00 | In addition to the timeline giving
you more options to set the track height,
| | 00:04 | you've got more room in the track
header that can be customized to really show
| | 00:08 | the information that you need.
| | 00:10 | I find that the default set for video
is pretty good, but I do like to change
| | 00:14 | the audio layout. You can access this
by right clicking on the track header
| | 00:18 | and choosing Customize.
| | 00:21 | Here you'll see the default buttons you
can choose from and right now the Reset
| | 00:26 | Layout button is actually what's being
used. We have the track name, we've got
| | 00:32 | the ability to actually toggle sync lock
and visibility as well as add keyframes
| | 00:37 | and move between them.
That's pretty much the default layout.
| | 00:40 | However, you can choose to rearrange
things if you wanted to and you see that
| | 00:46 | the order can be switched. So, if you
really want your key frames up top because
| | 00:49 | that's what you use go ahead and switch them.
| | 00:53 | Where things really come in handy is
down here on audio. You can access that
| | 00:57 | with a right-click or for either one
just click the Settings button and choose
| | 01:01 | Customize. I'll customize the audio
header. The two things that I really
| | 01:07 | like is the ability to add a balance
control and actual meters. I'll put that
| | 01:14 | right next to the name.
| | 01:17 | You'll see though, that you can adjust
whatever you want. So, while we have mute
| | 01:21 | and solo, you can enable recording on a
track. For example, maybe you have a track
| | 01:26 | that you use for voice over work and you
want to access the ability to record to
| | 01:30 | it without having to go to the track mixer.
| | 01:34 | Besides this, you'll see other options
for turning on things like keyframes
| | 01:38 | and showing keyframes.
| | 01:39 | That's look good and I'll click OK and
notice that we actually have small the
| | 01:45 | VU-meters. I'm going to makes those
larger though, like this, to really see
| | 01:49 | what it is I'm doing.
| | 01:55 | Let's go ahead and put the balance
controls up top and the track meters there
| | 01:58 | and click OK. I'll adjust
the width and I really like that.
| | 02:04 | So, I think this layout is pretty good.
You see there, the individual volume
| | 02:08 | for the track making it
easy to gauge what's happening.
| | 02:12 | You also have clip indicators and the
ability to actually adjust the balance. A
| | 02:18 | double-click will repan that center.
| | 02:20 | So, lot of great control as you're working.
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| Source patching presets| 00:00 | A feature that's been a long time
coming is the ability to save presets
| | 00:04 | for track targeting.
| | 00:05 | Fortunately, it's gotten pretty intuitive
but it takes a little to setup to get right.
| | 00:10 | You can go ahead and patch tracks as you'd like.
| | 00:13 | For example, I could target track V3 here.
| | 00:17 | If I right-click on the patching I
could choose to Save a Preset. I'll
| | 00:24 | call this Patch V3.
| | 00:29 | You'll notice in the pop-up here, I
could assign that to a different one of my
| | 00:33 | source presents. I'll go ahead and
map that right to Preset 3 and click OK.
| | 00:40 | If you look you'll see that
they're actually available here.
| | 00:43 | However, you're going to want
to do a little bit of extra work.
| | 00:47 | First off, you can always manage the
presents if necessary and adjust their
| | 00:51 | shortcuts and if you want
choose to delete if necessary.
| | 00:57 | If you're not happy with the name
you want to save that on top of itself.
| | 01:01 | So, I'll say Patch Track 3 and then I
could manage my presets and get rid of the
| | 01:09 | one that I no longer want. Let's
assign that to Track 3 and click OK.
| | 01:17 | Additionally, you may want
to assign keyboard shortcuts.
| | 01:22 | If I type in the word source,
you'll see that I have presets here.
| | 01:26 | For example, I can map these two Command
+1, Command+2, and Command+3 and so on.
| | 01:37 | And now notice I can use the shortcut
Command+2 or Command+3 to adjust between
| | 01:42 | those two presets that I made.
| | 01:45 | You're going to want to take the time
to go through and save some additional
| | 01:49 | presets. Then, using the keyboard
shortcuts command, just search for the word source.
| | 01:56 | You can then assign these presets to
your keys as available and use these to
| | 02:00 | very quickly target tracks.
| | 02:03 | Additionally, you'll also find the
ability to do things like move all the track
| | 02:07 | targets up or down as you're working
to make it very easy to shift through.
| | 02:13 | Remember, clicking next to a track will
move the initial patching and then you
| | 02:17 | can target the track by clicking.
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| Improved snapping behaviors| 00:00 | Snapping behavior has gotten a lot more
consistent to other nonlinear editing tools.
| | 00:05 | You can now take advantage of the
playhead with snap command to make it very
| | 00:09 | easy to accurately place a clip.
| | 00:12 | For example, if Snapping is turned on
when I drag you'll notice that I have the
| | 00:17 | ability to easily snap right to the
playhead. And of course, I could also have snapped
| | 00:22 | the other clips nearby as I drag through.
| | 00:27 | This makes precise placement much easier.
| | 00:30 | If Snapping is turned off
then it becomes a free hand drag.
| | 00:35 | The default shortcut for snap is
going to be S and with that enabled as I
| | 00:41 | dragged through you'll see you
get the desired snapping behavior.
| | 00:46 | As you drag the playhead, this makes it
much easier to be very accurate as you
| | 00:51 | start to drag elements, and you'll
notice all sorts of snapping behaviors
| | 00:56 | including the end of the clip or the
start of the clip to whatever is nearby
| | 01:01 | and adjacent.
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| Selecting and nudging clips| 00:00 | Taking control from the keyboard has
gotten easier particularly when you want to
| | 00:03 | move clips up and down on their tracks.
| | 00:06 | This can be useful for commands like
stacking a clip for compositing or just to
| | 00:11 | move something up to a higher track to
make room below, let's see how it works.
| | 00:15 | So, let's just check our keyboard
shortcuts and I'll type in the nudge.
| | 00:19 | I have mapped Nudge Clip Selection
Down to Option+Down Arrow and Nudge Clip
| | 00:25 | Selection Up to Option+Up Arrow.
| | 00:30 | To do this I could very easily just
Option+Click to select the clip and now,
| | 00:34 | while still holding the Option or Alt
key down, up arrow will move that upwards
| | 00:41 | even making new tracks as needed and
Option+Down Arrow will move it down. Same
| | 00:47 | thing holds true for audio.
| | 00:50 | Just make sure you have just the audio clip
selected and it becomes very easy to move.
| | 00:57 | With both clips selected remember the
default behavior as you drag is that just
| | 01:02 | one moves and then if you hold down
the Shift key and drag down, you can move
| | 01:10 | the audio as well independently. Let's
go ahead and put those back to default.
| | 01:16 | Another useful shortcut is the D key to
select the clip immediately below the playhead.
| | 01:22 | And remember if you turn off track
targeting, just the video track will be
| | 01:28 | selected in this case
making it very easy to move.
| | 01:32 | So, just remember that D is a great way
to select the clip around the playhead
| | 01:37 | and this makes nudging very easy Option
+Up Arrow to go up, Option+Down Arrow
| | 01:43 | to go down.
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| Dupe-detection markers| 00:00 | As you edit, it's very easy to duplicate frames.
| | 00:03 | The most common reason is when you
trying to stretch your B-roll and get enough
| | 00:06 | coverage, but maybe you've
accidentally drop the same sound bite in twice.
| | 00:11 | In any case, Premiere Pro now has
the ability to make it easy to spot
| | 00:15 | these duplicate clips.
| | 00:16 | If you look at this timeline I've
actually repeated a couple of the shot
| | 00:20 | accidentally. I've copied
and pasted the material in.
| | 00:24 | By default I don't see dupe detection,
but if I come over and click the Settings
| | 00:30 | menu, I could choose to Show
Duplicate Frame Markers and when I do this the
| | 00:37 | color bars indicate the
areas that are duplicate frames.
| | 00:41 | Now, the reason why this one is blue and
this one is pink and that repeats over
| | 00:45 | here is that Premiere Pro has
up to 10 colors to cycle through.
| | 00:48 | Hopefully, with 10 colors you have
enough unique colors to show the amount
| | 00:52 | of duplicate clips.
| | 00:53 | However, if for some reason you're
having a really bad day Premiere will just
| | 00:57 | repeat the colors once it gets to the first 10.
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| Through-edit indicators| 00:00 | While editing you might accidentally
use the Blade Tool or the Add Edit command
| | 00:04 | to inadvertently split a clip.
| | 00:07 | If the split has adjacent frames, in
other words, you simply add it in edit, but
| | 00:12 | the frame before and the
frame after are concurrent,
| | 00:15 | Premiere Pro now has the
ability to show this to you.
| | 00:18 | Notice here as I play through that I
have an edit indicated, I could of course
| | 00:25 | add a dissolve but there's really no reason to.
| | 00:28 | These become a lot easier to spot
however, particularly when you've got the
| | 00:32 | tracks at a small height. If you click the
Settings menu and choose Show Through Edits.
| | 00:39 | Now, the little double arrows
pointing at each other indicate where a
| | 00:43 | through edit has occurred.
| | 00:45 | If you want to remove these,
because it was an accident you can simply
| | 00:48 | right-click and choose Join
Through Edits to remove it.
