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Premiere Pro CS6 Essential Training
Illustration by John Hersey

Working with stills


From:

Premiere Pro CS6 Essential Training

with Abba Shapiro

Video: Working with stills

In this chapter we're going to explore working with still images such as photographs, and there's a couple of key preferences you need to be aware of before you start importing photographs or pictures into Adobe Premiere Pro. To find your preferences on a Macintosh, you'll look underneath the Premiere Pro setting, and there's your Preference setting, and if you're a Windows machine, that would normally be under the Edit menu. At the very bottom, you would see Preferences. Once inside, they are exactly the same between systems.
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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. 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 37s
    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 9s
    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 51s
    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 41s
    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 21s
    1. Using transitions
      9m 36s
    2. Understanding the nuances of transitions
      6m 23s
    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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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
Subjects:
Video Video Editing
Software:
Premiere Pro
Author:
Abba Shapiro

Working with stills

In this chapter we're going to explore working with still images such as photographs, and there's a couple of key preferences you need to be aware of before you start importing photographs or pictures into Adobe Premiere Pro. To find your preferences on a Macintosh, you'll look underneath the Premiere Pro setting, and there's your Preference setting, and if you're a Windows machine, that would normally be under the Edit menu. At the very bottom, you would see Preferences. Once inside, they are exactly the same between systems.

So we're going to go to Preferences and select General, and there's two things we're going to look at. The first is Still Image Default Duration. Now by default, it's 150 frames, so if you're cutting at 30 frames a second-- which is pretty much the standard--you get 5 seconds of a still image when you bring in any of your photographs. Now don't panic, if you need 6 seconds or 4 seconds, because it's a photograph or a still image, you can make it as long or as short as you need once it's in your project.

The advantage of changing this is that if you know you're going to be needing your images to be, say, 10 seconds long in every instance, go ahead and change that to 300, and you won't have to do as much manipulation once you're inside the application. Another thing to keep in mind is that some people are shooting 24 frames per second, for instance, on their DSLR cameras, so in this case it won't be a 5-second clip, it'll be a little bit over 6 seconds. We're going to leave that at the Default.

The other thing I want you to look at is this check box right here, which is Default scale to frame size. Now this can be a really good thing or a really dangerous thing. By default, it's left unchecked, and that's how I like to keep it. Now if you check Default scale to frame size, whenever you import a still image or even a piece of video, if it's larger than your sequence setting, Adobe Premiere Pro is going to actually down sample it. So if you have a very large image, say 5000x3000 pixels, and you check Default scale to frame size and bring it in, it's going to down sample that to fit into your sequence's size, and in this case it's 1280x720, or 720p as it normally referred to.

Now that's a good thing if you don't plan to do any moves on your image, but if you plan to zoom in or blow it up a little bit to crop it or do any kind of a pan or scan on it, you're going to actually lose resolution. So by leaving it unchecked, you'll have this nice large image, and you can zoom in without losing any detail or any resolution. So we're going to stick with the default, and I'm going to click Okay. You can actually click Cancel if you want, since we haven't made any changes, and let's go back to importing our photographs.

Now we did look at importing in an earlier chapter, but we're going to expand a little bit upon it now. Of course, you can import using the Import command, but the media browser is much more robust, and it's going to allow you to do something pretty special when importing still images. So I'm going to switch over to the Media Browser, and I'm going to press the Tilde key in the upper left-hand corner of my keyboard, just to make this full screen. It's easier for you to see when watching this movie, and you may even want to do it yourself so you can actually see all the images.

If for some reason you have switched over to List view, make sure you click on the Thumbnail view so you can actually see a representation or a thumbnail of all of your media. Now that's the problem is I'm seeing all of my media. I'm seeing not just my pictures, but I'm seeing all my camera footage, I'm seeing all my graphics, I'm seeing my audio file, I just want to see my photographs, and all of my photographs are JPEGs. So I go to the upper right-hand corner of my media browser and actually filter what I'm looking at. So in this case, I'm going to filter and just look at JPEG files.

Now some of you may be using both JPEGs and TIFFs. You can actually select and check and look at multiple types of images and just filter so you can see say TIFF files, JPEG files, and maybe even Photoshop files. But for now let's just go to JPEGs. I'm going to select all of these for now, and I can simply do that by pressing Command+A on a Macintosh or Ctrl+A on a Windows machine. Once they're selected, I'll right-click, select Import, and these files would be brought into my Project pane, and there you see all of my images, and if I look at their duration, they're all 5 seconds long, and they've maintained their original size, which is great because we're going to be doing some moves on these in a later movie.

