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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.
One of the new features of Adobe Premiere Pro CS6 is being able to create something called an Adjustment Layer. Think of it as kind of like a container or a transparent layer that I can put on top of a clip that I can do lots of cool things to. Now, it's best to understand an Adjustment Layer by seeing how it works. So by default, you don't have any Adjustment Layers in your project. You need to actually create one, and you can go over to the File menu, under New, and just simply say New > Adjustment Layer.
And it assumes that you want that Adjustment Layer to match your sequence, which of course we do, so I'm going to simply press OK. Now there's a new Adjustment Layer icon in my Project panel, and I am going to grab that and drag that and put that on the layer above my video. Now, the cool thing about this transparent layer is I can put filters on this layer and they will affect the clip below it. So for instance, if I wanted to make this clip black and white, I can go over to the Effects tab, type in black and quickly find the Black & White filter and drop it on, and now this clip is black and white.
And you're saying, "Well, so what? I could have just thrown it on the clip." But what if I actually wanted to make all my clips black and white, because I wanted to give a rough cut to my client or maybe just even create one version of my show with a specific look with a specific filter? Instead of putting it on every clip and then having to modify it, I could put it on all of my clips at once by simply putting an Adjustment Layer over those clips and then putting filters on it. Now, I put the Black & White filter on it, which you can adjust, so I'm only getting part of the benefit of an Adjustment Layer.
Let me go ahead and put another filter on it, and you can see where it really shines. I am going to go ahead and open up what's called the Timecode filter. Now, there's no Timecode on these clips, and if I put the Timecode filter on a specific clip, it will give me the running time for that one clip and then reset on each one. I'm going to go ahead and hit undo, because I'm going to put the Timecode filter on the Adjustment Layer. Now it will actually read the Timecode for my entire sequence.
So basically not only have I watermarked it, but if I hand it off to a client, instead of saying, oh, about 14 seconds in, they can see that at 16:06 is a shot that they may want to save or may want to change. I can also modify the effect, and we learned how to do that in an earlier movie by simply loading it into the Source panel, going under Effects Control, and there we go, Timecode. And I'm going to just go ahead and adjust the Position. I'm going to put it right over here on the left. If I had to do that to each of the clips after the fact, I would go crazy, but by doing it on the Adjustment Layer, all the clips have the same look, the same feel, with a very easy fix.
And if I want to put out a version without the Black & White and without the Timecode, I can simply go over here, turn off the Visibility of the Adjustment Layer and my show looks exactly the way it originally did. It's easy to turn on and off an entire track of effects with a single click.
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