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| Start and end media labels| 00:00 | As you're working with the clip you
might decide to extend it. Maybe you're
| | 00:04 | using a Ripple Tool or Roll Edit, but
sometimes it's difficult to know when
| | 00:09 | you've run out of handles and
you're at the end of the media.
| | 00:12 | Premiere Pro now gives you some visual feedback.
| | 00:15 | As I start to drag here you'll notice
when I hit the end it tells me that I've
| | 00:19 | reached the end of that clip.
| | 00:21 | However, I also see a little corner
tag on that clip. Same holds true for the
| | 00:26 | right end when I reach the end of the
media limit. You'll see it right there.
| | 00:31 | The little triangle indicator tells you
that you're out of handles and that clip
| | 00:36 | cannot be extended anymore.
| | 00:38 | Now of course, you can still use other
tools like the Rate Stretch Tool or Enable
| | 00:42 | Time Remapping, but as far as the
regular frames are concerned, I've now
| | 00:47 | officially run out of handles and hit
the limit for that clip. And that's what
| | 00:51 | the triangle indicates.
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| Out-of-sync indicators| 00:00 | As you work with linked video files
where there's an audio track and the video
| | 00:04 | clip or clips that you've merged, it's
possible to accidentally knock something
| | 00:09 | out of sync. Maybe it's because you have
Sync Locks off and you've performed an
| | 00:13 | insert edit, pushing things down
the timeline or maybe an errant drag.
| | 00:19 | In any case Premiere has the ability to
give you some feedback and that feedback
| | 00:23 | has been there for a while,
but now it's improved.
| | 00:26 | Let's accidentally knocked the
video and audio out of sync here by
| | 00:30 | Option+Dragging the clip.
| | 00:32 | I Option+Click to select it and then
I'll release the Option key and just drag;
| | 00:37 | and you see there it's currently about
three seconds and three frames out of sync.
| | 00:44 | Well, I always had the ability to right
-click and move or slip that into sync
| | 00:48 | and that worked fine, but what
happens when you unlink the clips?
| | 00:54 | Well, if these clips are no longer
linked together, they're unlinked; the
| | 01:00 | sync indicators go away.
| | 01:03 | However, this is now a preference
under Premier Pro>Preferences I could
| | 01:08 | choose the General category and
you'll notice that I can choose to now
| | 01:13 | display out of sync indicators for
unlinked clips. Because these two clips
| | 01:19 | come from the same media file, Premiere
Pro is now smart enough to notice when
| | 01:24 | sync is knocked out of place.
| | 01:27 | So, even though these clips are
independent of each other and no longer linked I
| | 01:31 | can get visual indicators telling me
when I've broken sync. And, of course, I can
| | 01:37 | either slip this into sync, which will
preserve the ins and outs or I can go
| | 01:42 | ahead and move it back into sync
and in any case sync is restored and the
| | 01:48 | indicators are removed.
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| Copying and pasting ranges| 00:00 | In the past there was no easy way to
copy and paste a range of items in a
| | 00:04 | sequence. Sure you can go ahead and
mark it in and out and use the Extract
| | 00:10 | command or the Lift
command and then choose Undo.
| | 00:13 | The item would still be under
clipboard and then you can paste, but now it's
| | 00:17 | actually gotten easier.
| | 00:19 | However, the behavior requires a
little bit of finesse on your part.
| | 00:23 | If you want to copy a range of clips
simply mark out an in, and an out, and choose
| | 00:31 | Edit>Copy. Reposition the playhead and
choose Edit>Paste and you see that the
| | 00:39 | copied frames are moved.
| | 00:42 | In this case it just selected the video,
because I didn't have the audio track targeted.
| | 00:48 | However, if I was working and I set an
in and out point range, but I had one of
| | 00:53 | the clips highlighted,
| | 00:55 | copy and paste is going to ignore the
in and out points and instead move the
| | 01:01 | whole copy of the clip, because
that's what was select. So be very careful.
| | 01:07 | If your intention is to copy a range
of frames from the in and the out point
| | 01:12 | make sure that no clips are actively
select, you could do that by clicking an
| | 01:17 | empty area of the track.
| | 01:19 | Then check the track targeting making
sure that the tracks are targeted that you
| | 01:23 | want to copy. You can now choose Copy
and then Paste and you'll see the frames
| | 01:33 | are indeed copied and
pasted to the target destination.
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| Trimming to a zero duration| 00:00 | When trimming, you now have the
ability to trim to a zero duration.
| | 00:05 | This can be useful if you decide you
actually just want to remove a clip, but
| | 00:08 | you do it using one of the
trim tools. Here is how it works.
| | 00:12 | As I grab the end of the clip here, I
could use any of my trim tools such as
| | 00:16 | a rolling edit. As I trim back if I
go all the way you'll notice that the
| | 00:22 | duration goes to zero. So, in fact, I
could trim until the clip is completely gone.
| | 00:30 | In the past you didn't have this option
and you would end with the single frame.
| | 00:35 | If you double-click with the tools and
you're using more dynamic type trimming,
| | 00:39 | you'll actually see that you could
play the clip and as you continue to trim
| | 00:46 | that back it's possible to trim it to
the point of no longer existing. I've
| | 00:54 | reach the minimum trim duration and
in fact took the clip down to zero.
| | 00:59 | If we zoom in and click off you'll
notice that it's been completely removed.
| | 01:04 | Now if I change my mind I can of
course choose Edit>Undo to restore it, but
| | 01:09 | realize that trimming to zero duration
is a big change, particularly for those
| | 01:14 | of you that are used to dynamic
trimming and really like to refine the duration
| | 01:19 | of clips as well as their
position using the Trim Tools.
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| Nested sequences| 00:00 | As you work with sequences you might
decide you want to nest one inside another.
| | 00:05 | Fortunately, you get
great flexibility with this.
| | 00:08 | I can load a sequence as an actual
clip and in doing so notice how we
| | 00:13 | could patch things here.
| | 00:15 | If I click the button here I could
choose from writing that as a single file
| | 00:21 | and instead switch to seeing all of the
individual tracks. Let's temporarily maximize that.
| | 00:29 | Clicking the Plus button (+) will add
the necessary tracks and I can now choose
| | 00:35 | to target those tracks
making sure they're all targeted.
| | 00:39 | Everything looks like it's lined up
and with that I could then make the edit.
| | 00:47 | You see that everything comes
across moving the whole sequence and now you
| | 00:54 | can easily use that as a source.
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|
|
6. Project and Media ManagementDisplaying the project bin structure in the Media Browser| 00:00 | Premiere Pro users have been
asking for the ability to have multiple
| | 00:03 | projects open for some time.
| | 00:05 | Well, you didn't exactly get your wish
if you were asking for this, but Adobe
| | 00:10 | did make a big step in the right direction.
| | 00:12 | While, earlier versions of Premiere Pro
allowed you to import one project into
| | 00:17 | another, you always had to import the
entire project which could lead to a
| | 00:22 | lot of re-linking as well as deleting of
media as you try to put the two things together.
| | 00:28 | Fortunately, things have gotten a
lot easier. Let's go over to the Media
| | 00:32 | Browser and I'm just going to quickly
make that full screen by pressing the
| | 00:37 | Grave or Tilde key.
| | 00:38 | I'll navigate out to a
Premiere Pro project and select it.
| | 00:47 | Now, when I choose a project I have
ability to double click on it, and you'll see
| | 00:52 | that doing so actually
connects to the dynamic link server.
| | 00:57 | So now, I've stepped into that project
and I can actually see the individual bins
| | 01:02 | inside that project, so I could bring
a the whole bin of footage in or I can
| | 01:08 | navigate just to the individual clips I want.
| | 01:12 | You can now right-click on those media
files to bring them in one at a time,
| | 01:17 | open them in the source monitor
like anything else, or quickly browse.
| | 01:22 | So, all the flexibility that a
traditional bin structure had is now available
| | 01:27 | with the Premiere Pro project and this
makes it much easier to locate individual
| | 01:32 | assets from one project
and move them into another.
