Premiere Pro CS6 Essential Training
Illustration by John Hersey

Taking control of your Timeline


Premiere Pro CS6 Essential Training

with Abba Shapiro

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Video: Taking control of your Timeline

In this chapter we're going to look at making your editing more efficient and your experience that much more pleasurable when working with the interface of Adobe Premiere Pro 6. So I want to start off and talk about working in the Timeline or in the Sequence and some things that if you know about, it's going to make editing a lot more fun and a lot more fluid. Now as you see, we don't even have a sequence yet, and in earlier movies we learned that we can quickly create a sequence based upon the clips that we are editing with by simply grabbing any clip that we know that we are going to be using and dragging it onto this icon that looks like a piece of paper.
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  1. 56s
    1. What is Premiere Pro?
  2. 2m 49s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 42s
  3. 27m 52s
    1. Launching the application for the first time
      3m 27s
    2. A tour of the interface
      4m 55s
    3. Customizing the window layout and the interface
      7m 0s
    4. Exploring the different ways to drive Premiere Pro CS6
      4m 33s
    5. Understanding system configuration and the Mercury Playback Engine
      3m 17s
    6. Adjusting essential preferences
      4m 40s
  4. 40m 7s
    1. Importing files and folders
      11m 2s
    2. Importing card-based media
      6m 1s
    3. Capturing from tape
      4m 10s
    4. Organizing media
      12m 3s
    5. Reconnecting offline media
      6m 51s
  5. 21m 0s
    1. Basic editing overview
      4m 44s
    2. Previewing and marking media in the Project panel
      7m 11s
    3. Previewing and marking clips in the Source panel
      9m 5s
  6. 33m 38s
    1. Editing clips into the Timeline
      7m 56s
    2. Marking and targeting destinations in the Timeline
      2m 53s
    3. Moving clips in the Timeline and performing a swap edit
      4m 11s
    4. Adjusting edit points in the Timeline
      2m 6s
    5. Splitting clips using the Razor tool
      2m 16s
    6. Deleting clips
      2m 38s
    7. Performing an insert edit
      4m 14s
    8. Performing an overwrite edit
      3m 10s
    9. Dragging to a second layer to edit cutaways
      4m 14s
  7. 43m 16s
    1. Performing a three-point edit
      7m 23s
    2. Performing a replace edit
      3m 48s
    3. Targeting specific tracks in the Timeline
      3m 1s
    4. Linking and unlinking audio and video tracks
      3m 51s
    5. Performing roll and ripple edits
      6m 51s
    6. Performing slip and slide edits
      6m 42s
    7. Creating subclips
      4m 29s
    8. Locating and working with different versions of a clip using Match Frame
      7m 11s
  8. 42m 52s
    1. Taking control of your Timeline
      7m 57s
    2. Adding video and audio tracks
      5m 32s
    3. Performing audio-only and video-only edits
      4m 49s
    4. Changing track visibility and locking tracks
      5m 42s
    5. Rendering
      7m 43s
    6. Using the History panel to undo multiple actions
      2m 31s
    7. Creating keyboard shortcuts
      5m 35s
    8. Creating buttons
      3m 3s
  9. 23m 28s
    1. Working with audio
      5m 22s
    2. Adjusting audio levels in the Source Monitor
      3m 0s
    3. Adjusting audio levels in the Timeline
      10m 10s
    4. Adjusting the audio mix on the fly
      4m 56s
  10. 9m 4s
    1. Inserting markers
      4m 8s
    2. Snapping markers to each other
      4m 56s
  11. 29m 52s
    1. Working with stills
      10m 57s
    2. Moving on stills
      5m 54s
    3. Exporting and re-importing stills
      3m 47s
    4. Working with still and animated graphics with transparency
      2m 39s
    5. Working with layered Photoshop files
      6m 35s
  12. 20m 58s
    1. Changing speed and reversing a clip
      6m 22s
    2. Changing speed at a variable rate
      9m 10s
    3. Creating and using freeze frames
      5m 26s
  13. 28m 22s
    1. Using transitions
      9m 36s
    2. Understanding the nuances of transitions
      6m 24s
    3. Modifying transitions
      8m 37s
    4. Setting default transitions and applying multiple transitions
      3m 45s
  14. 36m 36s
    1. Applying and modifying effects
      4m 51s
    2. Applying presets and motion effects
      5m 42s
    3. Saving favorites
      3m 50s
    4. Understanding color correction
      4m 4s
    5. Using adjustment layers
      3m 23s
    6. Working with green screen and chroma key footage
      6m 36s
    7. Using the Warp Stabilizer to stabilize clips
      6m 27s
    8. Applying filters to audio
      1m 43s
  15. 27m 45s
    1. Creating static titles
      7m 8s
    2. Creating lower thirds
      10m 2s
    3. Creating a credit roll and crawls
      6m 41s
    4. Using Photoshop for titles
      3m 54s
  16. 20m 0s
    1. Introducing multicam editing
      1m 46s
    2. Creating a multicam clip with timecode
      3m 25s
    3. Creating a multicam clip using sync points
      4m 1s
    4. Editing a multicam clip in a Timeline
      4m 26s
    5. Refining a multicam edit
      6m 22s
  17. 9m 51s
    1. Exporting a movie
      4m 12s
    2. Sending to Adobe Media Encoder
      3m 44s
    3. Printing to video
      1m 55s
  18. 1m 22s
    1. Next steps
      1m 22s

