Adobe Premier Pro 2022 For Beginners Complete Step-By-Step Adobe Premier Pro Practical Guide For Beginners (Webinar, Joe)

 

ADOBE PREMIER PRO 2022 FOR BEGINNERS COMPLETE STEP-BY-STEP ADOBE PREMIER PRO PRACTICAL GUIDE FOR BEGINNERS, INTERMEDIATE LEARNERS AND PROS WITH UPDATED TIPS & TRICKS

JOE WEBINAR

 

Copyright © 2022 Joe Webinar All Rights Reserved This book or parts thereof may not be reproduced in any form, stored in any retrieval system, or transmitted in any form by any means—electronic, mechanical, photocopy, recording, or otherwise—without prior written permission of the publisher, except as provided by United States of America copyright law and fair use. Disclaimer and Terms of Use The author and publisher of this book and the accompanying materials have used their best efforts in preparing this book. The author and publisher make no representation or warranties with respect to the accuracy, applicability, fitness, or completeness of the contents of this book. The information contained in this book is strictly for informational purposes. Therefore, if you wish to apply the ideas contained in this book, you are taking full responsibility for your actions.  Printed in the United States of America

 

CONTENTS INTRODUCTION INTRODUCTION PREREQUISI REREQUISITES TES FOR INSTALLING PREMIERE PRO INSTALLING PREMIERE PRO CHAPTER ONE ONE ADOBE PREMIE PREMIERE RE PRO TOUR  PERFORMIN ERFORMING G NON-LINEAR  EDITING  IN ADOBE PREMIERE PRO EDITING  TH THE E WORK ORKFLOW FLOW COLOUR GR GRADING ADING AND SOUN OUND D DESIGN ADDING FINAL TOUCHES TO YOUR PROJECT TOURING THE ADOBE PREMIERE PRO INTERFACE SOURCE MONITOR PANEL OF EFFECT CONTROLS AUDIO MIX IXER ER METADATA PANEL PROGRAM MONITORS PROJECT PANEL PANEL FOR MEDIA BROWSER INFO PANEL EFFECTS PANEL MARKER PANEL HISTORY PANEL TOOLS PAN ANEL EL TIMELINE PANEL THE PANEL OF AUDIO MET ETERS ERS TOOLS SELECTION  TOOL TRACK SELECTION  TOOL RIPPLE EDITOR TOOL FOR ROLLING EDITING RATE STRETCHING SOFTWARE RAZOR TOOL SLIP TOOL SLIDE TOOL PEN TOOL HAND TOOL ZOOM TOOL CUSTOMIZING  THE PREMIERE PRO INTERFACE OPEN, CLOSING, AND MOVING PANELS USING DROP ZONES HANDS ON: EDIT YOUR FIRST VIDEO HAVE THE VIDEO CLIPS PREPARED AND READY FOR EDITING UNDERSTANDING  YOUR VIDEO FILE FORMAT SEQUENCING AND TRIMMING VIDEO CLIPS HAVE THE FEEL AND LOOK OF THE VIDEO CLIPS EDITED COPY AND PASTE THE VIDEO SETTINGS MAKE THE VIDEO FLOW BY ADDING  DYNAMIC TRANSITIONS VIDEO QUALITY  SHOULD BE EXPORTED AT ITS HIGHEST USING AND SETTING YOUR KEYBOARD SHORTCUTS CHAPTER TWO SETTING UP A PROJECT CREATING A PROJECT ETTING UP A WORKSPACE

S      AND THEN IMPORT MEDIA. HAVE A  REVIEW

 

HAVE A SEQUENCE  OF CLIPS CREATED. ADJUST THE CLIP LENGTH ADD TRANSITION CLIPS CREATING A TITLE CLIP CUSTOMIZE YOUR TITLE ADD THE TITLE CLIP TO YOUR SEQUENCE ADD A GRAPHIC SETTING  UP A SEQUENCE OPTIONS FOR SEQUENCE PRESETS CHOOSING A SEQUENCE PRESET DESIGNING A CUSTOM SEQUENCE PRESET SEQUENCE SETTINGS EDITING  MODE VIDEO FRAME DIMENSIONS PIXEL ASPECT RATIO FIELDS DISPLAY FORMAT CHAPTER THREE IMPORTING MEDIA IMPORTING MEDIA FILES EXPORTING MEDIA FILES INGEST OPTIONS AND PROXY MEDIA CREATE PROXY PROXY ATTACH WORKFLOW OPTIONS ENABLE PROXY REMOVING  PROXIES THAT ARE ATTACHED WORKING WITH THE MEDIA BROWSER PANEL IMPORTING STILL IMAGES PREPARING STILL IMAGES  BEFORE IMPORTING THEM IMPORTING FILES FROM PHOTOSHOP  AND ILLUSTRATOR IMPORT A LAYERED PHOTOSHOP  FILE IMPORTING ILLUSTRATOR IMAGES IMPORT IMAGES  AS AN IMAGE SEQUENCE IMPORTED IMAGE RESIZING USING ADOBE STOCK HOW TO USE ADOBE STOCK VIDEOS  IN PREMIERE PRO USING MOTION  GRAPHICS TEMPLATES IN ADOBE PREMIERE PRO MAKING USE OF ADOBE STOCK AUDIO IN ADOBE PREMIERE PRO RECORDING A VOICE OVER TO RECORD A VOICE OVER NOTE ENSURE YOU HAVE A TRACK THAT  IS COMPLETELY BLANK. IGHT CLICK AND WHERE WITHIN THE BLANK TRACK AND SELECT CUSTOMIZE

R    SHOW    THE    MIC  ICON AS   SEE  BELOW  THIS WILL CUSTOMIZING  THE MEDIA CACHE HOW TO DELETE MEDIA FILE CACHE

 

CHAPTER FOUR  ORGANIZING MEDIA USING THE PROJECT PANEL ADDING/REMOVING COLUMNS IN THE PROJECT PANEL ORGANIZING CONTENT BY COLUMNS CLIP DESCRIPTION TIMECODE WORKING WITH THE BINS Creating and Organizing Bins REVIEWING FOOTAGE  Motion Tracking Tracking REASONS  WHY MOTION TRACKING ARE USED Colour correction and grading FRAME BLOCKING TRANSITION

 

 

 

BLUR FACES AND OBJECTS. TEXT MOTION USING MOTION  TRACKING WHEN EDITING YOUR VIDEOS ADD THE EFFECT TO THE CLIP CREATE A MASK MOVE OVER TO THE EFFECT CONTROL PANEL AND FIND THE EFFECT TO BE ADDED CHANGE THE EFFECT VALUES HAVE THE MASK PATH AUTO TRACKED MAKE CHANGES TO THE TRACK PATH FREEFORM VIEW USING THE PREMIERE PRO FREEFORM VIEW CUSTOMIZING  THE FREEFORM VIEW  Display of Custom Metadata SET POSTER FRAMES ASSIGN LABELS KEEP LAYOUTS IN THE FREEFORM VIEW CREATIVE WAYS OF USING THE FREEFORM VIEW ARRANGE BY TYPE SHOT ANGLE CHARACTER ACTION ITEMS ARRANGE BY SEQUENCE MODIFYING CLIPS TRIMMING A VIDEO WITH THE USE OF A TIMELINE TRIMMING A VIDEO USING THE PROGRAM MONITOR ADJUSTMENT LAYERS CREATING AN ADJUSTMENT LAYER HAVE MODES AND ADJUSTMENT  LAYERS BLENDED THE TRANSFORM EFFECT AND ADJUSTMENT  LAYERS CHAPTER FIVE WORKING WITH CLIPS AND MARKERS USING THE PROGRAM MONITOR CONTROLS CONTROLS FOR TIME NAVIGATION  AND TIME CODING BUTTONS AND TRANSPORT  CONTROLS EDITING  FUNCTIONS MENU OPTIONS FOR WINGS MULTI-CAMERA MONITOR NEW REFERENCE MONITOR SETTING  THE PLAYBACK RESOLUTION IDEO

LAYBACK

VR  P  ON VR IN THE SEQUENCE SETTINGS STEPV  1: TURN STEP 2: PREVIEW THE VIDEO QUALITY STEP 3: EDIT THE VIDEO AND CHOOSE A CENTER POINT USING MARKERS BELOW ARE THE TYPES OF MARKERS THAT CAN BE FOUND IN ADOBE PREMIERE PRO. MARKERS PANEL ADD MARKERS TO THE TIMELINE FINALLY, SET THE OPTIONS BELOW: Give the marker a unique name. FINDING, MOVING, AND DELETING MARKERS NAVIGATE AMONG THE MARKERS. MOVE A MARKER DELETE MARKERS SHARE MARKERS WITH AFTER EFFECTS FILTERING MARKERS BY COLOUR USE SYNC LOCK AND TRACK LOCK ENABLING OR DISABLING SYNC LOCK WORKING WITH GAPS IN THE SEQUENCE

 

 Adding gaps gaps CLOSING  GAPS UTILIZING  CLIPS CHOOSE ONE OR MORE CLIPS ENABLE OR DISABLE CLIPS GROUPING CLIPS MOVING CLIPS IN A TIMELINE  PANEL MOVING CLIPS WITH THE USE OF THE KEYPAD CHOOSE THE CLIP IN THE SEQUENCE MOVING CLIPS TO A COMPLETELY DIFFERENT TRACK REARRANGING CLIPS IN A TIMELINE PANEL CHAPTER SIX ADDING TRANSITIONS WHA HAT T ARE THE TRANSITIOSN EFFECTS? SET AND APPLY DEFAULT TRANSITIONS APPLY DEFAULT TRANSITIONS BETWEEN CHOSEN CLIPS APPLYING A SINGLE SIDED TRANSITIONS COPY AND PASTE TRANSITIONS CHANGING THE TRANSITION THE IMPORTANCE OF CLIP HANDLES CHAPTER SEVEN MASTERING ADVANCED EDITING TECHNIQUES PERFORMING A FOUR-POINT EDIT OW IT WORKS H REPLACING  CLIPS AND MEDIA CHANGING CLIP PLAYBACK SPEED SPEED /DURATION COMMAND USING THE RAT ATE E STRETCH TOOL USING TIME REMAPPING NESTING A SEQUENCE PERFORMING REGULAR TRIMMING

CHAPTER EIGHT PUTTING CLIPS IN MOTION ADJUSTING MOTION EFFECT CHANGING A CLIP POSITION, SIZE AND ROTATION LIGHTING EFFECTS ONLY MOTION EFFECTS SCALE A CLIP SCALE ASSET SCALE ASSETS MANUALLY ROTATING A CLIP WORKING WITH KEYFRAME  INTERPOLATION APPLYING AUTO REFRAME EFFECT SLOWER MOTION DEFAULT FASTER MOTION CHAPTER NINE EDITING AND MIXING AUDIO SETTING  UP THE INTERFACE TO WORK WITH AUDIO EXAMINING  AUDIO CHARACTERISTICS MUTE INPUT DURING TIMELINE RECORDING AUTO WAVEFORM GENERATION AUTOMATION KEYFRAME OPTIMIZATION ADJUSTMENT OF LARGE VOLUME ADOBE PLUG-IN MANAGER ADDING ADOBE STOCK AUDIO