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| Using the Link and Locate dialogs| 00:00 | As you work with media it's bound to happen.
| | 00:03 | Something is going to get knocked off
-line maybe it's a drive moved or a
| | 00:08 | partition got unmounted or somebody
came in behind you and move assets from one
| | 00:12 | drive to another on your network.
| | 00:15 | Regardless of the reason it's now much
easier to fix the problem with the new
| | 00:19 | version of Premiere Pro. Let's go
ahead and purposely break sync here for a
| | 00:23 | moment. Select an individual clip
their and reveal it and then I can go ahead
| | 00:33 | and reveal that out in the finder.
| | 00:34 | Now, it's in this folder and I'm
going to rename this. Let's say I was
| | 00:40 | cleaning up my media
files and I remove the space.
| | 00:43 | Well, that footage just got knocked
offline, I did this Illustrator point. You
| | 00:50 | probably wouldn't purposefully knock
off your media, but the good news is that
| | 00:54 | if accidents happen it's much easier
to solve the problem. The new Link Media
| | 00:58 | dialog box makes the whole process
easier. You can see what's happening here
| | 01:03 | and take a look at the clip name in the
project, the original file name and the
| | 01:08 | last path that was used.
| | 01:11 | Additionally, you have other
options here for how things connect.
| | 01:16 | So, if you want you can even start to
look for start time of the media files or
| | 01:20 | look in the description column, using
Shots or Log Notes, or the name of the
| | 01:27 | tape if you are
capturing from tape base sources.
| | 01:31 | One of the things that's also nice is
the ability to automatically re-link.
| | 01:36 | With the file selected here I can
click the Locate button, and now I
| | 01:41 | can manually navigate.
| | 01:43 | Notice it's telling me the last file
path, trying to make it a bit easier.
| | 01:47 | Like I say, oh well, it used to be in
a folder Basketball Space 3, but it's
| | 01:52 | probably here in this one and because
the Display Exact Names only is checked it
| | 02:00 | filters out the view making it
easier for me to find the individual clip.
| | 02:04 | When I click OK this clip and the others
that are similarly found will be reconnected.
| | 02:12 | If for some reason I couldn't find the
clip I could also just click the Search
| | 02:16 | button and it would search
through and find the clips on the drive.
| | 02:21 | When I'm ready to reconnect I just
click OK and you'll see that all three
| | 02:26 | off-line clips have been successfully
reconnected and I'm back to business
| | 02:31 | editing in my project.
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| Editing an offline file| 00:00 | If you find yourself with clips that
are offline, you might need to edit those
| | 00:04 | clips, modifying the information to
make it easier to reconnect or perhaps to
| | 00:09 | adjust them, so you can reconnect to new assets.
| | 00:12 | Premiere Pro offers new
controls for editing off-line files.
| | 00:16 | I can select an off-line clip in a bin,
right click and choose to Edit Offline.
| | 00:23 | When I do this the Edit
Offline File dialog comes up.
| | 00:27 | I can now give it a new tape name to
make it easier to search, add information
| | 00:32 | about it the Shot, the Take, or Log
Notes, as well as adjust the timecode.
| | 00:38 | This particular clip came from a DSLR,
but maybe I had a new source where it had
| | 00:43 | been synced with timecode
from a merge clip operation.
| | 00:46 | I could adjust the timecode to force it
to re-link to a new file or a new asset.
| | 00:52 | The fact that you can use this allows
you greater flexibility when it comes time
| | 00:56 | to force re-linking of assets.
| | 00:59 | In any case the ability to edit the
offline file makes it really easy to find
| | 01:04 | out additional information or add
information as you're working with clips.
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| Linking to and from image sequences| 00:00 | If you are working with graphic files
image sequence workflows are pretty common.
| | 00:04 | Same holds true for time laps, and
this is where you use several still frames
| | 00:09 | that get reinterpreted as a motion file.
| | 00:12 | With Premiere Pro you now have
greater flexibility when you import and
| | 00:16 | re-link these assets.
| | 00:17 | I've opened up a bin here and I'm just
going to double-click to load a file.
| | 00:21 | Let's select the bin called Image
Sequence. I'm going to go ahead and go to the
| | 00:24 | TIFF sequence, select the first one,
check the Image Sequence box, and click
| | 00:30 | Import, and you see the
file comes in. There it is.
| | 00:35 | If I double-click, it loads, and I can
actually see that I've brought in an
| | 00:41 | animation. There it is, but what happens if
I want to re-link that to a rendered movie?
| | 00:53 | Maybe I needed a specific codec or a format.
| | 00:55 | Well I can now right-click on that and
choose to link the media. Let's make that
| | 01:02 | Offline, we'll tell the files to remain
on the disk, and then right-click, and
| | 01:11 | we'll choose to link the media.
| | 01:15 | I'll now choose to locate and I'm
going to browse to just the Image Sequence
| | 01:22 | folder, and I could uncheck Image
Sequence and remove Display Exact Name.
| | 01:28 | So now, I could force it to
reconnect to this movie file and click OK.
| | 01:38 | There it is. There is the actual file.
| | 01:41 | However, it's going to be a good
idea to go in and modify it, so let's
| | 01:46 | interpret the footage.
| | 01:50 | Make sure that the correct frame rate
is assigned, 23.976 is there, but if I
| | 01:55 | want to I could change that if I
wanted to interpret it as 29.97.
| | 02:01 | Click OK and you see the clip has loaded.
| | 02:06 | There it is, I can drag through, and
I've been able to successfully manage the
| | 02:10 | difference between linking to
image sequences and movie files.
| | 02:15 | This will give a lot of users
additional flexibility because you might have an
| | 02:19 | image sequence for a graphics project
or a time-lapse movie, but throughout the
| | 02:23 | process may be those have been
conformed to a new codec or a movie or AVI file.
| | 02:29 | Now that you have the flexibility to
choose, if it's not an exact name and it doesn't
| | 02:34 | even have to be an image sequence,
| | 02:36 | you could choose to link to an image
sequence or from an image sequence to
| | 02:39 | a movie file itself.
| | 02:41 | This will give you greater
flexibility and control over how assets are
| | 02:45 | handled on your drive.
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| Autosave controls| 00:00 | Just about every editor has
benefited from the Auto Save command at least
| | 00:04 | once in their workflow.
| | 00:06 | Maybe it's a accidental crash or somebody
trips over and pulls the plug on your machine.
| | 00:11 | In any case, Auto Save can define and
capture your project at set intervals.
| | 00:17 | Here's how it works.
| | 00:18 | Under your Preferences you have the
ability to adjust AutoSave, and this
| | 00:22 | actually hasn't changed.
| | 00:24 | Just make sure that Automatically save
projects is checked, and then you tell it
| | 00:29 | how frequently to save, and how many versions.
| | 00:33 | What's different however, though,
is the Scratch Disks Settings.
| | 00:37 | So, under the Project Settings I could
choose Scratch Disks. If I look at
| | 00:42 | that you'll notice that we have a
separate preference here for Auto Save. So, you
| | 00:47 | choose where it goes.
| | 00:50 | Instead of targeting the same internal
drive that you're working off of, maybe
| | 00:54 | want to target a separate drive on your network.
| | 00:57 | So that way, if the project failed and
the media went down, your Auto Saves were
| | 01:02 | saved to a different destination.
| | 01:04 | This is incredibly important.
| | 01:07 | I see a lot of people keep the
projects and the media on the same hard drive,
| | 01:12 | and if you are a bit sloppy,
this could be disastrous.
| | 01:16 | Now, you probably have the media files
backed up, maybe you made a clone of
| | 01:20 | them or you backed them up to another drive
before you started to edit, and that's great.
| | 01:24 | But how often do you backup your project file?
| | 01:27 | At best maybe it's the end of the workday.
| | 01:30 | By targeting a different destination
for your Auto Save so that your project
| | 01:34 | file is maybe on your internal drive or
your media drive and the backups are on
| | 01:39 | a different drive
altogether, you are in great shape.
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| Selective XML and AAF export| 00:00 | As you work with a project you
might find yourself needing to exchange
| | 00:04 | with other applications.
| | 00:05 | For example, the AAF format might be
used to hand-off media or project files to
| | 00:10 | an Avid Media Composer. Or maybe you want
to use XML to exchange with a Final Cut
| | 00:15 | user or perhaps DaVinci Resolve.
| | 00:17 | In any case you now have much greater
selective controls over this process.
| | 00:23 | When I choose File>Export you'll see
both XML and AAF. Let's go with XML for now.
| | 00:32 | You could choose where you
want to export and give it a name.
| | 00:36 | When I click Save you'll notice that it
just took the current sequence, rather
| | 00:43 | than the whole project.
| | 00:45 | If I click on the Project Panel and
I choose to Export, it's now going to
| | 00:53 | take the entire project.
| | 00:55 | So, this makes it easier to choose if
you want to do just a selected sequence
| | 01:00 | or the entire project.
| | 01:02 | Same holds true for AAF.
| | 01:04 | With the project selected, I could
choose to do the entire project or I could
| | 01:11 | click on an individual sequence and
choose that, and you see that the selective
| | 01:19 | controls come up as well.
| | 01:20 | In either case this ability to limit
the export will speed up your workflow and
| | 01:25 | make exchange much easier.
| | 01:27 | In the past you'd often duplicate
the project and delete a way which you
| | 01:31 | didn't want, but now you can simply
select a target sequence and include just
| | 01:36 | that in the project or select the
entire project in the Project Panel and do
| | 01:41 | that as well.
