Join Maxim Jago for an in-depth discussion in this video Core editing techniques, part of Premiere Pro CS6 for Avid and Final Cut Pro Editors.
Let's take a look at some of the the core editing techniques you're going to use day in and day out when working with Premiere Pro. You'll be happy to know that if you've cut with Final Cut Pro or with Media Composer, essentially the techniques are the same. You're going to open up a clip, here I've got one. You're going to choose an in and an out point. So here I'm going to press I on my keyboard to mark an in, and O on my keyboard to mark an out. And then one way or another you're going to put that into your sequence. And I've got a sequence open here.
I've called it double identity. This media is from a double identity film. Let's get rid of previous one we set up here. And to get this clip into my sequence, there's just a multiple set of options. First of all, the obvious one. I can click in the picture and I can drag down straight into my timeline. And depending on where you drop the clip, you see that Premiere Pro does a pretty good job of working out which audio track should take the sound. And if I expand this audio, I can see this audio is being interpreted as stereo.
So because these are so called standard audio tracks, and they'll take both mono and stereo audio at the same time, by the by. I'm getting both channels on the same track, let's just zoom in a touch. You can see two wave forms there. So you can drag and drop. You can also, if I just move my cursor on a little bit, my play head, as it's now called in Premiere Pro. I can use the up and down arrows on my keyboard to jump to the next cut or the previous cut. I can now just drag and drop from the picture in my Source Monitor into the Program Monitor. And this is a very Final Cut Pro style icon.
I'm now going to overwrite and, of course, there's nothing to overwrite into my sequence. There we go, and it honors my track patching. Or, if I click and drag again, you can see in the tool tip it's telling me, use Ctrl, that would be Cmd on a Mac, to make an insert edit, of course. Makes no different at all here, because there's nothing to insert to. I can also use the Insert and Overwrite buttons at the bottom of the source monitor. And that's presuming you have Insert and Overwrite buttons. If you click in the panel menu for either of these panels.
You can turn off the transport controls. And these are off by default when you first install Adobe Premiere Pro CS6. It's a new feature in CS6, that you can turn these off. I can of course use the Comma key on my keyboard or the Full Stop key, and that's presuming that you haven't changed the keyboard shortcuts. If you look under Edit, and choose Keyboard Shortcuts. This is going to be the Premiere Pro menu on Mac OS. You'll notice if I do a quick search for insert. There's my keyboard shortcut, it's the comma.
You can change these of course, and you can choose Final Cut Pro or a Media Composer layout if you want to. Now just to go back a step, if I, just open up the double identity bin. I'm just clicking on the disclosure triangle here, and maybe, here we go. I've got a two shot, I'll open that up. So, I'm going to double-click on a clip to open it. And now, you see I've got my play head, I've got a Time Ruler at the bottom of the panel. I've got time code (audio playing) I can click and drag on. I've got a Zoom Navigator at the bottom.
This is the same as the one on the Timeline panel. And I'm really fond of this, it works really well for me. Drag this smaller to zoom in. Drag it larger to zoom out. Notice also that let's say I mark a section of this. I'm going to do this pretty randomly. I'm sure you'll make perfect edits. You'll see I've got a Zoom control so I can go to 100%. You can see I'm working on a much higher resolution media than the resolution on my computer screen. You'll notice that. I've got a little marker to show me here that I'm on the out point (audio playing) here now I'm on the in point. You can actually click and drag these marks to move them to different locations in the clip.
And it's pretty subtle but there's a grab handle in the middle. You can click and drag, to make a duration selection from different parts of your media. Over on the right here I'm seeing my duration. Now just underneath the video part of the source browser, I've got a little film strip icon, an a little, audio wave form icon. And if I drag these down to the timeline you can see, I can just take the video or just take the audio. I can, of course, also use the J, K, and L keys to play back. So I can use L to play forwards.
>> I don't know from fairy tales. >> All right dollface. >> Or J to play backwards. (INAUDIBLE) >> And K pauses. Press them multiple times, they'll go at multiple speeds. Up on the right here, I've got my play back resolution. I'm playing this at half resolution. Partly because I'm doing screen capture at the same time. I don't want to tax my system too much. But you should find with most media formats on most systems, I know that's super vague. But you should find that you can play full resolution for most formats. You'll probably find if you try to play back full resolution 5k Red Epic media.
That might be a bit of a struggle for a system, you might need to drop that down to maybe quarter res. But on a little monitor like this you're not likely to notice the difference until you go really low resolution. Notice as well that I got this Spanner icon, which gives me access to multiple display options. I've got alpha I can see it I can see Scopes, Wave forms, RGB parades whatever you want. And Composite Video is the default so, just to draw your attention to this option. Composite Video. If you get lost in the menu. Go back to Composite Video. That's your regular picture.
There's a nice new feature included in Premiere Pro CS6. You can now gain a source in the program monitor. (CROSSTALK) So as you move these. They move together. It's a really great way of assessing the clip. And making sure that the part you want to perhaps replace in a sequence matches correctly. Let's just turn that off. And of course where things get a slightly more complex is when you get to Track Patching. But if you're used to using Track Patching. This should be old news for you. Right now I've got my source video patched to my timeline video one, same thing for my audio.
So if I press the Insert or Overwrite keyboard shortcuts, that's where the clip goes. If I drag and drop the video up to video two, well, you can hopefully guess what's going to happen here. I'm not going to get any video on my video two track on the timeline. And that's because, and there's the edit there's just the audio, because I have not turned on video two. This is just the same as Media Composer. You have to turn on the track, otherwise, if I can get it now you can see, you're not going to get the video.
So there is, a very logical, mechanical distinction between whether you do or do not have a source track. Or the video or audio turned on, and where they're patched. Independently of that, you've got timeline track on and off. These are standard track patching editing decisions. If you do insert edit, and I'm just going to press the up arrow on my keyboard to put my play head in between, these two instances. If you make an insert edit. But you don't have, for example, your video on. But I do have my timeline video two on.
If I do an insert edit now, you'll notice that my video on video two did move out of the way. Even though nothing was edited into the track. And that's because I have my Sync locks turned on. If I turn off my video two track and Insert edit again, you'll notice that the video and audio move together. That's because I've got my Sync locks on. If I turn these off, and Insert again, you can see I'm losing sync. This is exactly the behavior that you would expect.
This is correct if you are used to working with track patching and sync locks. Once again, removing content is exactly what you would imagine. If I just loosely set in and out marks on the timeline here. You see I've got a selected region on the timeline. I've got my video one selected, and my audio one, two, and three. And up on the program monitor, I've got lift and extract. So if I choose Lift, I'm leaving a gap on the timeline. So that's core editing techniques with Premiere Pro CS6.
- Introducing Adobe Premiere Pro CS6
- Creating and managing projects
- Working with sequences
- Applying effects, color correction, and opacity
- Titles and metadata
- Integrating Premiere Pro with other applications
- Working with audio
- Outputting video