 

ADJUSTING AUDIO VOLUME AUTO-DOCK MUSIC LEVEL CREATING A SPLIT EDIT ADJUSTING AUDIO LEVELS FOR A CLIP CHAPTER 10 IMPROVING AUDIO IMPROVING AUDIO WITH THE ESSENTIAL SOUND PANEL CHAPTER 11 ADDING VISUAL EFFECTS WORKING WITH VISUAL EFFECT APPLYING THE MASTERCLIP EFFECT  Keyframe Effects USING EFFECTS PRESET EXPLORING FREQUENTLY USED EFFECTS FIXED EFFECTS MOTION OPACITY TIME REMAPPING VOLUME STANDARD EFFECTS CLIP-BASED AND TRACK-BASED EFFECTS EFFECT PLUG-INS USING THE RENDER AND REPLACE COMMAND CHAPTER TWELVE USAGE OF COLOUR CORRECTION AND GRADING UNDERSTANDING  DISPLAY COLOUR MANAGEMENT FOLLOWING THE COLOUR ADJUSTMENT  WORKFLOW STEPS TO THE GENERAL CORRECTION WORKFLOW: USING COMPARISON VIEW BELOW ARE THE STEPS TO USING THE COMPARISON  VIEW: SWITCH TO COMPARISON VIEW CHOOSE A REFERENCE FRAME CHOOSE A SPLIT-SCREEN VIEW CHOOSE A SHOT OR FRAME COMPARISON SWAP SIDES MATCHING COLOURS Step 1: Choose a comparison view Step 2: Select a frame of reference Step 3: Select a clip that corresponds to the reference frame Step 4: Enable Face Detection to prioritize skin tones Step 5: Use the colour Wheels to match colours Step 6: Perform manual adjustments EXPLORING THE COLOUR ADJUSTMENT EFFECTS HOW TO ADJUST COLOUR EFFECTS FIXING EXPOSURE PROBLEMS COLOUR OFFSET CORRECTION USING SPECIAL COLOUR EFFECTS CREATING A DISTINCTIVE  LOOK CHAPTER THIRTEEN EXPLORING COMPOSITING TECHNIQUES WHA HAT T IS AN ALPHA CHANNEL ? MAKING COMPOSITING  PART OF YOUR PROJECT WORKING WITH THE OPACITY EFFECT ADJUSTING ALPHA CHANNEL TRANSPARENCIES COLOUR-KEYING A GREEN SCREEN SHOT STEPS TO KEYING A GREENSCREEN SHOT:

 

CHAPTER FOURTEEN CREATING NEW GRAPHICS  Exploring the Essential Essential Graphics Graphics Panel CREATE CLIP LAYERS ALIGN AND DISTRIBUTE GRAPHIC LAYERS CREATE MULTIPLE SHADOWS CREATE MASK LAYERS MASTERING TYPOGRAPHY IS ESSENTIAL THE DIFFERENT ELEMENTS  OF TYPOGRAPHY  Fonts and and Typefaces Typefaces CONTRAST CONSISTENCY WHITE SPACE ALIGNMENT COLOUR HIERARCHY CREATING NEW TITLES CREATE A UNIQUE  TITLE ADD THE TITLE CLIP TO YOUR SEQUENCE . WORKING WITH SHAPES AND LOGOS WORKING WITH A MOTION GRAPHICS TEMPLATE ADDING CAPTIONS ADD TEXT TO CAPTIONS. IMPORT AND DISPLAY CAPTIONS EDIT CAPTIONS CHAPTER FIFTEEN EXPORTING FRAMES, CLIPS, AND SEQUENCES MAKING A FAST EXPORT UNDERSTANDING  THE FULL MEDIA EXPORT OPTIONS EXPORTING SINGLE FRAME METHOD 1 METHOD 2 UPLOADING TO SOCIAL MEDIA CHAPTER SIXTEEN MANAGING PROJECTS CONCLUSION

 

INTRODUCTION Adobe Premiere Pro is a Timeline-driven video editing software application that was developed by Adobe Incorporation and was published as a part of the Adobe Creative Cloud licensing program. Adobe Premiere Pro, a successor to Adobe Premiere, was launched for the first time in 2003 and is aimed at solving problems relating to professional video editing. On the other hand, Premiere Pro refers to versions released in 2003 and later, while Premiere refers to versions earlier than 2003. Premiere was based on REEL TIME, which was a product acquired from Supermac Technologies Incorporations. It was one of the very first computer-based non-linear editing systems and was released for the first time in 1991. Much later, Adobe abandoned the Mac platform after the 6th version of Premiere, and up until Premiere Pro 2.0 (CS2), the software packaging was made to feature a galloping horse, which was a nod to Eadweard Muybridge’s work. Notable companies and film producers engage the services of Adobe Premiere Pro on a regular basis. CNN was an early adopter of the Adobe Premiere Pro, and in 2007, certain departments within the BBC also adopted the Premiere Pro. In movie-making, this application has been used for various edits in movies such as Deadpool, Captain Aby Raed, Dark Fate, Monsters, and, notably, Terminator. Adobe Premiere Pro provides high-resolution video editing of up to 10,240 x 8, 192 at about 32 bits per channel colour in both YUV and RGB. For audio sample level editing, it has VST audio plugin support and 5.1 surround sound mixing. Premiere Pro’s plugin architecture helps it import and export various formats beyond those supported by DirectShow or QuickTime, which helps it support a wide variety of audio and video file formats and codecs on operating systems such as Mac and Windows. It can also support 3D editing and the ability to view 3D material using 2D monitors when used with CineForm’s Neo line of plug-ins and make individual left and right eye adjustments. Premiere Pro is used basically for all forms of video editing tasks necessary for the production of quality broadcast and high-definition video. It can be used in the importing of audio and graphics and is also used to create new edited versions of videos which can be exported to the medium and formatted to fit necessary distribution. When creating videos with the use of Premiere Pro, different videos and still images can be edited together. Tiles can also be added to videos, and filters can be applied alongside other effects.

Prerequisites Prerequis ites for Installing Premiere Pro As with almost every other piece of software, there are certain requirements a PC must meet before Premiere Pro can be installed on it. For the best performance, a PC must have the following: The CPU must be of the Intel 6th generation or newer or the AMD Ryzen 1000 series. It must also operate on Windows 10 or the very new Windows 11 (64bit). The PC’s read-only memory (RAM) should be at least 8GB and also have 2GB of GPU VRA. The monitor's resolution should be at least 1280 x 800. A hard disk of 8 GB should be made available, as should a sound card

 

that is ASIO compatible or a Microsoft Windows Driver Model.

Installing Premiere Pro PC from your web browser then type Adobe Premiere To install premiere simply type Get type Get into PC from Pro 2021 in the search box on the website. This belowwill take you to an option for download then click on adobe premiere pro as shown

Finally, click on the download option as shown below and this will be installed on your system.

CHAPTER ONE ADOBE PREMIERE PRO TOUR  Performing Non-linear Editing in Adobe Premiere Pro Non-linear editing can be described as an editing process that gives the editor access to make

 

changes to either a video or audio project without adhering to the linear Timeline. This simply means the editor can choose to work on any clip in any order. It doesn't matter if the clip lands in the middle, in the beginning, or at the end of the project. Video editing might seem like a pretty difficult task, but non-linear video editing actually offers video editors several benefits. Non-linear editing helps upload all the clips, dragging and dropping them to the proper locations in the Timeline. If you don't like where a particular clip ends up, there are options available to have it moved easily without having to alter the rest of the project. Videos can also be edited on the go using a mobile device. Furthermore, non-linear editing gives video makers a lot of freedom during the editing process. It is very flexible and doesn't require much planning to be executed. Users are able to apply a trialand-error method. If you make a bad edit, you don't have to worry; just undo the changes and give it another try. This gives room for more creativity rather than just video editing. All of this and more can be made possible using Adobe Premiere Pro. One of the things that makes Premiere Pro more unique is the fact that it doesn't change the original footage, which is one reason why it is said to be non-destructive. Premiere Pro is used by video production companies, news stations, marketing professionals, and design firms. Video editors, production managers, marketing managers, multimedia designers, and other types of professionals also use Premiere Pro to edit video.

Editing the Workflow The first step to streamlining the editing workflow is simply getting organized right from the start of the project. Before adding any type of footage, be sure to make bins inside your project panel. Add a name to each bin in accordance with the type of file that is going to be added to it. Afterwards, import the proper files into the right bin. Next, two sequences ought to be made. One is to make a rough collection of all the footage, and the other is to make the final edit. A technique like this is called "pancake editing" and is often used in so many cases. Have the sequences placed over one another and then move the footage from the footage sequence to the editing sequence. One very important key as far as video editing is concerned is organization. Ensure that the Timeline is well-structured and organized. Having tracks renamed, applying colourful labels to certain types of clips and getting acquainted with different tracks is highly recommended. One other very important thing that will help at the end of the project is preview rendering. Simply right-click on the sequence and select the sequence settings. Set the file format to Quicktime and the codec to Apple ProRes 422. Each time you display your Timeline, Premier Pro will have it exported in the background as a ProRes file. At any point in time, you are working with footage that needs to be brought over to "after effects." Make sure you have it duplicated. This way, you can ensure the original clip is well saved. This way, if during adventures, something goes the wrong way or you feel the need to change or delete something, it will be easier to gain access to the original clip.

Colour grading and Sound Design

 

If you have some long shots, for instance, an interview or if you have taken a lot of shots in the same lighting, you do not need to colour correct each separately. Rather than fix the colour correction on the master track of the file, and for colour grading, place an adjustment layer over all the clips to colour grade them all at once. One other important feature most people often underestimate is sound design. It often creates more suspense, depth and makes the project seem more realistic. Download a couple of sounds and then have them infused into the Timeline. Ensure different tracks are used for different types of music or sounds. For example, ambient or atmospheric sounds give off sounds such as noise from cities or from the forest; essential sounds are those that are clearly seen on screen, like bird chirps, sounds from people or bikes, and then extra sound elements like whips create that extra suspense needed by the project. Effects like the reverb or equalizers should also be placed on the sound effects. Don't forget to add them. Finally, mix everything so that some sounds are much louder than others.