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|
|
7. The Improved Effects WorkflowThe Paste Attributes option dialog| 00:00 | A feature that people have been asking
for, for a long time was the ability to
| | 00:05 | selectively paste attributes from
one clip and apply into another.
| | 00:09 | Now, previous editions of Premiere Pro
allowed you to copy everything and then
| | 00:12 | paste it but you'd have to go back and
delete away the things you didn't want.
| | 00:17 | Now, you have much greater control. For example,
| | 00:20 | on this first clip, I've done a pretty
stylized look. You see, in fact, that I've
| | 00:25 | applied some Motion effects doing scale
and Anti-Flicker, I've adjusted it with
| | 00:32 | an Equalize effect to push the contrast a bit,
| | 00:36 | Applied a Luma Curve, a Tint,
and a little bit of Sharpening.
| | 00:43 | I can now select that,
right-click, and choose Copy.
| | 00:50 | If I choose my next clip in the timeline, I
could right click and choose Paste Attributes.
| | 00:56 | And you see that you have much
greater control over what gets applied.
| | 01:00 | If you've applied Keyframes you could
choose to scale the attribute across the
| | 01:05 | time, this will then take the
Keyframes and adjust them so they're relatively
| | 01:11 | positioned in the next clip, if you
uncheck that, then it becomes absolute.
| | 01:16 | Of course, in this particular case I had
no Keyframes so it doesn't really matter.
| | 01:24 | Additionally I could paste the Motion
properties, the Opacity and the Time
| | 01:28 | Remapping. Well, I don't have any Opacity
or Time remapping, so I could uncheck that.
| | 01:33 | And maybe I don't want to apply the
Equalize effect, so I could uncheck that and
| | 01:39 | instead just paste the Luma
Curve, the Tint, and the Sharpening.
| | 01:43 | When I click OK, those attributes are added to
this next clip, and you see that it adjusts.
| | 01:51 | Now, if you change your mind you can
always come back and choose to repaste
| | 01:55 | those attributes and you'll notice that
they're still checked. So, if I want to
| | 02:00 | see that Equalize applied, I could just
click OK, and I think that looks a lot better.
| | 02:05 | Now, you'll notice in this case when
I pasted, it actually tended to apply
| | 02:12 | multiple times. That's because pasting
attributes put these on top of what was there before.
| | 02:19 | So, I am going to choose Undo and Undo a
second time, and this time when I Paste
| | 02:25 | Attributes it still brings up the
choices, but now it's applying it to a clip
| | 02:32 | that didn't already have a
bunch of effects applied.
| | 02:35 | The existing effect in this case, the
Lumetri color engine, which we'll explore
| | 02:39 | in a moment, is still there because
when I pasted it, it simply added those to
| | 02:45 | the existing clips.
| | 02:47 | When you choose to Paste Attributes
they are added on top of the previous ones
| | 02:51 | that were already there.
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| The new GPU-accelerated Blur effect| 00:00 | Anytime a new effect is added
I'm happy, particularly when it's
| | 00:05 | accelerated effect.
| | 00:06 | And Premiere Pro just
added one that's very useful.
| | 00:09 | You'll now find that the GPU
acceleration is applied to the Gaussian Blur.
| | 00:14 | So, under the Blur category this is
going to speed things up quite a bit. There
| | 00:18 | it is. You notice at the Gaussian Blur
has received a major upgrade. Not only
| | 00:23 | does it have mercury playback
acceleration but also works in float space and is
| | 00:28 | very accurate with YUV color.
| | 00:30 | Let's add an Adjustment
Layer here to the project.
| | 00:40 | And I'll drop that in overall my clips,
and with that selected I'll go to the
| | 00:50 | Effects browser and double-
click on Gaussian Blur to apply it.
| | 00:56 | Remember, double-clicking in an effect
will apply it to the selected clip, since
| | 01:01 | that's on the Adjustment Layer there.
| | 01:03 | I'm going to go ahead and crank it up a bit.
| | 01:06 | And notice that I'm getting nice real-
time feedback, as I make adjustments.
| | 01:11 | Now, I'm going to blur that a pretty
heavily and tell it to Repeat the Edge Pixel
| | 01:16 | to remove that fringe.
| | 01:18 | Now, as we play that, you'll see that
even on my laptop here, we're getting
| | 01:23 | nice real-time playback.
| | 01:25 | If I want to see that for sure I click
the Settings indicator here, and ask to
| | 01:30 | see the Dropped Frame Indicator.
| | 01:33 | This will give me feedback as it plays
as to any dropped frames. You see
| | 01:38 | that it stays green and I'm
getting real-time performance.
| | 01:42 | Now, part of that is the speed of my
machine, and the other part is that I'm
| | 01:46 | connected to my media drive using Thunderbolt.
| | 01:51 | At the cut point there it
still maintained real-time playback.
| | 01:55 | Let's go under the Opacity settings
here and change the Blend mode to something
| | 01:58 | like Soft light. You now see that
that Adjustment Layer is being used to
| | 02:04 | create a nice film look, hiding some
of the noise, richening the shadows and
| | 02:09 | giving us a nice bloom on the
highlights. As I play that, even with the
| | 02:15 | Advanced Blur cranked up to a very
high value with Blending mode and Opacity
| | 02:21 | adjustments being made,
| | 02:23 | you'll still see that that plays
back in real time with no drop frames.
| | 02:27 | The fact that you have this powerful
of a blur opens up all sorts of options
| | 02:31 | and you can really take advantage of
this for things like stylizing the footage
| | 02:36 | or using Adjustment Layers or subtly
blurring a layer when you just need to
| | 02:40 | hide some of the noise.
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| Creative color grading with the Lumetri Color Engine| 00:00 | One of the things I'm most excited about,
in the new edition of Adobe Premiere
| | 00:03 | Pro is a revolutionary change to
how you work with color grading.
| | 00:08 | Now, Adobe SpeedGrade still exists and
I think it's a great application when
| | 00:12 | you're ready to finish the program.
| | 00:14 | However, there are workflows or
situations when it becomes very difficult to use.
| | 00:19 | For example, maybe you need the flexibility to
make changes all the way up to the last minute.
| | 00:24 | Well now, you can go ahead and send a
project over to SpeedGrade and let the
| | 00:28 | colorist start working with some of your clips.
| | 00:31 | He or she could then send back a LUT
or a Lookup Table, that you apply right
| | 00:36 | inside Adobe Premiere Pro.
| | 00:38 | Now, After Affects users and Photoshop
users had this in early editions, but we
| | 00:42 | never saw it in Premiere until now.
| | 00:44 | A realistic example is this.
| | 00:48 | Let's go ahead and select these clips
and I'm going to remove their effects.
| | 00:51 | I'm going to go ahead and pull everything off.
| | 00:56 | And instead, I'll just take advantage of
Auto and I am going to do Auto Contrast
| | 01:01 | on those clips with a little bit of Auto Color.
| | 01:04 | And as I drag through you see that
the contrast and the look of the clips
| | 01:10 | is pretty consistent.
| | 01:12 | However, what I'd like to do is
apply a global look to the scene.
| | 01:17 | The benefit of LUTS is that your colorist can
create a look for an entire scene all at once.
| | 01:23 | And if you take advantage of Adjustment
Layers, this becomes very easy to apply
| | 01:28 | to the scene at one instance.
| | 01:31 | If you go back to the Effects panel
here and you type in Lumetri you'll find
| | 01:35 | several presets at the
bottom that you can choose form.
| | 01:38 | However, there is also an effect
called the Lumetri effect and this could be
| | 01:43 | applied to an individual clip or the
adjustment layer, and then I can navigate
| | 01:48 | to an additional look.
| | 01:49 | Now, you can use any LUTS that you have
and they could be different formats. When
| | 01:54 | you choose them it'll apply.
| | 01:56 | So, there I applied this warming look.
If want to choose a different one, I just
| | 02:01 | click to browse, and you see each one switches.
| | 02:05 | Maybe I want to go a little more
stylized let's try Cinematic and I'll do a
| | 02:12 | Sepia tone and you see, it applies that look.
| | 02:17 | Now, looks are meant to be absolute
and they should be evenly applied.
| | 02:20 | However, if you need to make subtle
adjustments, because this is on an
| | 02:25 | adjustment layer, you can choose to
adjust the opacity of that layer and mix the
| | 02:31 | two back or you could even get fancy
and adjust its blending mode as necessary.
| | 02:37 | Normally though, I would generally apply it
at 100%, and then if necessary back that
| | 02:43 | off in small increments to achieve the look.
| | 02:46 | Remember, this will completely change
the order of operations, so instead of
| | 02:51 | having to wait to your show is
completely finished, you could start to apply
| | 02:55 | looks that your colorist has provided.
