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Watching:

Working with audio


From:

Premiere Pro CS6 Essential Training

with Abba Shapiro

Video: Working with audio

In this chapter we're going to explore working with audio, not only how you can interpret it, but how you can also work with the levels and mix it together. But before we get deep into working with audio, I just want to show you a couple of things you may want to be able to check out. One is if you right-click on any clip in your Project panel, you can actually find out details about that file. So I'm going to click on Properties, and we can see that the audio here is a compressed stereo format. And Premiere Pro is very flexible, it can use a variety of audio formats, whether they're encoded with video, like these files are as MP4 files or if they are AIFF or WAV or MP3 files, Now all the files we're working with are stereo, and I want to show you what happens when we actually bring clips into our timeline, and if it interprets them wrong how you can quickly fix that.
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  1. 56s
    1. What is Premiere Pro?
      56s
  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. Relinking 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
Subject:
Video
Software:
Premiere Pro
Author:
Abba Shapiro

Working with audio

In this chapter we're going to explore working with audio, not only how you can interpret it, but how you can also work with the levels and mix it together. But before we get deep into working with audio, I just want to show you a couple of things you may want to be able to check out. One is if you right-click on any clip in your Project panel, you can actually find out details about that file. So I'm going to click on Properties, and we can see that the audio here is a compressed stereo format. And Premiere Pro is very flexible, it can use a variety of audio formats, whether they're encoded with video, like these files are as MP4 files or if they are AIFF or WAV or MP3 files, Now all the files we're working with are stereo, and I want to show you what happens when we actually bring clips into our timeline, and if it interprets them wrong how you can quickly fix that.

So the first thing I want to do is I want to double-click to load the music file in so you can see that you can look at a waveform of your audio. Now this is a stereo file, so we have the left channel on the top part and the right channel on bottom part, and I can easily scrub through that and listen to it. (audio playing) Now by default, we generally work with our audio in the same frame rate as our video which is 24 frames a second or 30 frames a second. So as I step through my audio, it moves it 1/30th of a second at a time.

Some people want a lot more control over their audio editing, and I can go to this flyout menu, and instead of viewing my audio as time code or as frames, I can do it as Audio Time Units. If you notice, this changed right here, and now I am actually looking at the sample rate, and I can do sub-frame editing of my audio. I can go to incredible detail. For most of what you're doing, you will probably want to keep it on frames. So let's go ahead and un-check Show Audio Time Units.

But that is important to know if you really want to do fine-tune editing. I'm going to go ahead and load a video clip into our source monitor, and you're used to seeing this if you've been watching all the other movies. But there's another way I can look at this audio. As a matter of fact, let's specifically go look at an interview clip. Let's go ahead and double-click on the interview with Brian on camera and load that into our source monitor. Now we've seen this before, and I scrub through and listen to him talk and see him speak, but one of the other options I have is to go to that same flyout menu that we just looked at, and instead of looking at our composite video, we can actually look at the audio waveform.

Sometimes when I'm cutting narration, it's a lot easier to mark my in and out points against the waveform than it is to try to watch his lips move, and then I can simply switch back to my composite video, and I still have the same in and out points. The other thing I want you to notice-- I'm going to go ahead and switch back to the waveform--is his audio is truly stereo. So when it was brought in it came in as a stereo track, and everything is going to work just fine. What would happen if I bring that track down into my timeline? Let's go ahead and switch back to our traditional view, and I'm simply going to grab and drag and drop.

Now we know it's a stereo track, and I'm going to go ahead and hit the Plus key to zoom in a little bit, hit the Backslash key to fit to window, and it appears as if I only have a single track. But let's go ahead and click that disclosure triangle, and you can see that both audio tracks are actually brought in and put as a stereo track onto the first audio track. So Premiere is pretty flexible. It knows it's a stereo track, but it doesn't want to use up and waste a lot of my space. But what if the track wasn't stereo, what if it was dual mono, what if I had one microphone pinned to him and the other one was the camera mic, and I wanted to be able to work with them separately.

Well, I'm going to go ahead and cheat a little bit. I'm going to go back to the second interview, B, and I'm going to right-click, and before we looked at the Properties, but there's also the opportunity to modify the audio differently than Premiere interpreted it. So I'm going to simply go to Audio Channels, and it says use the file and instead of saying Use File, I'm going to say you switch to Mono. Now, when I select that, I want you to take a look at what happens down here. It actually assigns the left channel to Audio 1, and now the right channel to Audio 2.

I'm going to go ahead and hit OK and drag this same clip--I'll load it in the viewer, so you can see what it looks like. This is a wide shot, so it looks a little different. But if we look at the audio waveform, we still see these two tracks, but it's not stereo. Let's go ahead and grab that and drag that and drop it into the timeline. Take a look at what happened here. I'm going to go ahead and zoom out. It assumed that it was two tracks. I have my lavalier track or the microphone that I have pinned on him and then I have the second track which was the camera mic, and I can now work with these independently.

So that's the flexibility that Premiere Pro offers you. You can actually work with stereo, mono, even 5.1 tracks, and you can export out any type of video that you want-- Mono if you're going to the web, and you want to make sure that it's a small file, stereo, or even a 5.1 mix. We'll look more at mixing our audio in upcoming movies.

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


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Q: After loading a project from the exercise files for this course, the media appears "offline" and cannot be used. How do I fix this?
A: This issue occurs because the project was not created in your copy of Premiere Pro, so your copy does not know where to look for the asset files. To fix this, please see the video "Relinking offline media."
 
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