Adding Final Touches to Your Project After all is set and you are done editing, go over to the edit menu and select "remove unused." This will have all the files that you haven't had to use in your edit and be sure it will make your project faster and less heavy. Have the video exported by setting the format to H.264 if you feel you want to upload it on social media and then have the preset given to either one of the presets for that social media platform or choose match source-high bitrate. Finally, have the preview checkbox turned on. This ensures the use of previously rendered ProRess for the export, which in the end will result in a much faster final export.

Touring the Adobe Premiere Pro Interface The Adobe Premiere Pro 2021 is designed w with ith a docked panel-based interface. The entire interface configuration is known as a types workspace. Therestyles, are about prebuilt workspaces to accommodate different of working and five different styles are embedded in them. Most editing work is done in the different panels of the program's interface. These panels enable you to add and have media organized and also preview your video and audio footage. The Timeline where the majority of actual video editing is accomplished is also known as a panel. Some of the panels available in the Premiere Pro interface and those that are in the editing workspace are outlined below.

Source Monitor Source Monitors are used to review and preview personal clips. They can also be used to prepare clips before they are added to a sequence. In the source monitor, points can be set in and out,

 

markers can be added, and it also determines how clips can be added to Timelines. Clips on this monitor can be viewed by dragging and dropping them into the Source panel or by simply double-clicking them.

Panel of Effect Controls Videos and audio clips on the Timeline can have special effects added to them. For example, some of these effects can change a coloured video to black and white, while some other effects can change the colour balance of an image or can assist in stimulating the look of a film. This panel also helps you change the effects that have been added to the clips. To bring this into play, it must be selected in the Timeline by having it clicked. If a clip is not chosen, the panel will remain blank. The effects panel can also be used to access the inherent motion and audio characteristics of clips and opacity.

Audio Mixer The audio mixer can be used to fine-tune settings while listening to and viewing both audio and video tracks. Each of the audio mixer tracks is assigned to a track in the Timeline of the active track or clip. The mixer can also be used to add special effects, have the volume of relative tracks changed, or record audio straight into the active video or audio track.

Metadata Panel Metadata is simply a set of information that identifies the properties or content of a file. Automatically, audio and video files have information regarding format, file size, date of creation, and duration embedded in them. Metadata can also have information such as location, director, shot, and scene included in them. The metadata panel also allows the viewing and editing of these properties so that they can be used to sort and organize files or shared with other Adobe applications.

Program Monitors The program monitor, also known as the live monitor, is used to playback and preview just the clips on the Timeline.

Project Panel Video editing is a non-destructive editing process based on the fact that the original content of files is not meant to be edited. The project panel has references to all the footage files, both audio, video, and images, that have been imported into Premiere Pro, in addition to the sequences, titles, and other materials created to support the application.

Panel for Media Browser Media browsers help you search and view files located on your hard drive. It can be left open and docked just as with any other panel. The media panel allows you to access every one of the assets on your file with ease, and you can also have them edited.

 

Info Panel The information panel shows the information pertaining to the currently chosen item in the project panel or Timeline.

Effects Panel The effects panel can be described as a database for all audio and video effects and changes available in the application. Transitions like dissolves, page peels, and dip to black can be placed between clips such that you will be able to change from one clip to another. Effects such as levels, balance, black and white can also be added to individual clips to have the appearance or video quality changed.

Marker Panel Marker panels can be used to see all the active markers in an active clip. The panel shows marker information, which includes comments, colour-coding tags, and In and Out points.

History Panel The history panel keepsbeing a list worked of the actions that have been performed thethe state of the project that is currently upon. With the option to use edittoorchange undo, or keyboard commands (Ctrl + Z for Windows or Cmd + Z for Mac OS), this panel can be used to go back to any previous state in the open work session. In addition,  addition,  it's worthwhile to note that changes made to the program that affect panels, windows, or settings are not saved in the history panel. Furthermore, when Premiere Pro is opened or closed, the history panel resets automatically and access to previous states

of the project can be lost.

Tools Panel The tools panel helps store different tools that can be used for editing in the application. The cursor changes appearance based on the type of content that is being hovered over and also on the tool that is active.

Timeline Panel The majority of the editing work is performed on the Timeline panel, and it includes the addition of clips, having them positioned and also changing their properties. Timeline panels can also be used to add effects and playback transitions to the audio and video clips in a project. Each of the sequences in a given project has a separate and independent Timeline. In cases where multiple Timelines are made visible, the panel uses a tabbed display that looks like a web browser to distinguish each.

The Panel of Audio Meters

 

The audio meter panel also has a volume unit meter. It indicates the volume of the clips displayed on the Timeline. The display in this panel is visible only when the audio or video clip is previewed on the Timeline.

Tools The Adobe Premiere Pro has about eleven different tools that were designed to perform a specific task, especially during the editing task.

Selection Tool This, too, is used to select menu items, buttons, clips, and other objects that can be found in the user interface. It is advisable that this too be configured in such a way that it is selected as the default after the more specialized editing tools have been used, because almost every clip and interface interaction demands the use of the selection tool.

Track Selection Tool This, too, is used when selecting all clips to the right of the cursor in a sequence. Just have a clip clicked with this tool by holding the shift key and dragging the clips to the right on a single track. This process can be repeated for every track.

Ripple Editor This tool is used to trim the beginning or end of a clip in the Timeline, though by doing this, an empty space might be created between the clips in the Timeline. This tool trims out the IN or OUT point of a clip, closes the gaps caused by the editing, and keeps all edits to the left or right of the clip trimmed.

Tool for Rolling Editing The rolling edit tool is used to concurrently change the IN and OUT points for two adjacent clips on the Timeline. This tool helps in trimming the IN point of a clip and the OUT point of another clip, keeping the combined duration of the two clips unchanged.

Rate Stretching Software The rate stretch tool is used mainly to lengthen or shorten a clip in the Timeline. This tool helps to speed up or slow down the playback of the clip without having it trimmed, which leaves the IN and OUT points of the clip unaffected.

Razor Tool The razor tool is used to divide clips in the Timeline. Have any point on a clip clicked to make

 

sure it's split at that very point. This can be done by pressing and holding the Shift key while clicking a clip.

Slip Tool The slip tool is used to simultaneously change the IN and OUT points of a clip in a Timeline while making sure the entire duration of the clip is left unchanged.

Slide Tool The slide tool is used to move a clip to the left or right on the Timeline while having the adjacent clip trimmed. The duration of both clips, including the position of the group in the Timeline, remains unchanged.

Pen Tool The effect control panel can be used to animate all clips since they have a set of built-in features. Have the pen tool set to select or choose the key frames for clips in the Timeline.

Hand Tool Use the hand tool to move the display area of a Timeline to either the left or right as an alternative to the scroll bar at the lower part of the Timeline panel.

Zoom Tool This tool can be used to zoom in or out in the Timeline display area.

Customizing the Premiere Pro Interface There are a number of default workspaces that come pre-installed with the Premiere Pro to be used as a starting point, so work can start with it immediately. However, due to the fact that it is impossible for developers to accurately forecast the needs of every user, it is advised that users adjust the interface to their specific needs in a way that will suit them.

Open, Closing, and Moving Panels To adjust the application interface, users should be able to close, open, or move panels that are not important for the type of work they intend to perform. The interface can be customized to remove some of the default panels and design a new editing workspace such that more space for the Timeline is made available. Because the majority of the editing is done in these panels, it is recommended that plenty of space be made available for the Timeline and monitors.

 

Using Drop Zones Users can work with docked panel layouts due to the fact that it provides them with visual cues as panels are dragged to be rearranged. When a panel is dragged, a drop zone overlay shows over the current panel group that the cursor is hovering over. Different sections of the drop-zone will be highlighted so as to show what the new panel configuration will look like. If either section on the sides reflects light, the panel being repositioned is positioned on the side of the panel that is being highlighted, thereby creating a new and independent panel group vertically. The same goes for the top and bottom layers of the drop zone, except this creates a new panel group in the horizontal section. Lastly, the mouse can be released while hovering over the centre of the drop zone. This ensures that the panel being moved is grouped with the existing panel group, thereby creating a new tab. To experiment with this, locate the media browser on the left hand side of the interface, then click on the small "x" button on the right top to close it. NOTE: All active panels can be closed in this manner. Once the media browser panel has been NOTE: closed, the info, effects, markers, and history panels can be closed in the same way. When this has been done, there will be a change in the appearance of the interface. Next, have the tools panel moved; this way, much space can be freed up even more for the Timeline. Right-click on the top of the tools panel and just above the selection tool, choose Dock in the Options Panel from the drop-down menu that shows up. When you do this, the tools are moved to the very top of the application's interface, and more space is made available, allowing for a larger Timeline panel. The project panel is always located at the left of the application interface, which takes up space that would have allowed for larger source and program monitors to be displayed. The project panel can then be moved so that the monitors have more room. Simply click the project panels tab, which is where the panels' names are located, and then drag them towards the program monitor. Once this is done, a coloured overlay will pop up just over the destination panel. This overlay, called a drop zone, gives access to control how the panel being moved is placed in relation to the destination panel. Drag the panel to the middle of the rectangle in the drop zone and then release it. When having the panels moved, the drop zone overlay can be used to control the resultant panel grouping. This action can create a new group in which the project panel and the program monitor will share the same space. While drop zones are exclusive to Adobe video applications, once users become acquainted with them, they will see that they are extremely useful tools. Note that changes in the interface are saved with the file and will replace the default workspace

 

setting when this file is reopened at another time.

Hands On: Edit Your First Video Editing your very first video can be very easy and simple by following the steps below;

Have the video clips prepared and ready for editing No matter where your video clips have been stored, on the computer's hard drive, an external hard drive, or even a flash drive, the first step to editing them is to locate all of the videos and have them incorporated into the video editing software. This can be done by simply dragging and dropping or copying and pasting the files directly from wherever they are.

Understanding your video file format When videos are shot in C-LOG, it will result in a flat picture profile that is perfect for colour grading after production. C-LOG video footage can, in certain ways, be compared to RAW photos in that it allows for greater creative control when editing begins. To spend less time editing footage, its best videos are shot using different picture styles such as landscapes, monochrome or portraits, because they require a lower amount of adjustment in post-production. For the best quality and as an alternative to cropping in on specific parts of the video clips, it's a perfect idea to ensure videos are shot in 4K. This simply means that the horizontal resolution of the video clip will be about 4, 000 megapixels in width, which gives rise to greater creative control. It's worthwhile to note that 4, 000 megapixel video files take a large amount of storage space.

Sequencing and trimming video clips After video clips have been imported, begin dragging and dropping them into the Timeline in the same way you want them to play back. This aspect involves a lot of creativity, and the order of sequence should be unique in a way that best tells your story. With the use of the "cut" tool, clips can be shortened either at the beginning or at the end to ensure that the bits wanted are kept and those not wanted are discarded.