This gives you much greater flexibility
| | 03:00 | and opens up all sorts of
options as you want to work.
| | 03:04 | So, for example, let's give this a bit
of the sixty's look, and you see how the
| | 03:10 | colors have become a bit faded and it
definitely takes on age. As a toggle that
| | 03:16 | off and on, you can see the shifts in the color.
| | 03:21 | And with each of those the
looks are very versatile;
| | 03:26 | if I decide I don't like one I can always
disable it, or browse and look for another.
| | 03:35 | And you see how quick it is to just
apply looks, modify the Opacity to taste,
| | 03:42 | but very quickly grad an
entire scene all at once.
| | 03:47 | If you want to learn more about creating
looks or LUTS be sure to check out some
| | 03:50 | of the other training here on Lynda.com.
| | 03:53 | I'd start by looking up SpeedGrade,
but it also make these using tools like
| | 03:57 | DaVinci Resolve as well.
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| Creating review copies with the Clip Name and Timecode effects| 00:00 | Another new effect is the Clip Name
effect and this is actually well-designed
| | 00:05 | for making screening copies for clients.
| | 00:07 | What I like to do is apply it to an
Adjustment Layer, and then work with
| | 00:11 | everything to generate things
like Timecode. Here is how it works.
| | 00:14 | I'll drop in my Adjustment Layer,
placing it over my clips and trimming it out
| | 00:20 | until it's the right duration.
| | 00:22 | Now, under the Effects panel, I could
type in the word name and you'll find the
| | 00:27 | Clip Name effect. I'll drop that on.
| | 00:31 | Now in this case, it took the name of
the Adjustment Layer itself, so that's not
| | 00:37 | going to work very well because it's
applying it to the whole thing, but we will
| | 00:41 | use the Adjustment Layer for the Timecode.
| | 00:43 | So, let's choose Undo for a second,
Lasso the individual clips and double-click
| | 00:49 | on Clip Name to apply it.
| | 00:51 | And what you'll see now, is that
each one shows its unique name.
| | 00:57 | I'll use the Adjustment Layer though,
for Timecode. So if I type in Timecode, I
| | 01:03 | can now apply that to the Adjustment Layer.
| | 01:08 | Go under Effect Controls and I could
adjust its position, putting it above or below.
| | 01:15 | And in this case, it's a matter of
deciding which time do I want to use.
| | 01:20 | I could use the time of the media or I
could generate it to match the sequence.
| | 01:26 | Let's click here and modify the
sequence time, I'll choose the start time, and
| | 01:32 | make this sequence start
at one hour. There we go.
| | 01:39 | I can similarly come over here and
assign a starting Timecode of one hour.
| | 01:48 | And as I drive through, you see that
they line up 01:29:18, 01:29:18, and this
| | 01:55 | makes it very easy for you to build.
| | 01:58 | Now, you could choose how you display
that Timecode and how it's being formatted.
| | 02:04 | Besides SMPTE, you can also show feet
or frames if you're working with a film
| | 02:08 | workflow. Of course you can adjust
the size, but using the clip name and the
| | 02:13 | Timecode effect together you can easily
make screening copies. And if you don't
| | 02:18 | want to apply that to an Adjustment
Layer the Timecode effect could be applied
| | 02:22 | to the individual clips.
| | 02:23 | And in that case, you could set it to
read the clip Timecode. This could be very
| | 02:28 | useful if you've strung out several
original sound bites and you want your
| | 02:32 | client to give you feedback based on
the name of the clip and specific Timecode
| | 02:36 | for each clip that they would like you to use.
| | 02:39 | In any case, the Clip Name in the
Timecode effect work very well together, so you
| | 02:43 | can make better screening copies and
give your client better opportunity to give
| | 02:48 | you accurate feedback.
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| Multiple GPU support for rendering and export| 00:00 | When you're working in Adobe Premiere
Pro, there may be a change to how you
| | 00:04 | approach the whole import
ingest and export workflow.
| | 00:09 | Realizing that you don't need to
transcode upon import, you can actually start
| | 00:13 | editing much sooner.
| | 00:14 | However, this is going to start to add
time to the backend of the production.
| | 00:20 | That's okay it's much easier to bypass
transcoding everything up front. Would
| | 00:25 | you rather transcode and have to render
8 hours of footage or only work with the
| | 00:30 | 20 minutes that actually made
it into the final production?
| | 00:34 | However, when you get to the end it is
going to take a little bit more time than
| | 00:38 | you might be used to.
| | 00:39 | However, what I like to point out the folks is,
you got to the finish line a lot faster.
| | 00:44 | So, while that export time may take longer the
total duration of your project is much shorter.
| | 00:50 | Of course that's great in theory, but
it doesn't change the fact that producers
| | 00:55 | and clients will push you to the last
minute, and you'll often find yourself up
| | 00:59 | against the tough deadline.
| | 01:01 | Fortunately, with the new edition of Adobe
Premiere Pro, you can add additional GPU's.
| | 01:06 | So, if you're working on a tower or you
have the ability to say, use a Thunderbolt
| | 01:11 | connection to a card carrier, you can
actually target a second GPU and use that
| | 01:16 | for exporting and processing.
| | 01:18 | When you go to Render or export the file
the additional GPU course could be used
| | 01:23 | to speed up the rendering process.
| | 01:24 | And because GPUs have come a long way
you can actually take advantage of some of
| | 01:29 | the very, very stacked cards
available from manufacturers like NVIDIA.
| | 01:34 | This will dramatically speed up the time
and it's a great investment to add more
| | 01:40 | real time performance and dramatically
cut down the wait times at the very end
| | 01:45 | when you do tasks like rendering and encoding.
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8. Improved Audio WorkflowsSupport for third-party effects| 00:00 | When it comes to working with audio,
the latest version of Adobe Premiere Pro
| | 00:03 | makes several advancements, including the
use of third-party filters. Let's take a look.
| | 00:09 | I can now add additional filters. If I
choose Preferences>Audio, you'll see in
| | 00:16 | the ability to access the Audio Plug-in Manager.
| | 00:21 | In this you can go ahead and Add
additional directories for plug-ins.
| | 00:25 | For example, you'll find several
ones located such as the Library path or
| | 00:31 | inside your User Library.
| | 00:33 | Targeting these lets you access
both audio unit on a Mac or VST plug-ins
| | 00:39 | on both Mac and PC.
| | 00:42 | You could choose to scan
those locations for plug-ins.
| | 00:45 | And in this case, I've found them and I will
choose to enable all of them by clicking Ok.
| | 00:53 | Let's enable them.
| | 00:56 | And I click Ok and Ok.
| | 00:59 | And if I take a look here inside the
Effects panel, you'll notice under Audio
| | 01:03 | effects additional plug-ins appear,
including all of my audio unit plug-ins that
| | 01:08 | were previously available inside of
Macintosh applications and some of the ones
| | 01:12 | that shipped with the default operating system.
| | 01:15 | Additionally, there is a wealth of third-
party plug-ins available for both the AU
| | 01:19 | and the VST format and these are often
available for free or reasonable prices.
| | 01:25 | This support for additional Plug-ins
really opens up Premiere Pro and let's you
| | 01:30 | do a lot of powerful audio
processing right within the timeline.
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| The Audio Effects plugin window| 00:00 | If you're working with some of the new
plug-ins or additional third-party ones
| | 00:04 | that you've added, you actually have
more customization when it comes to
| | 00:08 | processing the effects, that's because
you're no longer limited to the graphic
| | 00:12 | interface that Premiere Pro puts forth.
| | 00:15 | For example, let's apply an Equalizer.
| | 00:22 | Notice that, of course, I've got the
individual parameters here, but what's nice
| | 00:27 | is if I click the button here
for Edit, I get a custom window.
| | 00:31 | So, instead of having to make do
with all these small numeric list, I can
| | 00:37 | actually see what it is I'm doing.
This makes it much easier as I make
| | 00:42 | adjustments to get feedback.
| | 00:44 | And notice, I could start to turn on the
different control points and really see
| | 00:51 | what it is I'm doing.
| | 00:54 | Even making adjustments here within and
starting to apply notches to affect my audio.
| | 01:02 | The main thing here is not how to do
an EQ, but the fact that so many of the
| | 01:07 | plug-ins now have their own graphic interface.
| | 01:10 | And you just ask is that by clicking
the button there to open the custom setup.
| | 01:15 | So, whether you're using some of the
built-in ones or maybe you've added a third
| | 01:20 | party one, such as an audio unit, you'll
notice that the custom setup window lets
| | 01:26 | you access the controls. You could
take advantage here and really start to
| | 01:30 | work with the different
areas, so you can apply it.
| | 01:34 | So in this case, Parametric Equalizer to
serve as a notch filter or perhaps peak
| | 01:40 | limiting and you see there again, the
custom interface makes it a lot easier to
| | 01:45 | understand what's
happening with the audio signal.