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Watch the Online Video Course Premiere Pro CS6 Essential Training
6h 59m Beginner May 07, 2012

Viewers: in countries Watching now:

This course introduces Adobe Premiere Pro CS6, using a project-based approach that introduces video editors to all the skills necessary to cut their own program. Using a short commercial project as an example, author Abba Shapiro walks viewers through a complete and logical workflow that begins with importing media, creating a basic rough edit, and then refining the cut with music and sound effects, transitions, visual effects, and titles. The course also includes troubleshooting advice, such as reconnecting offline media and using the History panel to undo multiple actions.

Topics include:
  • Customizing the window layout and the interface
  • Importing card-based media
  • Capturing media from tape
  • Marking and selecting the best takes from clips
  • Editing clips into the Timeline
  • Performing insert and overwrite edits
  • Performing more advanced editing tasks, such as 3-point editing, replace edits, and trimming using ripple and roll edits
  • Mixing audio
  • Editing more efficiently using markers
  • Working with stills and graphics
  • Creating speed changes on clips
  • Adding transitions and effects
  • Creating titles, credit rolls, and lower thirds
  • Demonstrating multicamera editing techniques
  • Stabilizing shaky footage
  • Exporting your final project to the web, mobile devices, and tape
Premiere Pro
Abba Shapiro

Taking control of your Timeline

In this chapter we're going to look at making your editing more efficient and your experience that much more pleasurable when working with the interface of Adobe Premiere Pro 6. So I want to start off and talk about working in the Timeline or in the Sequence and some things that if you know about, it's going to make editing a lot more fun and a lot more fluid. Now as you see, we don't even have a sequence yet, and in earlier movies we learned that we can quickly create a sequence based upon the clips that we are editing with by simply grabbing any clip that we know that we are going to be using and dragging it onto this icon that looks like a piece of paper.

So I am going to simply select, say, the Copier clip, and I'll drag it on that piece of paper, and Premiere Pro will automatically create a New Sequence based upon the size of that clip and the frame rate and even put that clip into my timeline. Now that may not be the first shot I want to use, and I can go ahead and I can simply select and delete that, and I am going to go over here and make sure I change the name of my sequence to something that's more useful, in this case we'll just call it Rough Cut, and we are ready to start editing.

Now these are skills that we've already learned, but I want to explain exactly what's happening here and ways that you can maybe modify your sequence so it's a little easier to work with. Let's go ahead and grab any clip and drag it in. I kind of like this iPad shot, so I am going to go ahead drag it in, and I am going to drop it directly into my sequence and let go. Now I can barely see this. I don't know how long this clip is unless I select it, but I do know that if I want to zoom in, I can simply hit the plus or minus keys to zoom in to more detail, and the minus key to zoom out to less detail.

But more efficient would actually be hitting the backslash key, and whether I have one clip or a thousand clips in my timeline, I'll be able to see them all with a single keystroke. Now by default when you create a new Sequence, it's going to give you a certain look. Let's go ahead and expand our sequence to full screen by hitting the Tilde key in the upper left-hand corner of the keyboard. And you'll notice you have three video tracks and three audio tracks by default, and then there is a lot of icons here, and that's what I want to actually talk about.

We'll cover some of them in this movie and some of them in the following movies. The most important thing that I want you to see is this little disclosure triangle here. If you click on that disclosure triangle, you notice that all that information here has gone away. So I am going to go ahead and open that up and that's where I actually see the icon at the beginning of the clip, so I know what shot I am using. There is a yellow line here and that's actually Opacity. And Opacity is whether the clip is transparent or not, and that's actually on by default and that's one of the things that we are going to change at this point because it's very dangerous to leave on when you are editing.

As a matter of fact, I like to turn it off almost immediately, and that brings us over to a couple of buttons that are over here. If I click on Set Display Style, I get a dropdown menu and the first thing that I can do is I can switch to if I just want to see the icon or the picture of the first frame of video or maybe I want to see both the first and the last frame to see what's happening. Let's go ahead and stretch this clip out a little bit longer, and as you notice, if we stretch it long enough-- let me go ahead and zoom back way, way out, stretch it really long--we can actually see that it's changed from the very first frame to the very last frame, where he's looking at a different screen on his iPad.

Now I can go here, and I can say show every single frame, and this some editors like, and it's really good if you need to find one shot where maybe there is a bump or a flash frame, as I stretch this out or zoom in to get more detail, I am going to see more and more frames to choose from. I actually find this rather cluttered, and I generally don't use that view. Some editors really don't like to be distracted at all by the images, and you can go ahead and you can turn off all poster frames at the beginning and the end.

Let's go back to the default setting which is at the Head Only. Now there is also one whether we choose to show markers or not, and we'll explore that in the movie on markers. This dropdown window here is critical, because it allows me to hide that Opacity slider. This is a big problem when I'm editing. If I go ahead and I grab a clip, and I want to move it, sometimes if I grab it in the middle, I'll grab that Opacity slider and make my clip transparent. So I'll see it on my timeline, but I won't see it in my final show.