Have the feel and look of the video clips edited When the videos and files are imported at first, they might look a little flat, especially if they were shot in C-LOG. Now is the time to be creative with effects and basic correction settings. By modifying very simple settings such as exposure, white balance, saturation, temperature and contrast, the life of the video can be brought back with it having the look and feel that suits the story to be told. In addition, make sure you do not overwork your exposure settings as it can cause your clip to look like a muddy underexposed clip or lead to blown out highlights. Adjusting exposure can be much more difficult in video than in photography. For this reason, the best exposure is gotten right in-camera when each video clip is shot. If the video has been shot in C-LOG, it is best to adjust the sharpness settings. If the footage is over-sharpened, it can look

 

less real.

Copy and paste the video settings Once the first video clip has been colour corrected, the same can be applied to other clips by just copying and pasting the same settings. This will help to achieve a more uniformed look throughout the whole video and also speed up the whole editing process. However, it is essential to note that a few small tweaks might still be needed in some clips because exposure may vary from one clip to another.

Make the video flow by adding dynamic transitions Transitions help change the whole feel and look of the entire video by adding a unique style to the way and manner in which each clip changes into the next. It doesn't matter if you choose a cross-dissolve transition where one clip transitions into the next by dissolving into the next or a wipe transition where a clip changes by gradually showing the following clip, the main aim is to have the overall flow of your video enhanced.

Video quality should be exported at its highest Go ahead and start making preparations to export once you are settled with the sequencing and colour correction. This can be done by clicking file, then export, and then media. A menu will appear with a variety of different export quality choices. You can use these to optimize your videos for specific platforms such as Facebook, Youtube, Vimeo, and Twitter. Most commonly, you will want to export your video in 1080p HD (high definition) or 4K. Your video can then be titled and saved to the location of your choice once you've selected the export quality setting. If you'd like to save space on your computer's hard drive, you can export it to an external hard drive. When you upload a video to social media platforms such as Facebook, Instagram, and Twitter, the video is automatically compressed. Therefore, you should make your videos as high-quality as possible when uploading them. The easiest way to do this is to change it from the standard "VBR, 1 pass" to "VBR, 2 pass" in your video bit-rate encoding settings. Selecting "Use Maximum Render Quality" will ensure smooth rendering, while selecting "Use Previews" will allow you to select a single scene to use as a thumbnail later.

Using and Setting Your Keyboard Shortcuts Whenever it has to do with editing videos like a professional, speed is a very important factor that needs to be considered. This makes getting to grips with important shortcuts for working in Adobe Premiere Pro very important. Video editing will be quite easier, and the overall workflow will be much faster when these shortcuts are used. Below are some very useful shortcuts. Shift+=/–. Expand and minimize your Timeline tracks. Ctrl+=/– (Cmd+=/–) handles only video track height, and also Alt+=/– (Opt+=/–) only audio track height. - I and O are Mark In and Out points. These points can be cleared using the command

 

Ctrl+Shift+I (Opt+I), Ctrl+Shift+O (Opt+O), and Ctrl+Shift+X (Opt+X). - D is the keyboard shortcut for Selecting Clip at Playhead. - K pauses playback. - The backslash (\) will alter the zoom on your sequence to display everything in the Timeline. - Shift+Ctrl+A (Shift+Cmd+A). Deselect All clips, effects or whatever it is you have selected. - Ctrl+K (Cmd+K) cuts the clip in two (Add Edit). Add Shift to cut all clips under the Playhead in two. - Ctrl+0 (Cmd+0) will open a new project. Ctrl+N (Cmd+N) will add a new sequence. - F is for Match Frame. Hover over any clip in the sequence and hit F to open the master clip in the Source Monitor at the exact same frame. - X will ensure clips are marked under the Playhead, but the / (forward slash) key will set In and Outs around all the clips that must have been selected. - Proje Project ct → Ctrl Ctrl + Alt Alt + N - Sequenc Sequencee → Ctrl + N - Bin Bin → Ctrl Ctrl + / - Open Open Proj Projec ectt → Ctrl Ctrl + O - Close Close Projec Projectt → Ctrl + Shift Shift + W - Clo Close se → Ctrl Ctrl + W - Sav Savee → Ctrl Ctrl + S - Save Save As… As… → Ctrl Ctrl + Shift Shift + S - Save Save a Copy Copy → Ctrl Ctrl + Alt Alt + S - Cap Captu ture re → F5 - Batch Batch Captur Capture.. e.... → F6 - Import Import from from Media Media Browser Browser → Ctrl + Alt Alt + I - IImpo mport. rt... .. → Ctrl Ctrl + I

 

- Expo Export rt Med Media ia → Ctrl Ctrl + M - Get basic Properties Properties for Selection... Selection... → Ctrl + Shift + H - Exi Exitt → Ct Ctrl rl + Q Edit - Und Undo o → Ctrl Ctrl + Z - Redo Redo → Ctrl Ctrl + Shi Shift ft + Z - Cut Cut → Ctrl Ctrl + X - Cop Copy y → Ctrl Ctrl + C - Pas Paste te → Ctrl Ctrl + V - Paste Paste Insert Insert → Ctrl + Shift Shift + V - Paste Attributes → Ctrl + Alt + V - Cle Clear ar → Dele Delete te - Ripple Ripple Delete Delete → Shift Shift + Delete Delete - Duplica Duplicate te → Ctrl + Shift Shift + A - Selec Selectt All All → Ctrl Ctrl + A - Deselec Deselectt All → Ctrl + Shift Shift + A - Fin Find. d... .. → Ctrl Ctrl + F - Edit Edit Orig Origina inall → Ctrl Ctrl + E - Keyboar Keyboard d Shortcu Shortcuts ts → Ctrl + Alt + K Clip - Make Make Subc Subclip lip... ... → Ctrl Ctrl + U - Audio Audio Channe Channels... ls... → Shift Shift + G - Aud Audio io Gain Gain → G - Speed/ Speed/Dura Duration tion... ... → Ctrl + R

 

- In Inse serrt → , - Ove Overw rwri rite te → . - Enab Enable le → Sh Shif iftt + E - Lin Link k → Ct Ctrl rl + L - Gro Group up → Ctrl Ctrl + G - Ungr Ungroup oup → Ctrl Ctrl + Shif Shiftt + G Sequence - Render Render Effects Effects in Work Work Area → Enter Enter - Match Match Frame Frame → F - Reverse Match Frame Frame → Shift + R - Add Add Edit Edit → Ctrl Ctrl + K - Add Edit Edit to All All Tracks Tracks → Ctrl + Shift Shift + K - Trim Trim Edit Edit → Shift Shift + T - Extend Extend the Select Selected ed Edit Edit to Playhead Playhead → E - Activate Activate Video Video Transiti Transition on → Ctrl + D - Enable Enable Audio Audio Transit Transition ion → Ctrl + Shift Shift + D - Use Default Default Trans Transitio itions ns to Select Selection ion → Shift Shift + D - Lift → ] - Ext Extra ract ct → [ - Zo Zoom In In → = - Zoo Zoom m Out Out → - Next in Sequence → Shift + ; - Previous in Sequence Sequence → Ctrl + Shift + ; - Snap Snap in Timelin Timelinee → S

 

- Make Make Subse Subsequen quence ce → Shift Shift + U - Add new capti caption on track track → Opt + Cmd Cmd + A - Add capti caption on at playh playhead ead → Opt + Cmd Cmd + C - Go to next next capti caption on segmen segmentt → Opt + Cmd Cmd + Down - Go to previo previous us caption caption segme segment nt → Opt + Cmd + Up Markers - Ma Mark In → I - Mar Mark k Out Out → O - Mar Mark k Cli Clip p→ X - Mark Mark Select Selection ion → / - Go Go tto o In In → Shif Shiftt + I - Go Go to to Out Out → Sh Shift ift + O - Clear Clear In → Ctrl Ctrl + Shift Shift + I - Clear Clear Out → Ctrl Ctrl + Shift Shift + O - Clear Clear In and Out Out → Ctrl + Shift Shift + X - Add Add Mark Marker er → M - Go to Next Next Marke Markerr → Shift Shift + M - Go to Previ Previous ous Marker Marker → Ctrl + Shift Shift + M

CHAPTER TWO SETTING UP A PROJECT Creating a Project To create a new project in Adobe Premiere Pro, simply open the application itself.

 

Project either on the start screen or select File File >  New   >  Project  Project  right from then click on New Project either  > New the menu.

The project can be named in the "New Project dialog box," then click "browse " browse"" to choose where to save the project.

When all has been carefully selected, click OK click OK..

Setting up a workspace

 

Assembly at The Assembly workspace is a very good place to start off. Simply click Assembly  at the very top Window   > Workspaces Workspaces   > Assembly Assembly.. Select the of the screen. Alternatively, you can click on Window Window   > Media Browser  Browser  from the menu. Click or navigate to Media Browser tab or select Window media files on the local drive or network drive, and if they appear in a list, click the thumbnail view icon at the bottom of the panel.

Have a review and then import media.

Before having footage imported, select the ingest box at the top of the panel. This way, Premiere Pro will save a copy of the files on the local drive. Alternatively, Premiere Pro will link to wherever the user's files are currently stored, such as a media card that might later be ejected or reused. The ingest feature opens up Adobe Media Encoder in the background, which should come preinstalled on the system. For larger projects that might contain media files of very high resolution, it's a very good idea to have imported media saved on a dedicated storage device such as an external hard drive or a flash drive. This way, you can be rest assured that the system's hard drive won't be unexpectedly filled up. To have the default ingest settings changed from the local hard drive, click on the wrench icon that is next to the ingest box, and then have the primary destination changed to the desired location. Gently move the cursor over each video thumbnail to get a preview of it. Choose a video to be Import from imported, right click, and then select Import  from the drop-down menu. Have this step repeated for every video that needs to be imported.

Have a sequence of clips created. Change to the editing workspace by clicking Editing at the top of the screen or by choosing Window > Window Workspaces > Editing. The  > Workspaces  > Editing.  The already imported footage will now appear on the project project. Files panel. If, per adventure, this doesn't come up, click window > project.  Files may be displayed in icon below the panel. a list, and if thumbnails are needed instead, click the thumbnail view icon below The next step is to have a sequence created, which is the place where video clips and audio along a Timeline are assembled. If you choose the video clip that is needed first in the sequence, then Window > drag it from the project panel to the empty Timeline panel. If it is not visible, choose Window  > Timeline.. Timeline Other clips can be added to the sequence by dragging each of them from the project panel to the Timeline panel and having them placed next to the video clip that is already there. If a very long clip happens to be inserted such that it fills up the entire Timeline panel, tap the minus key (-) on the keyboard a couple of times so as to zoom out and see more of the Timeline. Pressing the plus (+) key (+)  key a couple of times helps to zoom in around the playhead’s position.