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| Control surface support| 00:00 | If you'd like to get a bit more
tactile when working with audio you actually
| | 00:04 | have support for control
services within Premiere Pro.
| | 00:07 | This allows you to connect things
using things like the Mackie protocol and
| | 00:11 | actually add a real touch based surface;
| | 00:14 | you might find this useful for a
Physical Mixer or some of the companion
| | 00:18 | applications that you can
run on a touchscreen tablet.
| | 00:21 | Let's take a quick look at how it works.
| | 00:24 | Now depending upon how you have
configured things, you may need to use the audio
| | 00:28 | setup or MIDI control panel.
| | 00:31 | The exact workflow will vary from
Mac to PC, but check the hardware
| | 00:35 | documentation that comes with the unit.
| | 00:39 | Once you've done that and you
properly configured hardware you can go to
| | 00:42 | Premiere Pro's Preferences
and go to Control Surface.
| | 00:48 | In this case, you can now Add a Control
Surface and choose the type of device
| | 00:52 | whether it's Mackie or EUCON.
| | 00:55 | Once you've done that, you
can go ahead and Edit device.
| | 01:02 | In this case, I'm using Mackie control,
and I could choose what I want to work with.
| | 01:09 | In this case I'm using a third-party
application, and I just choose it from my
| | 01:15 | Device Controls and I click OK, there
it is, when satisfied I'll click OK.
| | 01:27 | And now I've got my controls. Let's
bring up the Audio Mixer. I will use the
| | 01:33 | Track Mixer for now, and I'm
going to switch my audio application.
| | 01:39 | So, you notice in this particular
case, that the mixer has been re-created
| | 01:44 | essentially on the tablet. As I
adjust here, you notice that the mixer is
| | 01:49 | actually being modified.
| | 01:51 | Now, it's going to depend upon the
individual tracks that I am using, but in this
| | 01:56 | case it's been mapped.
| | 01:57 | As I take a look at some of my
other faders here, I can make adjustments.
| | 02:04 | Additionally, I can go ahead and press
and actually switch to Premiere Pro and
| | 02:09 | call up the dedicated window.
| | 02:12 | And now, I actually have an exact mirroring
of what's on Premiere Pro screen to here.
| | 02:17 | So while the Visual Mixer that was
present was useful, I can actually take direct
| | 02:22 | control right here and see everything.
| | 02:25 | So, as I'm working with that mixer I'm
making tactile controls. This allows me to
| | 02:30 | sit back and maybe step away from the
computer, go to the back of the room, and
| | 02:34 | listen to it playback.
| | 02:36 | And remember, thanks to Automation
control, using the touchscreen surface you
| | 02:41 | could be mixing in real
time which is quite cool.
| | 02:44 | So, I don't care if you want to use an
expensive high-end mixer or pick up an app
| | 02:49 | for a few bucks, in either case the
ability to connect to Control Surface to
| | 02:53 | Premiere Pro gives you much
greater flexibility as you start to mix.
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| Adjusting clip volume| 00:00 | When it comes time to adjust the
volume of a clip, you've got some greater
| | 00:03 | flexibility now with the new
version of Adobe Premiere Pro.
| | 00:07 | You can, of course, continue to adjust
things right within the clip in the
| | 00:10 | timeline or use the new clip mixer.
| | 00:13 | Let's take a look at both. In the
timeline here I'll go ahead and temporarily
| | 00:18 | expand the timeline so there's more room.
| | 00:21 | And remember, as you've learned earlier,
you could adjust the height of tracks;
| | 00:26 | this makes it very easy to grab a
handle and pull to adjust your mix.
| | 00:31 | And remember, you could of course add
points here. Switching to the Pen tool, you
| | 00:36 | can add control points to get
the type of mix that you want.
| | 00:41 | Now, if you don't see those lines, just
take advantage here of the Keyframes and
| | 00:47 | you could see Clip keyframes or
Track keyframes for the whole track.
| | 00:52 | Generally speaking, you're going to be
most useful using Clip Keyframes and this
| | 00:56 | is going to allow you to
mix things for each clip.
| | 00:58 | The Track Keyframes could come in
handy if you want to mix a music track, and
| | 01:03 | then experiment with
different clips on that track.
| | 01:06 | Now, besides doing this right here
in the timeline, we actually have a
| | 01:10 | new dedicated mixer.
| | 01:12 | The Audio Clip Mixer gives you the
functionality that many people have missed
| | 01:16 | for a while. You'll notice as we
drag through, that individual clips can be
| | 01:21 | adjusted as I drag, it made the change.
| | 01:25 | And you see, that it directly relates down here.
| | 01:28 | So, if you have multiple tracks of
audio you could take advantage of that.
| | 01:33 | You also can go ahead and click to Add
a New Keyframe, and so, when you drag its
| | 01:41 | going to can automatically add a
Keyframe every time you pull, giving you a
| | 01:46 | little bit of greater flexibility
to create the mix that you want.
| | 01:50 | Now, as these play back this mixer is
very versatile. I'm going to mute my volume
| | 01:55 | for second here and just play.
| | 01:56 | And notice, I could see the
individual tracks and the master mix.
| | 02:00 | And as these adjust notice how the
tracks in the mixer are refining their Width
| | 02:09 | to show you everything.
| | 02:10 | And if you make them more narrow,
eventually you get to the point where the fader and
| | 02:18 | the VU meter are combining.
| | 02:23 | So, you actually can mouse over
and make adjustments that way.
| | 02:29 | So, a lot of control as you work. You
could choose to see faders and VU meters or
| | 02:36 | as you collapse the user-interface simplifies.
| | 02:39 | But in any way, the audio clip mixer
solves a lot of problems and makes a lot of
| | 02:44 | users happy by giving them the
controls they are used to having in other
| | 02:48 | nonlinear editing tools.
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9. Improved Multicamera WorkflowsThe Create Multi-Camera Source Sequence option| 00:00 | Multi-Camera editing continues to
improve inside Adobe Premiere Pro.
| | 00:04 | We already have the ability to
essentially work with unlimited tracks really
| | 00:08 | only hindered by the speed of your hard drives.
| | 00:11 | And as long as you're using fast
storage, like I have here with a Thunderbolt
| | 00:14 | connection, I can get quite a bit done.
| | 00:17 | Let's walk through the process of
building a sequence and take advantage of some
| | 00:20 | of the new options like the
ability to synchronize using audio.
| | 00:24 | I have opened up my Multi-Camera audio
and I have several different angles here.
| | 00:30 | What I'm going to do is
select one from each of the bins.
| | 00:37 | As I drag through, each one has a slate and I
could zoom in to check the slate information.
| | 00:48 | There it is, take 2.
| | 00:51 | Let's color code that so it's easier to find.
| | 00:53 | There we go. And I'll go to the next
camera angle, there it is, I'll color code
| | 01:07 | that to make it a little bit easier.
I'm just looking for all the same takes
| | 01:15 | which is one of the advantages of
slating my takes. It makes it easier to find.
| | 01:23 | Okay, now that I've found all the
desired takes and I've color coded him, it's
| | 01:27 | easy to create a Multi-Camera
Source Sequence, let's take a look.
| | 01:32 | I'll select all the clips that I
wanted and the reason why I color-coded them
| | 01:36 | was it just makes it a lot easier to find,
especially when I sort by the labels.
| | 01:41 | You'll notice that that red clip
goes right to the top, there we go.
| | 01:50 | I've got everything selected
including the original audio source.
| | 01:55 | If I right-click I could choose to
Create a new Multi-Camera Source Sequence.
| | 02:01 | We'll take a more in-depth
look at this a little bit later.
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| Automatic syncing with audio waveforms| 00:00 | Now, one of the coolest things with Multi
-Camera editing is that you can use the
| | 00:03 | audio waveforms to automate the syncing process.
| | 00:06 | Instead of having to go through and
put a marker for the clapboard, you could
| | 00:10 | take advantage of the existing reference audio.
| | 00:13 | Just make sure when you record that
you've got a microphone on each camera and
| | 00:17 | that it's getting some usable audio.
| | 00:19 | It doesn't have to sound great, but you do
need audio levels that are a decent level.
| | 00:24 | So, I could choose to take the video
clip or the audio clip or give it a unique
| | 00:28 | name, but this seems fine, Multicam. I'm
going to synchronize using the Audio sources.
| | 00:35 | So that looks pretty good, I'm going
to tell the Audio to come from the first
| | 00:39 | source and that I want to go
ahead and treat this as a Stereo file.
| | 00:43 | When I click OK, the new Multi-Camera
Resource Sequence is going to be created.
| | 00:49 | There we go, and I've got my source
sequence which I could drop into a new
| | 00:54 | sequence and there it is.
| | 00:58 | Now, if I drag through and double-click,
you'll see it loads up here as a source
| | 01:03 | and I could see all my angles.
| | 01:06 | Let's adjust that and get a little further in.
| | 01:08 | There we go, and I'm
going press Play for a second.
| | 01:14 | (music playing)xxxxxxxxxxxxxxxxxxxxx
| | 01:17 | You'll notice that it only took the
audio from the first track I selected.
| | 01:21 | Now, it's a bit loud so I'm going to lower that.
| | 01:26 | And let's set that to a normal video
level, about -12 dB and I'll press Play.
| | 01:30 | (music playing)xxxxxxxxxxxxxxxxxxxxxxx
| | 01:31 | And if I look over here on the
source side, I can see things.
| | 01:39 | We'll take a more in-depth
look at this a little bit later.