Now it's your choice whether you leave this as a list view or as an icon view. I generally like to work in my Project pane in an icon view or a thumbnail view because it's much easier to work with still images. But I do want to point out if there is a reason that you want to work in List view, because of the way you like to sort it, you can go here to this dropdown menu, and you can select Thumbnails, and now in List view you'll actually see a little image. And if it's too small, go ahead to the Mountain slider at the bottom, and you can make them bigger.

So again, the versatility of Adobe Premiere Pro allows you to work in any view that you're most comfortable with. I'm going to go ahead and press the Tilde key and return to my original layout. I'm going to load the first image into my Source panel by simply double-clicking it, and there we have the gentleman with the wind turbines in the background. And if I drag, and I drop this into my timeline, it's going to be the default duration of 5 seconds. I can change that before I bring it into the timeline, or I can change it once I drag it in just like any other clip.

So I'll drag it into the timeline, and wow, all I'm seeing is the brim of his hat. Not quite the shot I was expecting. Well, I actually really was expecting this because remember this image was brought in full resolution, which was over 5,000 pixels. As a matter of fact, if we scroll over here, I can see specifically the size of this image, it's 5000x5000 pixels, and my sequence is 1280x720. That's why I'm only seeing part of his head.

So what I want to do is I want to scale this down, and I can do this one of two ways. If I want to do it very quickly, I can simply right-click on any image down here, and I'm going to go ahead and hit the Plus key a few times just so we can really see what I'm working on, and I'm going to right-click, and there's an option here to Scale to frame size, and when I click it, it will automatically shrink the image so I see the entire photograph within my frame. Now because it's a square image, a different aspect ratio than the 16x9 of television, I have black bars on either side.

Now perhaps you want that. Perhaps you need to see the whole image or maybe you want to reframe the image, in which case you need to either scale it up from what we see now or scale it down in the Effects Control panel. Now some of you probably have question marks over your head, because you're going: scale it up, scale it down, what's the difference? There actually is a very big difference. Because I chose to scale this to the sequence, when I go over to my Effects Control panel, and I look to scale it up and I need to do that in the Motion tab.

It says my scale is 100%, it down sampled my image, so if I blow it up at this point, by just grabbing this virtual slider and blowing it up--and if you don't want to work with this virtual slider-- just go ahead and hit the disclosure triangle and you have this great little slider that you can work here. But there's my wall. Can't make it more than 100%. It's trying to keep me honest, so I'm going to go ahead and blow it up. I've scaled it down, I've blown it up, I've lost resolution. So this is not necessarily the best workflow if you know that your images don't quite fit within the aspect ratio of television.

So let's go ahead and undo what we just did. I can click on this Reset button. Takes it back down to 100%, and then I'm going to go over here, right-click and I'm going to un-check Scale to frame size. Now you'll notice something very interesting. Take a look at the Scale Setting under the Effects Control panel. My picture gets bigger, but this is still 100%, and at first, that can be very confusing. But what it's doing is it's now looking at 100% of its original size, which is 5000x5000 pixels, and if I grab this slider and shrink it, we can see that it does update. And I'm going to make this pretty small, there we go.

I can just adjust it perfectly within the frame, so it's now 25% of its original size. So the end result looks the same, but the second way of doing things actually maintains the resolution of the original image, so in your final movie the picture will be sharper. So we've scaled it, and it fits, but I really don't like the framing. I mean, it's the right size, but I think these are little too close to the bottom. And as a matter of fact, on some television sets there is something called overscan, his chin might even be cut off, so I want to reposition this, and again, this is something I would do in the Motion tab. And if you look down here, this is a bunch of options, not only for scale, but there's also position, and I can go ahead and play with these. And you see I can move them left and right. Let me go ahead and undo that because left and right is not what I want to do.

I can also move it up and down, and this is nice, but it's kind of clumsy. I'm not really a math kind of person. I'm what you see is what you get, so I want to be able to grab the image and reposition it actually in my program monitor, and that's very easy to do if you click on this little icon here to activate the motion tab. Take a look at what just appeared here. We now have a bounding box and a little center frame, and if I click anywhere on here, I can actually move it around in my Program Monitor and frame it exactly the way I want.

So that's a lot easier and a lot faster than trying to play with numbers. If I click it again, it will deactivate, and now I can't accidentally move it, so this is a very quick way to scale and position a photograph in Adobe Premiere Pro.

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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