Adjust the Clip Length After the video clips have been inserted, tap the spacebar to view what the video looks like so far window > monitor to show it). Press the spacebar again in the program panel (choose window  > program monitor to so as to stop the playback. The blue playhead can be dragged to the very place you choose to

 

start the playback from. If a certain video clip happens to be too large or too small in the program panel as the sequence is being played, simply right-click the clip in the Timeline panel and then choose set choose set to frame size.This size .This way, the clip will correctly fit the area being viewed. Similarly, a video clip can be shortened (this is known as trimming) in such a way that it shows  just what is wanted. The edge of the clip can be dragged to its desired length. After changing clips, positions and lengths, always ensure that there are no gaps in the sequence. If you notice a gap between two clips, click the space between them to highlight the gap, and then press the Delete key on your keyboard to bring the clips together.

Add Transition Clips Having arranged the sequence properly and making sure that the clips sit side by side, transitions can then be added in between them. In the very same panel group as the project panel, an effects window >  effects to panel tab can be located (choose window  > effects  to show it). Have the video transitions folder and the dissolve folder open to view the dissolve effects that are available. Move the cross dissolve effect between two clips that have been previously trimmed, then have the

sequence played to see how the effect looks. Be creative and experiment with other dissolve effects that are between two adjacent clips, such as dipping to black or dipping to white.

Creating a Title Clip To create a title, start in the Titles workspace by clicking on titles at the top of the screen, or choose windows > workspaces > titles. At the main menu, select Title > New Title  > Default Still. Then, in the new title box, name the title clip and then click OK. This will have a blank title clip saved in the project panel and open in the Tile panel.

Customize your title Ensure the Type tool in the Tile tools panel is selected. Click on the inside area and then type in Window   >  Title Styles to show a panel of preset the desired title. To customize this, choose Window styles or choose your own font, size, and positioning options at the top of the title panel. An additional type-adjustment control will be displayed in the title properties panel. To have the title’s position changed, click the selection the  selection tool in the title tools panel, then move the text block in the direction you want it displayed. The background image displayed in the Timeline is determined by the position of the playhead in the Timeline panel.

Add the title clip to your sequence In the Timeline panel, drag the title clip from the Project panel to the sequence you want to add

 

the title to. Whenever you superimpose a title over another video clip, make sure you place it above the other video. Drag the title clip's edge right or left to lengthen or shorten its duration. Watch the sequence to see how it looks. Hold down Control before you drop the clip into the sequence to insert your title clip at the very beginning of the sequence. This moves all the other clips to the right to create space for the inserted title clip.

Add a Graphic The easiest way to add a logo created in Adobe Illustrator or a graphic from Adobe Photoshop is to insert it into Premiere Pro just like with any other media. This method works well with JPEGs, PNGs, and other well-known image file formats. Simply ensure the file has a transparent background. This way, the image can be placed in the video if so desired. Go to essential graphics Click on an icon below essential graphics, Look for the file you Import.. want to bring in, then click Import Window   >  Project to have it The graphic file is then displayed in the Project panel (select Window shown). Move the imported graphic from the Project panel to the Timeline and then drag and drop it into a blank video track that is above the video track that is already there. Play the video and the graphic will be displayed as placed over the video. There is every possibility that the imported graphic will be too large for the video. To have that fixed, right click the graphic’s clip in the Timeline panel and select Set to Frame Size from the drop-down menu to adjust it properly and have it centered inside the video. With the graphic’s clip active in the Timeline panel, double-click the  the  graphic in the program panel (this can be found above the Timeline panel) to show its blue bounding box. Next, move the graphic to change the position inside the frame or drag the corner handle so as to change the size.

Setting Up a Sequence A sequence can be created by dragging the asset to the "New Item button" located at the bottom of the Project panel. Alternatively, a sequence can also be created by making use of the sequence preset. The sequence presets that come pre-installed with Premiere Pro have the correct settings for common types of assets. As an example, if the footage is mostly in a DV format, it's best to make use of a DV sequence preset. If there is a plan to specify lower quality settings for output, which includes streaming of web video, leave the sequence settings unchanged. As an alternative, have the export settings changed later. Sequence settings must be corrected when the sequence is about to be created. Sequence settings such as timebase are often locked when the sequence has been created. This helps to prevent unwanted fluctuations that can arise from having the sequence settings changed later. When creating a sequence, it can be selected from among the standard sequence presets. Alternatively, a group of settings can be created and saved in a custom sequence setting preset. To have full control over all the sequence parameters, it is best to have a new sequence started and its settings customized. Creating a sequence opens up the new sequence dialog box. This box

 

has three tabs, each of which has different settings: general, sequence presets, and tracks.

Options for Sequence Presets Available presets are also known as groups of sequence settings. The Adobe Premiere Pro has several categories of presets installed, which include: ●  AVC-Intra ●  AVCHD ●  A Digital SLR ●  DV-24p ●  DV-NTSC (the North American standard) ●  DV-PAL (the European standard) ●  DVCPRO50 ●  DVCPROHD  

● HDV ●  XDCAM EX ●  XDCAM HD422 ●  XDCAM HD The above sequence settings presets contain the correct settings for the most common sequence types. For example, the AVC-Intra, DVCPR050, and DVCPROHD sequence settings can be used to edit AVC-Intra or DVCPRO material that has been shot on Panasonic P2 video cameras. Also, for DV25 material that has been recorded in Panasonic P2 format, a preset can be used for DV-NTSC or DV-PAL. This also depends on the television standard of the footage.

Choosing a sequence preset A sequence can have various types of assets in different formats and with distinct parameters. However, Premiere Pro performs optimally when the settings for a sequence match the parameters of the majority of the assets that have been used in the sequence. To enhance performance and have rendering times reduced, it is best if the asset parameters for the primary assets meant to be edited are known before the sequence is created. After having learnt about the asset parameters, a sequence with unique settings to match can be created. Prior to capturing assets from a tape-based device, learn about the parameters. This way, the correct capture settings can be selected. Asset parameters can include the following: ●  recording format (for example, DV or DVCPRO HD) ●  File format (for example, AVI, MOV, or VOB) ●  Frame aspect ratio (e.g., 16:9, or 4:3)

 

●  Pixel aspect ratio (for example, 1.0 or 0.9091) ●  frame rate (example, 29.97 fps, or 23.976 fps) ●  Time base (for example, 29.97 fps, or 23.976 fps) ●  Fields that are progressive or interlaced  

● audio sample rate (for example, 32 Hz, or 48 Hz) ●  video codec ●  Audio codec The properties panel can be used to find many of these parameters for the assets. Also, a thirdparty application like Mediainfo or GSpot Codec Information Appliance can be used. Assets can also make use of codecs not supported primarily by Adobe Premiere Pro. Changes can be made to these assets after having installed the important codecs. However, be wary of installing codecs that are untested as they can cause your computer system to have serious problems.

Designing a custom sequence preset For most exists, andsequence tweak itssettings settings.to be created, start a new sequence, choose a preset that Select File >  New > Sequence, or in the project panel, select the  New Item button and then select Sequence. Choose a preset from the Sequence Presets tab of the New Sequence dialog box that suits your video footage or your capture card's requirements. Change the settings, VR Video tabs, or tracks to suit the needs of the project at hand. Give the preset a name and also add a description. Finally, click  Ok and then save the preset.

Sequence Settings The new sequence dialog box contains a settings tab that controls the basic characteristics of the sequence. Select the settings that meet the needs of the specification for the type of output intended for the project. Having the settings change just anyhow often leads to a loss in the quality of the project.

Editing mode This determines the video format selected for the preview files and playback. Select an editing mode option that best fits the specifications of the intended format, capture card, or preview display. Take note that the editing mode doesn't specify the format of the final movie. Output settings can be determined when exporting. The custom editing mode gives room for the other sequence settings to be changed.

 

Video Frame Dimensions As you play back sequences, frame size tells you the dimensions of each frame in pixels. A project's frame size is usually the same as the frame size of its source files. You shouldn't increase the frame size to compensate for slow playback. Rather, choose a different quality setting in the project's panel. You can also change the export settings to adjust the final output frame size. For sequences, the maximum frame size is 10,240 x 8,192. Scale motion effects proportionally when changing the frame size. This feature allows users to scale motion effects while changing sequences. In the film industry, it is common to find sequences with black bars at both the top and bottom. These bars display project data, such as timecodes and clip names. If this information is not needed, the sequence can be changed without affecting the clip.

Pixel Aspect Ratio An individual pixel's aspect ratio is determined by its pixel aspect ratio. Square pixels are recommended for analog video, scanned images, and computer-generated graphics, or choose the other format used by the source. It is often the case that the video gets distorted when a pixel aspect ratio other than the pixel aspect ratio of your video is used.

Fields The order of fields in a frame is specified by fields. When working with progressive-scan video, select No Fields (Progressive Scan). In many capture cards, fields are recorded regardless of whether the source footage is progressive scan or not.

Display Format Timecode can be displayed in several different formats in Premiere Pro. The project timecode can becaptured displayed a film the Timeline. Thisanimation is useful programs, when you you are editing footage on as film. For in assets created with can display timecodes as simple frame numbers. Clips and sequences remain at the same frame rate even if the Display Format option is changed. Only the way their timecodes are shown is altered. Video and motion-picture editing standards require different time display options. The starting frame number for Frames and Feet + Frames timecodes can be changed to correspond with the time-counting method you use in another editing system.

 

CHAPTER THREE IMPORTING MEDIA Importing Media Files Before importing media files into Adobe Premiere Pro, make sure you've organized the footage so that it's easily accessible and that you've added a shortcut to the project to the finder.Different work spaces can also be used, but it's best to start with the assembly workspace and ensure the editing workspaces are saved. To import media, simply go to the file menu and select import. select  import.   As an alternative, simply right click anywhere in the project panel and click import, then drag and drop folders that contain media. Note that only files that contain media will be imported.

Exporting media files When the export button is selected, the export media makes use of full resolution, but the proxy is not used. This can only be altered when the full resolution media is offline but the proxy is online. Whenever this happens, a warning sign is always displayed stating that the export is using proxies. Export is always based on full-resolution media parameters such as frame size.

Ingest Options and Proxy Media One of the most recent additions to Premiere Pro includes a new tab in the "New Project" dialogue box that is called "ingest settings." This tab is specifically designed to bring assets into the project as well as create a light-weight or proxy version of the footage for faster editing. The first option with ingest is simply to have files copied from one place to another, probably from a camera card to the project folder. This very choice also has options, the most notable being the ability to add with verification. Adobe Premiere Pro will have the copied file examined and check that it is exactly the same as the original. The second option, which is the main option known as "Transcode," is most often used by large facilities that demand the use of a house codec. If this option is chosen, the media will be changed from the original camera codec to some kind of standardized codec that would be accessible to all editors in the facility. For this to be made possible, Premiere Pro launched Adobe Media Encoder to "Transcode" the files into MXF, Avid DNxHD, Apple ProRES, and a host of others.