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| Changes to multicamera monitoring| 00:00 | Now that I've got the Multi-Camera
Source Sequence place inside a sequence, I
| | 00:04 | just need to make the few
changes to the user interface.
| | 00:07 | You used to have a dedicated Multi-
Camera Monitor, but much like how the Trim
| | 00:12 | Mode moved into the Program
Monitor, same holds true for multi-cam.
| | 00:16 | I think customizing the
buttons makes it a bit easier.
| | 00:19 | Now you can, of course, just click the
Panel menu and access Multi-Camera and
| | 00:24 | that will switch things.
| | 00:26 | But I'm going to go ahead and actually
click the Button Editor here and add a
| | 00:30 | button for the Multi-Camera View and the Record.
| | 00:33 | While we're at it, we'll drop down
closed captioning to use those later.
| | 00:39 | You'll see the buttons there just
drop into the center and I can click OK.
| | 00:44 | Now, to make things a bit easier, I'll
just temporarily press the Grave key to
| | 00:48 | maximize that window.
| | 00:50 | This makes it a lot
easier to see what's happening.
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| Customizing multicamera keyboard shortcuts| 00:00 | Now, you may find it perfectly intuitive
to click on the angle that you want to use.
| | 00:04 | However, I personally
find that that's not as fast;
| | 00:06 | I've got to move the mouse and make sure
I'm over the right angle before I click.
| | 00:11 | Instead if I use a numeric keypad, I
could have angles 1 through 9 mapped to
| | 00:15 | a hardware key, and this makes it really
easy to punch like it's a live show and switch.
| | 00:20 | But to do this, you need to customize
the keyboard shortcuts and type in the
| | 00:26 | word cut. You'll see that I've mapped
Ctrl+1 through Ctrl+9 for my different angles.
| | 00:33 | If you want you can even simplify this.
I'm just going to make these actually
| | 00:39 | be 1, 2, 3, 4, 5,
etcetera for my different angles.
| | 00:44 | I'm overriding the default
shortcuts, but that's okay.
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| Recording multicamera edits| 00:00 | All in all, Multi-Camera has gotten a lot easier.
| | 00:03 | The ability to synchronize using an
audio track as well as control which audio
| | 00:08 | channel is used for the sequence add
some great overall power and I find
| | 00:14 | multi-camera editing to be very easy.
| | 00:17 | Let's record and we'll press Play.
| | 00:22 | (music playing)xxxxxxxxxxxxxxxxxxxxx
| | 00:26 | And I can now switch between the angles.
| | 00:31 | (music playing)xxxxxxxxxxxxxxxxxxxxx
| | 00:34 | And notice how easy it is to
use the Multi-Camera Monitor.
| | 00:46 | I can click to switch, and in this
case, I've mixed footage from a GoPro and
| | 00:55 | AF100 and five DSLRs seamlessly.
| | 00:59 | There'll need to be a little bit of color
correction, but it's still working quite well.
| | 01:09 | (music playing)xxxxxxxxxxxxxxxxxxxxx
| | 01:12 | And when I press Stop and the Grave
key, you'll see that all of those edits
| | 01:17 | happened right there in my Timeline.
| | 01:18 | So, a very straightforward process.
When you're done with the Multi-Camera
| | 01:24 | Monitor you can go ahead and click
to switch the view back to default.
| | 01:30 | Now, there is one more feature that's
useful that could really sort of simplify
| | 01:34 | the clips before you hand them off
or need to work with another editor.
| | 01:39 | If you want to, you can actually
flatten your Multi-Camera Sequence.
| | 01:43 | To do this, just select the clips in
the Timeline, right-click and choose
| | 01:48 | Multi-Camera>Flatten.
| | 01:51 | Doing so will switch it back from a Multi-
Camera Sequence to the individual clips.
| | 01:57 | Now, I'm going to change my mind and go
back because I still have a little bit
| | 02:01 | more editing to do, but this is a
great way to reduce the burden and simplify
| | 02:05 | your sequence before you hand it off.
| | 02:07 | The fact here that on a laptop, using a
portable Thunderbolt drive system, I can
| | 02:12 | mix seven footage angles from six
different types of cameras and play it back
| | 02:17 | without dropping a beat,
is really pretty awesome.
| | 02:20 | And it's one of the many reasons I
like cutting Multi-Camera footage using
| | 02:23 | Adobe Premiere Pro.
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10. Improved Closed Caption WorkflowImporting a caption file| 00:00 | Adobe Premiere Pro gives you a lot of
flexibility when it comes to closed captions.
| | 00:04 | Now, we had some abilities with earlier
editions, but now you have the ability to
| | 00:09 | easily edit, reposition, or even modify
captions right within the Premiere Pro
| | 00:14 | Timeline. Let's take a
look and overview the process.
| | 00:17 | I've used an application here like
MovieCaptioner to go ahead and build out my captions.
| | 00:24 | You see that there are times
that indicate where they appear.
| | 00:29 | I've gone ahead and exported these to
a compatible Premiere format, but there
| | 00:33 | are lots of other formats
that Premiere Pro supports.
| | 00:35 | For example, you can find them embedded
right inside the QuickTime movie or use
| | 00:41 | sidecar files with the extension of .mcc,
.scc, .stl or .xml and these will be
| | 00:49 | created by the many
different programs on the market.
| | 00:53 | Once I have that I could
import that file into my project.
| | 00:57 | There it is. It's an actual clip and I'm
just going to place that above in the Timeline.
| | 01:07 | Now that I've done that, we'll turn on
closed captions, and you see the text
| | 01:13 | appears right above.
| | 01:16 | If you don't see the Closed Caption
button, just go to your ability here to
| | 01:20 | modify the buttons and
add it. Let's take a look.
| | 01:24 | (video playing)xxxxxxxxxxxxxxxxxxxxx
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| The Captions panel| 00:00 | Notice like many things in life, there
is no guarantee that the captions are
| | 00:04 | going to line up perfectly.
| | 00:05 | But Premiere Pro makes it easy to
adjust and tweak their positions.
| | 00:10 | To do this, we'll use the Captions panel.
| | 00:13 | I'll choose Window>Captions and select that.
And I can actually see what's happening.
| | 00:22 | Let's tear that off and drop it up
top here, making a little bit more room.
| | 00:29 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 00:34 | Now that we can actually see the
captions, next we'll learn how to adjust them.
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| Adjusting the caption display| 00:00 | After we've imported the captions we
can go ahead and modify them, doing things
| | 00:04 | like changing their position, the size
of the text and other properties about
| | 00:09 | how they build on screen.
| | 00:11 | Let's see how it works.
| | 00:13 | For example, let say I found an error
in one of my captions and he is saying we
| | 00:19 | have to rip out your linkage.
| | 00:20 | Well, the captioner thought it said
lankigins, so I'm just going to select that
| | 00:28 | and type and you see that the caption
actually gets modified without having to
| | 00:32 | go back to the original captioner or
project. I can make the update right here
| | 00:37 | and everything updates.
| | 00:43 | Additionally, if you want, you
could change the style of the captions.
| | 00:47 | So instead of popping on they can Roll-Up
or Paint-On. Here's an example of Paint-On.
| | 00:57 | And you see that it wipes across to reveal.
| | 00:59 | Now, if you're going to change the
style, I would recommend that you do it for
| | 01:03 | all of the captions.
| | 01:07 | And you would just need to go through,
select them and change the style.
| | 01:14 | Now, this is ultimately up to you or
perhaps the delivery requirements that you
| | 01:18 | have for your station of delivery. But
you see it's pretty easy to modify the
| | 01:24 | styles and choose how many lines
appear at one time. Here we go.
| | 01:32 | Additionally, you can go ahead and
select the text and do things like change
| | 01:37 | its color. You'll find a preset to
help you, but sometimes if you have
| | 01:42 | multiple characters you can use this
as a way to designate the different
| | 01:45 | characters talking. You also have the
ability to do things like insert symbols
| | 01:50 | to indicate music playing.
| | 01:55 | If you want you could underline
text or italicize for emphasis.
| | 02:00 | Now, the size of the captions are
going to be generated by the actual
| | 02:04 | television set, so don't look for
controls here over where they're actually
| | 02:08 | sized on the screen.
| | 02:10 | However, you can adjust the position
on the screen. For example, when we get
| | 02:15 | towards the end of the spot, we
have brought up a phone number.
| | 02:22 | And it seems like it would be a good
idea to reposition those on the screen, so
| | 02:26 | it's not covering up the phone number.
