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In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.
There are zillions of times when you are editing video where you'll want to work with a substitute piece of footage, temporarily, and then swap it out with the high quality footage at the end of the workflow. Now, like I said, there are zillions of reasons for this but the two big ones are, first, your computer just can't handle the data, or just can't handle it well. So maybe you're working with footage from the Red camera, which is really popular right now, and it's a very beefy file format. It's very lightly compressed and so it's challenging for a lot of weaker systems to work with, or maybe you're working with a Codec, such as, like, an inner frame Codec that's a little bit tougher to deal with.
So that's one reason. The other reason is maybe you're in a time crunch and maybe you're working with a stock video that you don't have the rights to yet, so maybe there is a big watermark over the screen. So it's just a really ugly footage. So you might be working with a much smaller version of the original. So the real clip that we want to edit here is the cutaway fix DJ, but as you can see, it's 720p footage, very high quality HD footage. So I've created this proxy, based on this footage, and that's PROXY cutaway fix DJ.
As you can see, it's 720 X 480, so it's SD widescreen footage, much smaller, much more compressed. It looks terrible and typically you wouldn't want to even destroy your proxy this much, but if you had a really slow or old computer, this might be the way that you could edit something bigger and longer. So let's tweak this footage and edit it as a proxy, as a substitute, temporarily. I have created some clip markers here for the In points and Out points. So I am just going to trim this here, trim the In point, trim the Out point. I am also going to drag this clip to the beginning, right-click and Ripple Delete.
So we bring all of our clips together. So now we have this sequence where we have assembled some clips, we've used this ugly-looking proxy and then we have the good clips before and after. So you could image how challenging it would be to, at this point, now, delete this clip and start over with a second clip in our timeline. We already have it where we want it. The In point and the Out point are exactly where we want it. You know what we can even do is we can go here to the Effects Controls panel and adjust the Fast Color Correcter effect, which I've already added for you.
Let's take Saturation down to 35, give it this kind of like dreary look and feel. So we have our footage here, we've added effects to it, we really don't want to just delete this clip and start over when it's time to replace. So what we can do instead is to click the clip to select it, go over here to the clip that we want to replace it with, in this case, the cutaway fix DJ.mov clip, and hold the Option key on the Mac, Alt key on the PC, while you drag this footage over the clip you want it to be replaced by and there you have it.
We have a great looking clip. The HD version is here now and with all of the rendering that goes on with the effects that we add and the edits that we add and all that stuff, we don't have to do all that stuff over again. We can just swap them out like this and the edit points as well the effects are all retained. Now, one quick problem with this. If I scan in here a little bit later, we can see the slate in here and basically, when we trim the In point here, we got rid of this slate.
So the clip In point now is basically the In point of the clip, which we already trimmed, so we kind of have to fiddle with the timing of the clip. Even though the timeline In and Out points are the same, the clip In and Out points have been kind of reset. So what we can do is go and get the great tool for the job here, the Slip Edit tool and so we can click on the Slip tool and click inside of the clip and move the clip without actually adjusting its In and Out points. Once we get that slate, you see on the left-hand side here, we're seeing the new In point, on the right-hand side we're seeing the new Out point, so we can click and wait until we have focus and then we could let go.
Now our clip is beautiful and pristine with the effects in HD and zero time wasted in replacing the old proxy with the new high quality version.
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