Create Proxy This option is used to create and also fix proxies in the media. For example, it is basically used to make clips of lower resolution for increased performance while editing, and it can also be switched back to the main full-resolution files for the final output. The path of the files where the proxies are being generated is specified by the "proxy destination" option in the settings, and the format is also defined by the

 

chosen preset. After the generation of the proxies, they are attached automatically to the clips in the project.

Proxy Attach Workflow Options Existing proxies can also be attached to full-resolution media in the project panel. Make use of the context menu of the video or A/V clips or bin to see the submenu and also the proxy. Proxies option to have a dialog open with options for the destination You can select the Create Proxies option and format you would prefer to transcode to. When this option has been chosen, the proxy is then sent to the Adobe Media Encoder (AME) queue and also attaches proxies to the clips in Premiere Pro automatically. Proxies can also be attached to have proxy clips attached for full clip resolution.

Enable Proxy This option is also accessible as a worldwide system preference to toggle the display of full-resolution media or proxy. The enable proxies option can also be accessed through preferences > media >  enable proxies, or alternatively, the toggle proxies button can be added through the button editor in the program monitor or source. If the project is moved to another system, the preference gets influenced by whatever is set on the system but not on the project. The state of the enabled proxies button is linked between the preferences and the two monitors.When this option is deselected, Premiere Pro helps display the Full Resolution clip in the program monitors and source; when this option is also selected, the proxy clip in the program monitors and source is displayed.

Removing proxies that are attached Attached proxies can also be unattached. This operation is unavailable for the enable proxies option and the reconnect full resolution media.

Working with the Media Browser Panel The media browser is a panel that can be browsed, previewed, and used to import different media types. To locate media files, make use of the folder navigator to choose a folder that contains media, then preview the media that needs to be imported. At the top of the media browser panel, make use of the filename search and file types drop-down menus to sort the display and then limit the number of files to go through.

To add media browser favorites, right click the folder that will be visited on several occasions, then choose "Add to Favorites" to make a shortcut for quick access when you next want to use it.

 

The media browser panel can also be used to preview media files. Select the thumbnail view to see thumbnails of media files that are currently being viewed. Double-click a file to look at it in the source monitor or have the cursor moved over a thumbnail to view the contents being displayed in the thumbnail. The media browser panel ought to be the first point of call when the need to import any type of media arises, especially if the type of file is a fragmented media file type.

Importing Still Images A still image can be defined as a static image that is different from a moving image, e.g., a movie. The phrase "still image" is mostly used in the context of photography or visual media so as to emphasize that one isn't talking about movies. Individual still images or a series of still images can be imported into Premiere Pro. They can be imported from Adobe applications like Illustrator and Photoshop. A still image that is being imported makes use of the specified duration in the still image preference. This can be changed in a sequence. For still images and movies, the maximum frame that can be imported is 256 megapixels, in addition to a maximum dimension of 32,768 pixels in whichever direction.

Preparing still images before importing them Before importing a still image into Adobe Premiere Pro, make sure it is as well-prepared as possible to reduce rendering time.It is always easier and much faster to have a file prepared in its original application. To achieve this, do the following: ●  Ensure the file format is backed up by the operating system that is planned to be used. ● 

Have the pixel dimension fixed to the resolution that will be used in Premiere Pro. If there is a plan to have the image scaled over time, set the image dimensions that ensure

provision of enough detail at the largest size the image has in the project. ●  be scaled up to 200%, make preparations for the image to be twice the size of the project before importing it. ●  Carve To ensure accurate results, design files with a frame size that is at least as large as that of the project. This way, you don't need to scale up the image in Adobe Premiere Pro. Having an image scaled down from its original size can result in a loss of sharpness. To scale up an image, have it in a larger frame size than that of the project. For example, if an image is to out the parts of the image that don't need to be seen in Premiere Pro. ●  If some areas need to be designated as transparent, design an alpha channel or make use of the transparency tools in applications like Photoshop or Illustrator. ●  If the final output is to be shown on television screens, ensure thin horizontal lines are

 

not used for images or text. They may look blurry as a result of the interlacing process. If thin lines must be used, ensure a slight blur is added so that the lines will be seen in both video fields. ●  Have the file saved with the accurate naming convention. For example, if the plan is to import the file into Premiere Pro for Windows, make use of a three-character filename extension. ●  When still images are prepared in applications that support the management of colour, such as Photoshop, the colours might look like they are more accurate between the application and Premiere PRO if images are prepared in a video-friendly colour space like sRGB or NTSC RGB.

Importing files from Photoshop and Illustrator Files can be imported from Adobe Photoshop 3.0 or later or from Adobe illustrator. The import of layered files can be controlled. Empty ( see-through ) portions of non flattened files are transparent when brought into premiere pro due to the fact that the transparency is saved as an alpha channel. This makes graphics exported and overlay them over clips in other tracks without the need of extra effort. Layered photoshop files can be imported as individual clips into a bin, with layers in asFurthermore, an individualphotoshop clip into files a binthat andhave sequence, with selected layerschosen fused into onebrought video clip. video ororanimations can be imported if they are saved from photoshop in Timeline animation mode.

Import a layered Photoshop file When a layered file saved in Photoshop format is saved, you have the option of importing the layers in the Imported Layered File dialog box. Attributes that were applied in the original file are being imported into Premiere Pro. Attributes such as opacity, position, transparency, visibility, layer masks, adjustment layers, clipping groups, etc. When exporting to a format that enables alpha channels, Photoshop exports a white background as transparent white, whereas it sends a checkered background as a visible alpha channel. Importing layered files ensures it is easy to make use of graphics designed in Photoshop. When Photoshop files are imported into Premiere Pro as unmerged layers, each layer in the file appears as an individual clip in a bin. Each clip’s name has a layer name which is followed by the name of the file that contains it. Each layer is brought in with the default duration that is selected for still images in preferences. Photoshop files containing video or animation can be imported like any other Photoshop file. Considering that each layer is imported at the same still-image duration, the video or animation that is imported might play back at a speed distinct from that of its location in the Photoshop file. For example, if the Premiere Pro sequence frame rate is 30 fps and the Photoshop animation is also created at 30 fps, it is best that the still image default duration in Premiere Pro is set to 30 frames in preferences. The options selected in the import layered file dialog box determine just how the layers in the video or animation are interpreted in Premiere Pro on import.

 

From the import dialog box, when the Photoshop file containing layers for import is selected, the import Photoshop document dialog box opens. Additionally, the import as menu provides the following options as ways files can be imported: Merge layers : layers : help to merge all layers and import the file to Premiere Pro as a flattened, single PSD clip. Individual layers: clip for eachlayers: imports source imports layer. only layers that are selected from the list into a bin that contains one imports only selected layers, each as a single clip. Premiere Pro also creates a sequence that has each clip on a different track and puts all these clips into their own bin in the project panel. Selecting a sequence gives you the opportunity to choose one of the following options from the footage dimensions menu: Document size: size: This changes the size of the frames of the clips so as to match the specified frame size in the sequence settings dialog box. Layer size: size: This ensures the frame size of the clips matches the frame size of their source layers in the Photoshop file.

Importing Illustrator Images An Adobe Illustrator still-image file can be imported directly into a Premiere Pro project. Premiere Pro helps to convert path-based illustrator art to the pixel-based image format to be used by Premiere Pro, a process widely known as rasterization. All the edges of Illustrator are automatically smoothened by Premiere Pro. It also converts every empty area into an alpha channel, so that empty areas become transparent. If the dimensions of the illustrator are to be defined when they are rasterized, make use of the illustrator to create crop marks in the illustrator file. Though the layers in an illustrator are merged in the Adobe Premiere Pro, the layers can still be edited by choosing clip and then editing > editing original.

Import images as an image sequence An animation located in a single file, like an animated GIF, can be imported. A sequence of stillimage files can also be imported like the TIFF sequence, and then combined automatically into one video clip, with each still image becoming one frame of video. Importing a sequence is very useful, especially for animations that are being exported as an image sequence by applications such as After Effects. Layers are excluded from the images in the series. To import these images Simply set the framerate for the still-image sequence, then select Edit > Media, then choose a framerate from the intermediate media timebase menu, and click on the OK button. button. Ensure that every still-image filename has the same number of digits at the end and File > Import,, then find and choose the first numbered file has the correct file extension. Select File  > Import Open.. When an image sequence is being in the sequence, choose Image Sequence and click Open selected, Premiere Pro interpretes all the numbered files as a single frame in a video clip.

 

Imported Image Resizing Images imported are usually higher in resolution than imported videos, which is why they appear as though they are cropped when they are viewed on the Timeline in Premiere Pro. The scale of clips can singly be adjusted to match the sequence frame size. As an alternative, the set frame size command can be used to resize the image as fast as possible. When the set to frame size command is used, the original pixel resolution of the image is maintained, enabling the sharpest resolution to be seen when an image is zoomed. To resize simply right click an image in a Timeline (multiple images can be selected at once when the shift key is pressed while clicking on the images), choose set to frame size  command > scale to frame size settings is then switched off for an improved playback performance.

Using Adobe Stock Adobe Stock is a huge, high-resolution stock photo, illustration, and vector library that makes room for integration with Premiere Pro, Photoshop, After Effects, and a host of other Adobe programs.

How to use Adobe stock videos in Premiere Pro Licensed video assets, previews, and customizations can easily be searched for from within the Adobe Premiere Pro without having to leave the Timeline and with direct access to videos of high resolution assets that fit the project. Window >  Libraries.. Open the libraries panel and search for the very asset you prefer by Select Window  > Libraries typing a keyword into the search bar. Move the mouse over the video clip that needs to be previewed, then select the + so as to save it to the selected library folder. Projects can be added by right-clicking on the chosen clip in the library, then selecting the Add the Add to project option. Preview the video from the project panel and then move the watermarked video into the Timeline to have it previewed and ensure it fits with the story being told. Make changes to the video by selecting the video in the Timeline and then editing the colour, lighting, or you can also decide to crop and trim the video to meet the needs of the project. Finally, choose the shopping cart icon on the video in the project window or the libraries panel to have a clip licensed. Automatically, the preview is replaced with the full resolution, nonwatermarked video in the Timeline with just the same adjustments made.

Using motion graphics templates in Adobe Premiere Pro Adobe stock motion graphics templates are motion graphics that have been pre-built in After Effects and packaged as templates with an easy-to-use control that can be customized in Adobe

 

Premiere Pro.These motion graphics templates are available in a wide range of options, which include unique titles, backgrounds, lower-thirds, animations, social media elements, infographics, and lots more. Finding and using motion graphics templates within Adobe Premiere Pro can be very easy. Simply go over to the editing menu, choose graphics to show the Essential Graphics panel. hTo view templates that have been stored locally, search in My Templates to see templates that have already been stored in the creative cloud libraries. The Adobe stock can also be searched to find more paid and free assets to preview and license. To have the edited templates retained and used in the future, have them saved to My Templates.