Let's select that whole caption and I can
| | 02:33 | adjust its Y position to nudge it up.
| | 02:36 | We can do the same here for the remaining
ones, just to pull them above the phone number.
| | 02:45 | There we go.
| | 02:47 | So, by selecting the text I can adjust
the X or Y position. So there I have it.
| | 02:52 | Let's just select that text and I could
make adjustments here to change where it
| | 02:59 | falls on the page itself.
| | 03:02 | And I'll just drop that one a
little lower and you see it updates.
| | 03:06 | So, a lot of flexibility. Plus you get
the ability, if necessary, to grab these
| | 03:12 | handles and just move the
captions as you see fit.
| | 03:16 | So, you have the choice of editing them
here with there in and out points or just
| | 03:20 | come right into the clip itself and move
to reposition the captions as necessary
| | 03:26 | and I think what you'll find is
this is a very flexible workflow.
| | 03:30 | Overall, the ability to work with
captions is greatly improved. When you
| | 03:34 | choose to export this file you could
choose to include it in the embedded quick
| | 03:38 | time or if you have the required
hardware, when you print to video and lay it out
| | 03:43 | to tape, it'll actually be
laid in the appropriate spot.
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11. Improved Export Controls32-channel audio sequences| 00:00 | Premiere Pro has been a lot of
emphasis on the professional high end user,
| | 00:04 | particularly those working
in broadcast environment.
| | 00:07 | As such, it continues to add
support for advanced features.
| | 00:11 | In this case, one of the areas that's
seen a lot of improvement is the number of
| | 00:15 | audio channels or outputs that you can utilize.
| | 00:18 | When I choose to make a new sequence
I'll go with a professional format.
| | 00:24 | For example, let's say I was mastering
to XDCAM, under the Tracks here, I have
| | 00:31 | the ability to choose a Master, and
you'll see for Multichannel, but this now
| | 00:37 | goes all the way upto 32 tracks.
| | 00:41 | So, by using the number of channels
upto 32, you could take advantage of the
| | 00:45 | most robust hardware out there, and
remember once you get those setup and you
| | 00:50 | have decided how you want to map
those to a specific track you can then Save
| | 00:55 | Preset making it very easy for
you to control the final output.
| | 01:00 | You'll notice with upto 32 tracks,
you could really get pretty robust.
| | 01:04 | And as you start to get those tracks,
you decide how you want to work.
| | 01:09 | Remember, Premiere Pro gives you the
ability to work with Stereo or Mono
| | 01:13 | tracks as necessary.
| | 01:15 | So, if you had audio one and two, both
being mono tracks, just click the Assign
| | 01:20 | button and you can assign
those to the appropriate pair.
| | 01:24 | As I go down to three and four, I
can assign those to the correct output.
| | 01:29 | And so, you simply want to make your way
through and target the correct output.
| | 01:34 | Remember, a standard track could
hold a Stereo or Mono file, and it will
| | 01:39 | appropriately map to the correct output channel.
| | 01:42 | Once you get everything setup correctly,
I highly recommend that you save a
| | 01:47 | Sequence Preset and this will
save you some time in the future.
| | 01:50 | So, once you've taken the time to get
the number of tracks setup the way you
| | 01:54 | want and map their output, go
ahead and save a sequence preset.
| | 01:58 | Chances are if you're working in a
broadcast environment, you have got some
| | 02:01 | pretty strict requirements
for how you configure Sequences.
| | 02:04 | Maybe it's one and two for dialogue,
three and four for sound effects, five and
| | 02:09 | six for music, additional ones for Nats,
may be some other channels used for
| | 02:13 | multi-language output.
| | 02:14 | In any case, with 32 channels that you can
assign there is just about any type of
| | 02:19 | sequence that you can configure for
just about any deck. This gives you the
| | 02:23 | control that you need for the most
demanding in professional environments.
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| 16-channel QuickTime export| 00:00 | Besides the ability to export upto
32 channels to a deck, you now have 16
| | 00:05 | channel QuickTime output. This makes it
much easier to write a Multichannel file
| | 00:10 | without having to split it out to
separate audio files that you stitch together.
| | 00:15 | Here's how it works.
| | 00:17 | If you've Multichannel sequence where
you've assigned multiple channels of
| | 00:21 | output upto 16, when you go to Export
to QuickTime movie, you'll find some
| | 00:26 | additional controls.
| | 00:27 | For example here, once I choose the
Target Format in the Codec, if I scroll down
| | 00:33 | you'll notice that you have
the ability of how you export.
| | 00:38 | Let's check our Video Codec for a
second here and we will go with the
| | 00:42 | professional codec like ProRes.
| | 00:45 | And I'll check the Audio tab, and I have the
ability to choose how many Channels I export.
| | 00:54 | Notice, in fact, I can go upto all 32,
but QuickTime is generally happy with 16.
| | 01:01 | Now that I've done that, I can actually
export all of those and choose to make
| | 01:06 | a single track with all 16 channels, or split
them up to 16 Mono Tracks or 8 Stereo Pairs.
| | 01:14 | So, this gives you much greater flexibility
on export to control how the file is written.
| | 01:20 | Remember, just look at how many Channels
you have to start with and then you can
| | 01:25 | assign how they behave upon export.
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| Export Frame improvements| 00:00 | Some NLEs choose to make the use of a
freeze frame in effect. With Premiere Pro
| | 00:05 | it actually generates a real graphic
file, that's written to your hard drive.
| | 00:10 | Now, this process has been pretty
traditional and around for a while, but now
| | 00:14 | Premiere Pro has refined how you can
work with that file and whether or not you
| | 00:18 | add it back into your project.
| | 00:21 | Simply put the playhead over the frame
you want to use. Then I recommend you
| | 00:28 | click the plus button (+) to modify the
Button Editor and add the button there
| | 00:32 | to export a frame. The shortcut is Shift
+E. When you do that a new dialog comes
| | 00:39 | up. This makes it easy to choose the
file format that you want to save, and
| | 00:44 | you'll notice that, by default, it's
going to where your render files or cache
| | 00:48 | files are set, this could be changed
to do same as source under your scratch
| | 00:53 | disk preferences if you'd like.
| | 00:56 | You also can click Browse to manually
navigate to a dedicated path, and you'll
| | 01:03 | see that it updates.
| | 01:05 | The most important option though, is the
ability to Import it back into the project.
| | 01:09 | So, now when I go ahead and click OK,
there it is, it's right in my project and
| | 01:16 | I can easily work with the file.
| | 01:18 | It's also been written right to my hard drive.
| | 01:21 | So, the Export Frame command has gotten
a lot easier, I like the fact that I can
| | 01:25 | specify an exact location and I can
easily integrate it back into my active
| | 01:30 | project without having to
navigate and go find the file.
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| Streamlining H.264 and MPEG2 encoding with matched encoding settings| 00:00 | Because H.264 and MPEG-2 Exports are so
common, both for things like blue ray DVD
| | 00:06 | or most web-based outputs,
| | 00:09 | Adobe Premiere Pro makes it
a lot easier to target those.
| | 00:12 | Here's how it works.
| | 00:13 | I have got a Sequence here and I am
going to choose File>Export>Media.
| | 00:19 | When I choose H.64 you'll notice that
the first option is to match the source,
| | 00:25 | in other words it's automatically going to
assign the correct frame rate to Match my Sequence.
| | 00:30 | In this case I'm working with
something that is 1280x720 at 29.97.
| | 00:37 | You'll see that the output matches
that and I didn't have to dial it.
| | 00:42 | In fact, I could just choose between a
High bit rate for use in broadcast or a
| | 00:47 | medium bit rate, if I wanted to upload to a
video sharing website like YouTube or Vimeo.
| | 00:53 | Similarly, if I switch to MPEG2 you'll
notice that Match Source exist and you
| | 01:00 | could choose to match that for both
high and a medium bit rates. Of course all
| | 01:05 | the other presets continue to exist.
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| New device presets| 00:00 | Because the world of digital publishing
keeps changing, Premiere Pro keeps up by
| | 00:03 | adding some new presets.
| | 00:05 | You'll find popular options for
many new personal electronic devices.
| | 00:10 | For example, when I choose File>Export>
Media, you'll see that the H.261 category
| | 00:17 | is expanded. You'll find useful
presets for devices like Kindles, as well as
| | 00:25 | the Barnes and Noble Nook and the
latest versions of Apple iPad, as well as
| | 00:31 | iPad Mini are supported.
| | 00:34 | The great news here is you don't have
to guess. Premiere Pro is keeping up with
| | 00:39 | frequent updates to the presets, so
that you can always target the latest
| | 00:43 | consumer electronic devices.
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ConclusionGoodbye| 00:00 | May name is Richard Harrington.
| | 00:01 | I'd like to thank you for taking
a look at the new features inside
| | 00:04 | Adobe Premiere Pro.
| | 00:05 | I tried to filter our view to take a
look at the most useful professional
| | 00:09 | features that a video editor would need.
| | 00:11 | However, as the application continues
to update and I discover new things we
| | 00:16 | will continue to update the training title here.
| | 00:19 | So whenever you see new features come
out, be sure to come back and check this
| | 00:22 | page as we will add additional coverage.
| | 00:25 | I would like to thank you for
joining me and start having fun editing.
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