So to keep me out of trouble, I am going to go ahead and turn that off and simply say Hide Keyframes, and now I can't grab it. And only when I'm ready to work with the Opacity or work with other keyframes would I then go back and turn that on. And what's really nice about Premiere Pro is it actually has a big circle with a line through it, so with a quick look I can see that I'm not seeing any of my keyframes, because they are hidden. Now what would happen if I bring a second clip onto video 2? And we learned how to do that in an earlier movie.

I am going to go ahead and press the Tilde key and bring us back to our original look, and I'll grab the fan B-roll and just drag it onto track 2. And as you notice, if I scroll up here, we have little scroll wheels, you have seen me use this before, but if you skipped ahead right to this movie, I want to make sure that you know that if your are not seeing all of your clips, you can't scroll up and down to see more detail, but by default this disclosure triangle is closed. So that's why I'm seeing the little icon here but nothing here.

And as a matter of fact, if I look at my audio tracks, they are closed by default, so let's go ahead and bring this full screen one more time so it's easier to see, open up the video tab, so now it looks a lot like video 1, and I want you to note that just because I turned off the Opacity on track 1, I have to manually go through and turn it off on any other track that I open up if I don't want to accidentally grab that little slider. So let's go ahead and Hide Key Frames.

I want a flip down the disclosure triangles for my audio, because this is critical if you want to see your audio waveforms. Once this is open, again, I can go over here to Set Display Style, and I can choose whether to Show the Audio Waveforms or just the name. Now I really don't see a lot of audio happening here, and that's because it's so small. If we had the narrator talking, you might see a little bit more spikes, but there is a lot of times when this line is going to be really thin or that you can't see what's happening in this little icon.

And what I want to point out that if I hover my mouse between any two tracks, I can click and drag and make that track higher, and this would let me see more of what's going on with my Audio Waveforms if I had narration. I can do the same thing here with video. So the fact that I can easily adjust different tracks when I'm doing different types of work is very efficient. I am going to press the Tilde key just so we can see this full screen. And as you see, this is great, I can really see what's happening on tracks 1 and 2, but I don't see my other track, so I can simply scroll down or scroll up.

And as we learned earlier on, if I needed to adjust my workspace, I can always resize my windows so I'm giving a lot more real estate to my timeline. Being able to see what you want to see and what you need to see is very important when editing, so controlling the look of your Timeline is very important.

Find answers to the most frequently asked questions about Premiere Pro CS6 Essential Training .

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Q: The exercise files don't work for me. I get an error message stating the sequence(s) could not be loaded and it returns me to the Welcome screen. I am using the trial version of Premiere Pro and the correct codecs do not seem to be included.
A: All the required codecs are included in the trial version of Premiere. You just need to activate the trial with your Adobe ID. If you don't sign into Adobe, anything with MPEG compression will be unavailable. Signing resolves that issue and restores all MPEG-based support.
Q: I'm receiving the following error message from Premiere Pro. "This project contained a sequence that could not be opened. No sequence preview preset file or codec could be associated with this sequence type." How do I resolve it?
Additionally, when I try to create a project, I only have DV sequence presets available.
A: Solution 1: Deactivate, and then reactivate Adobe Premiere Pro.
Launch Adobe Premiere Pro by clicking the application icon. Do not attempt to load a project file. Choose New Project, then create a project. The settings you choose in this step are not important.
Launch Premiere Pro so that the Help menu is available. Choose Help > Deactivate. Then on the Deactivate, screen click the Deactivate button. On Premiere Pro CC Choose Help > Sign out ...Then sign back in. Launch Adobe Premiere Pro as you did in Step 1. On the Sign In Required screen, click the Sign in button. If prompted, sign in with your Adobe ID. The full list of sequence presets is reinitialized. Open the project the generated the error to ensure that it opens correctly. If you are still unable to open your project, contact Adobe Technical Support.
Solution 2: Re-create the Adobe Premiere Pro preferences and plug-in cache.
Get ready to press the Alt (Option) + Shift keys simultaneously. Launch Adobe Premiere Pro by clicking the application icon, and immediately press and hold the Alt (Option) + Shift keys. Continue to hold the Alt (Option) + Shift keys down until you see the Welcome Screen. Note: If the preferences have been reset successfully, the Recent Projects area of the welcome screen will be blank. (Holding Alt (Option) alone on launch will reset the preferences. Holding Shift alone will delete the plugin cache.)
Q: When I tried to open the exercise files for this course, the following message popped up.
"This project was last used with Mercury Playback Engine GPU Acceleration (CUDA), which is not available on this system. Mercury Playback Engine Software only will be used?"
What do I have to do to solve the issue?
Luckily, there is no issue. This is how Premiere Pro operates. "Mercury Playback Engine Software only will be used" is an indication that the machine that is being used does not have an approved/fast enough graphics card. However, all the files and media for this course will work just fine.
You can read more about the system requirements for Premiere Pro here and here

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