Making use of Adobe stock audio in Adobe Premier Premieree Pro Adobe stock audio can be fused directly into the Adobe Premiere Pro workflow. Select from an ever-growing collection of over 30,000 tracks of music in vogue, including singles from top providers. To find an audio within the Adobe Premiere Pro, choose audio in the Editing menu to show the option. Audio can be searched based on Essential Sound panel. Then select the  the   Browse tab option. genre, mood, tempo and duration. The use of Timeline sync gives room for tracks to be previewed together and match also edited without having leave the another. Adobe Premiere the built first track selected does not the pace or mood youtocan select Timeline Pro; syncifwas into Essential Sound so you can test different tracks over and over and also preview in realtime and sync. You can choose to finish an entire edit and also mix with an audio preview that is unwatermarked, i.e., without a voice-over. All that needs to be done is to license you once you are completely satisfied with what you have done. Licensing of music tracks can be done directly from inside the Essential Sound panel or from the project panel. Throughout the editing process, licensed audio replaces previewed files with high-quality audio.Audio tracks can be saved to a creative cloud library or a simple local folder.

Recording a Voice Over To record a voice over note ensure you have a track that is completely blank. Right click and where within the blank track and select customize

 

This will show the mic icon as see below

Finally click on the mic icon and the select the voice over recording to begin recording.

 

Customizing the Media Cache Whenever video and audio files are being imported into Premiere Pro, it helps to process versions of these files that it can quickly get through to for faster performance. These are known as media cache files and are stored in the media cache folder. In addition, there is a folder that has a database that keeps the links to each of the media cache files. They are known as the media cache database file and are also found in the media cache folder. The Media Cache is where Premiere Pro keeps accelerator files, which include peak files (.pek) and conformed audio (.cfa) files. Deleting cache files that are not used or old can help achieve and keep optimal performance. Deleted cache files can be created again whenever they are required by the source media.

How to Delete Media File Cache The media cache can be cleared when projects have been completed. This helps to remove unwanted preview render files and also makes more storage space available. button  located next to the Remove Media Cache To clear media cache files, select the Delete button  Files option. In the Delete media cache files dialog box that comes up, select the option most preferred; Delete unused media cache files: files: This helps to remove files that were made mainly for source media and can no longer be found. Delete all media cache files from the system - Removing all the media cache files ensures all cache files are deleted from the location they are currently. Cache files that are deleted can be recreated automatically whenever the source media needs them. To delete all media cache files, the Premiere Pro needs to be restarted first then select this option before having to open any project. For the very best performance, select a fast SSD or NVME drive for the media cache—ideally, this should be a drive meant just for the media cache. The location of the media cache files can be changed by clicking browse and then go over to the preferred folder location. If need be, the media cache can be saved on the same drive as the media. The following options are available for setting your media cache preferences: Do not delete cache files automatically: This setting is turned on by default in the Media Cache Preferences. Media cache files are automatically deleted only when they are .pek, .cfa and .ims files under the subdirectory Peak Files and Media Cache Files. Automatically delete cache files older than - By default, the value is 90 days. However, you can change it to a time period that best suits you. Automatically delete oldest cache files when cache exceeds - By default, this is 10% of the size of the volume that contains the media cache.

 

CHAPTER FOUR  ORGANIZING MEDIA Using the project panel As earlier mentioned, the Project panel contains references to all the footage files, which include video, audio, and images that must have been imported into Premiere Pro. Thus, it is known to be the creative hub for all that will be created using this application. Furthermore, in addition to references to the footage imported, the panel holds the titles and sequences created within the application and is also where items that need to be added to the Timeline are located. The project panel shows information about items embedded in it in a series of columns to the right of each item's name. This information shown can be changed such that the properties displayed can be controlled in the order wanted. This way, only attributes that are very important to the type of work being done at the moment in Premiere Pro can be viewed.

Adding/removing columns in the Project panel The pre-installed column display can be adjusted to ensure hidden panels can be added or those considered unnecessary can be removed. Having to see all the columns at the same time is impossible due to the fact that the project panel is very small when compared to the overall Premiere Pro interface. The very first thing that needs to be done is to have the panel screen expanded to its full-screen size. It's worthwhile

to note that even in the full-screen mode, all the data columns in the project panel might not be accessible, as this is also dependent on the monitor's resolution. To add hidden panels, simply click on any area of the project panel and then select the tilde () key on the keyboard. This key serves as a minimize/maximize toggle for whichever panel is active or in use. Once the project panel has been expanded, it makes it easier for each clip's properties and columns to be seen. This way, any column a user deems necessary can be easily selected, and the one that the user isn't ready to use, he can simply minimize it.

Organizing content by columns The columns in the project panel are used mainly to control how the different items in the panel are displayed. The clips can be arranged based on the content of any column. In the project panel, organization by default is alphabetically based. In the case of bins, the name of the bin is used to arrange the various types of media embedded in it. The panel currently in use displays an upward-pointing chevron next to the column header. When working on a project, a user can decide which order of

 

arrangement is best suitable. Simply click the column name  to change the default ascending display order and pay attention to how items will change their display order in the panel to descending order.

Clip Description A couple of columns in the Project panel are solely descriptive. They show information about the properties of the footage a user is currently working on. Media columns such as media start, media duration, and media end cannot be edited, while others, such as video duration, video in, and video out, can be adjusted while working with the clips in Premiere Pro. Description columns can be edited directly from the project panel itself. Clip descriptions can be very helpful, especially when a user is working on more complex or longer projects or when working within a team environment. The Description column of the project panel contains a text field that is editable and can be used to hold different types of information, which includes content descriptions or notes that need to be added during usage.

TimeCode Timecode is used majorly in motion graphics programs and also in video editing to ensure the track along the position of a Timeline, tape, or any time-based medium is kept. Timecode can be identified as a series of four numbers that are separated by colons or semicolons. The numbers represent hours, minutes, seconds, and frames. The hours, minutes, and seconds can be counted in about the same way as the standard clock is counted, but the counting begins at zero instead of one. The major difference with the timecode is the number of frames that complete a second, which is simply based on the frame rate of the media being worked upon. Based on the composition settings, a user can use the American television standard of 30FPS (frames per second), the European standard of 25FPS, or the film standard of 24FPS. In essence, timecode gives a uniquely identifiable address to every single frame in a video.

Working With The Bins Creating and Organizing Bins The word "bin" as regards media comes from the days of film editing when the film clips that were developed were stored in bins for the main purpose of easy organization. Ideally, bins perform the same functions as folders on the hard drive. In the Premiere Pro project panel, bins are used as folders to hold and arrange users' media assets. Bins have the capacity to hold any combination of media, including still images, video, audio, and even other bins. The mode of arrangement used for this exercise ensures that a separate bin is created for each different type of media that has been used in the project. The media management strategy adopted depends largely on the specifics of the project and also on the amount of footage. For larger footage, it's best to consider breaking the footage into bins based on the type of the video, location, or, in the case of dramatic works, the footage that is

 

needed for a very specific scene (scene-based organizational system). Before creating a bin, it's best if the audio bin is already selected and then deselected. To do this, simply click on any empty area of the project panel and then deselect it. Bin button, which is located at the bottom-right of A new bin can be created by clicking the New Bin button, the project panel. When a new bin is created, it is automatically placed inside the bin that has been selected. This is why it is of utmost importance that the audio bin be deselected before another bin is created. After the creation of a new bin, the default name is immediately highlighted so that the user can immediately rename it. If any other item in the project panel is clicked or a separate pane is clicked, the name will be name  and then select deselected. To make the name editable again, simply right-click the bin the  bin name  rename from the drop-down menu that appears. Furthermore, double-clicking the name of any item in the project panel gives access to making the name editable.

REVIEWING FOOTAGE Motion Tracking Motion tracking, also known as mask tracking, is simply the process through which a moving object within a video is tracked. The best part of this is that the movement is being

followed with a mask, hence the concept of mask tracking. Motion tracking is usually done with the use of position keyframes and it also opens various kinds of creative and colour combination possibilities in premiere. Though not as versatile or dynamic as motion tracking in After Effects, Adobe Premiere Pro’s features are effective and very useful. In video editing, motion tracking is an amazing tool to have in one's arsenal. With this tool, cool effects can be added to objects in a video or elements can be moved around. Motion can be tracked in two major ways: manual position keyframing or mask path. As the name suggests, the option of the mask path helps to move a mask with effects. The second option simply changes the position of an element continuously with the position parameter; this is usually used when a mask is not being tracked.

Reasons why motion tracking are used Colour correction and grading colour correction and colour grading are among the most common reasons for tracking movement. As an example, if you change the colour of a character's hair, you have to mask and follow the character's hair throughout the scene to apply the

 

change consistently.

Frame blocking transition Transitioning from one scene to another using frame blocking is a nice transition effect. During a frame-block transition, an object moves across the screen while the clip changes with each motion of the object. The method involves mask tracking the opacity of a video layer so that it only becomes visible as the object moves through it. For example, one clip may show a character walking from left to right. Each time the character moves, a new video layer is revealed behind them.

Blur faces and objects. While watching a documentary, a blurred picture of an unidentified informant appears on the screen. In order to prevent the informant from revealing his face, the blur must follow his face and movement. A mask tracking algorithm is used to move the blur effect in response to the subject’s head movements.

Text motion Unlike the first three examples, video text effects do not use a mask, so tracking is done by hand using keyframes. Tracking text might be displayed when a label hovers over someone. The text layer must be tracked as the person moves to be pursued. Because there is no mask, this type of effect must be done manually with the position parameter frame-by-frame.

Using motion tracking when editing your videos With the Adobe Premiere Pro, motion tracking can be very easy as everything is done in the Effects Control Panel. When a mask is being tracked, users can choose between tracking the motion manually, automatically, or both. Blending both can give the best and most effective results. Unfortunately, there is no automatic functionality when an element without a mask is being tracked. Below are ways a face can be blurred and the colour of an object changed in a moving scene.

Add the effect to the clip The very first step is to add the effect to the track. For example, you can blur a face and change the colour of the subject's hair. The Gaussian blur effect and the lumetri colour can be added to the clip.

Create a mask

 

Drawing out a workable mask can be very difficult. It is very detailed work, but it is an extremely important step. If a user starts off with a mask that is poorly done, the effect you are trying to accomplish won't appear very clean. To create a useful mask, the steps below have to be followed.

Move over to the Effect Control Panel and find the effect to be added Start a mask with the use of an eclipse, rectangle, or a free draw tool. Ensure you are creating a mask that will meet the specific effect and not another parameter in the effects control panel. Draw or place a mask over the object to be tracked carefully Move the motion tracking points that were created on your mask and the bezier handles attached to each point by fine tuning it. Make some changes to the mask expansion and mask feathers if need be. Change the expansion by using the solid square on the mask, and feathers can also be changed with the use of the empty circle on the mask. Both the mask expansion and the mask feather can be tweaked in the effects control panel. The addition of good. minimal feathering to reduce harsh edges and have the mask in the background blended well is When creating a mask, ensure the zoom level in the preview monitor is changed so precise mask points can be dropped. This step is quite long and need not be discouraged by how slow it might be.

Change the effect values Once the mask has been created properly, it's time to have some fun with the crafting effect. Bear in mind that the effect added will be moving with the mask all through the scene. As a result, do not overuse the effect.

Have the mask path auto tracked "Auto Track Mask Path" is an amazing feature in Premiere Pro. This feature follows the object that has been masked and also designs position keyframes for the whole clip. For the most part, this feature also ensures you don't have to go frame by frame, adjusting the positioning of the mask to cover and move with the motion of the object. To get started, drag the playhead to where the clip begins. Automatic tracking usually starts from wherever the playhead is fixed. If, perhaps, it is not placed at the first frame of the scene, some of the clips will eventually be missed by the tracking. Once the playhead is fixed, move to the mask path parameter. This can be found within the mask in the effects control panel. Click the play button named "track selected mask forward" and Premiere Pro will have the path keyframes created.

 

Make changes to the track path Though virtually all the keyframes have been created by automatic tracking, it is best to check the tightness of the mask by gently scrolling through the clip. The automatic tracking feature does a fairly excellent job of having the motion closely fitted, but there might be some frames where a straying mask will need to be tidied up. To have the mask in a sloppy spot fixed, simply drag the mask or make some changes to the outer part of the mask in the source monitor. Premiere Pro will make some changes to the keyframe value so that the new position created can be matched. Generally, the more the keyframes are spread out over time, the smoother the motion will be. Be sure to use as many keyframes as it will take to ensure an effective mask is achieved. Finally, enjoy the effect as it seamlessly tracks movement across the frame. When done the right way, motion tracking can adjust colours, add exciting effects, make transitions, move text all over the screen and lots more. Look for ways to incorporate the tool into your regular editing and creative workflow.

FREEFORM VIEW The Freeform view is a viewing option in Premiere Pro that gives room for the organization of footage in new ways. With the aid of the Freeform view, thumbnails can be previewed, points can be set in and out, and clips can be reordered right in the Project panel. The Freeform form view is unique in that clips can be freely arranged into clips without necessarily having to snap them to a grid. A visual arrangement can be created. Individual clips can also be resized or stacked on top of each other. This will ultimately give room for more flexibility in the conceptualization of the project. Always ensure the latest version of the Adobe Creative Cloud is in use to enjoy this new feature.

Using the Premiere Pro Freeform View Begin with the Freeform View. Move to the Assembly workspace and select the Freeform view icon in the Project panel. Make use of a trackpad or the slider to make changes to the zoom in the work space. Begin to organize by moving and dropping clips into the panel. There are no laid-down rules here; clips can even be placed on each other! Resize groups of clips or individual clips by selecting them, right-clicking, and then choosing the clip size.

Customizing the Freeform View

Display of Custom Metadata

 

menu, then select the To customize what shows under each thumbnail, simply click the  the  panel menu, Freeform view options. options. Choose up to two metadata descriptors to show for each clip.

Set Poster Frames A poster frame is the thumbnail image shown in the project panel to represent a clip. Choosing frame that perfectly the clip can help swiftly identify the right clip. aToposter set the poster frame, moveshows the mouse across the clip to have a frame selected, then use the shift + P to choose the frame.

Assign Labels Simply right click clips to select the label to assign colour labels to clips. These colour labels will also be shown in the Timeline.

Keep Layouts in the Freeform View Once a layout has been developed in the Freeform view, it can be of great help for the process to experiment with diverse storyboards. Layout. Right-click in the Project panel to choose Save as New Layout. Give the layout a name. Proceed to experiment with diverse arrangements and flows. Bring back saved layouts by simply right-clicking and choosing "restore layout".  project panel and select reset to grid. grid. From To start all over again with a grid, right-click the the project here, you can fix any metadata. Freeform View Editing In addition to arranging footage in the freeform view, a user can start to assemble a rough cut. Choose to set in and out points over each clip by simply hover-scrubbing across the clip. Tap the i button to create an in point and the o button to create an out point. The spacebar or the J-K-L keys can be used to play and pause clips while editing in Freeform View. Start organizing clips in the right order in the Project Panel. Choose the group of clips that have been edited, then move them over to the Timeline.

Creative ways of using the Freeform View Experiment with working in Freeform view to get out of your comfort zone and become more creative.There are basically two ways to think about footage:

Arrange by type

 

Having clips organized into groups is a great way to get started with editing. In the list view, this kind of organization is possible with the use of bins, but in the freeform view, there is an advantage of having a much clearer view of whatever you are working with. Below are some categories that can be used to group footage:

Shot Have you multiple takes of the same shot? Get them stacked together to begin, after which you can go back through and click the select button.

Angle Ensure close-ups are kept together and also establish shots together.

Character If there is a need to have dialogue reduced (cutting dialogue), all shots of the same character can be kept together. Have your cut-away shots ready so you can easily insert them during assembly.

Action Items Have you certain clips that need extra attention, like correction of colour, titles, or effects? They can be grouped using the action-item. There are a number of ways clips in the freeform view can be visually grouped. The strategy you choose to apply depends on the amount of footage you have, the type of footage and also your personal work style. As an example, clips could be lined up in a row or you could have them stacked on top of each other.

Arrange by sequence Due to the fact that video editing is a visual exercise, it is best to prepare a sequence in a visual way. When storyboarding, it's best to take into consideration how stacking or overlapping clips in Freeform view can help represent cuts in the final edit. Having layouts saved is another lovely feature for story boarding. Experiment with various cuts and have your ideas saved as layouts. Put layouts into consideration also when making different versions of the same video for various platforms. For example, you can choose to save a layout for IGTV and choose a different version entirely for a Youtube video. Organizing video clips is a simple act and also a great way to review and start to contextualize footage. Doing this beforehand can help save time during the process of editing and also help view the project in a new way. The Freeform view in Adobe Premiere Pro provides a visual way to think about new footage. Become more creative and use Freeform in a much better way!

 

MODIFYING CLIPS Timing is just about everything. How a video is edited determines if the work will thrive or not. Once a set of clips have been created and they have been added to a sequence, the timing will determine if the clips will make people cry, laugh, or just sit and be bored and disengaged. Making some changes to the start and end times of one or more clips, which is basically known as trimming, is just how the timing is perfected. In Premiere Pro, the timing for a section of a single clip or one that is already a part of a sequence can be adjusted; a few steps are needed. Editors create their own personal workflow preferences but there are basically two video trimming methods for working on a sequence. Clips can be trimmed in a Timeline sequence for a much wider view of the edits or make use of the Trim mode in the program monitor for a two-up view that gives room for frame by frame trimming. A clip can be trimmed so that the whole video project becomes much shorter; shortening clips ensures the video is also shortened. This can be called a ripple edit. Alternatively, a cut can be moved when a clip is shortened and the clip next to it is extended, this results in trimming two clips at the same time. This is known as a rolling edit. It helps to keep the whole video project at the same length. Before starting any trimming, ensure the tracks you don't wish to make any changes to are locked. Edits can be made while the whole project is still in sync. ● 

To have tracks locked, click on the padlock icon on the track. Changes will never be made to any track while they are locked.

●  To ensure sync lock is enabled and disabled for a track, toggle sync lock. When the sync lock displays, which is the result, the clips will stay in sync with other clips on the track that is being ripped or inserted. ●  The video and audio aspects of a linked clip stay together automatically, so they will also stay in sync when adjustments are made. Link selection in the Timeline panel can be enabled or disabled by clicking the linked selection button located at the top left of the Timeline panel.

Trimming a video with the use of a Timeline When changes need to be made to the cut in between two clips, ripple edits or rolling edits can be used. Adjustments can be made in just one action by using these tools. When working in the Timeline, especially in trim mode, the program monitor displays the clips affected by edits side by side. In Trim mode, the program monitor assists in choosing the content that should be used by showing the last frame of the clip being trimmed and the first frame of the following clip. Simply click and drag on the clip in the Timeline to make the desired changes. When changes must be made, there is every possibility that there might be a gap in the Timeline from where the video trimming was done. This gap can be closed by simply highlighting it and having a ripple delete done. This will help close the gap and reduce the total length of the sequence. When the edit point between two clips with the ripple edit tool is selected, it chooses a ripple in or ripple out edit point selection based on the side of the edit point you click. If a

 

control-click is used on the edit point that has the ripple edit tool, the cursor displays the rolling edit tool. To ensure the total length of a sequence is kept constant, make sure a rolling edit is done. This helps to make changes to two clips at the same time, shortening one and extending the other, or vice versa, by exactly the same amount. Have the in-point or out-point of a clip in a sequence moved to the playhead without leaving any space in the sequence.

Trimming a Video Using the Program Monitor Precision cuts are accurately made when the Program Monitor is used. Double-click on the end point of the clip to switch to Trim mode in the Program Monitor. Click just about anywhere on a clip to trim it. With the use of Program Monitor, a user can have a much wider area for clicking so as to make very accurate edits. To ensure changes are made to the two clips in the Program Monitor, click between the clips and move them to adjust the length of both at the same time. Alternatively, click between ripple and rolling trimming in the program by pressing down the control key as you select. The advantage of making use of the Program Monitor as a video trimmer is that under the footage there are precision adjustments buttons located there, which allow a user to trim up to five frames at a time. Leave the Trim mode to check the work by simply selecting anywhere in the Timeline. It doesn't matter if you are cutting together a music video, sizzle reel, or feature film, a video can be trimmed with just a few clicks in Adobe Premiere Pro. Do not forget that video editing can make all the difference needed for your project to stand out and be successful.

Adjustment Layers In Adobe Premiere Pro, an adjustment layer can be used to add the same effect to different clips on the Timeline. The effects applied to an adjustment layer will cut across all layers below it in the order in which they are stacked. Different combinations of effects can be used on a single adjustment layer. Multiple adjustment layers can also be used to gain control of more effects. Adjustment layers in Adobe Premiere Pro behave in a similar way to the adjustment layers in Adobe Photoshop and Adobe After Effects.

Creating an Adjustment Layer New,, and Adjustment Layer. To create an adjustment layer, select File select File,, New In the Video Settings dialog box, change the settings for the adjustment layer if need be, and then button. click the OK the OK button. Move the adjustment layer from the Project panel to a video track that is over the clips that need to be affected in the Timeline. Click anywhere around the body of the adjustment layer to select it. When the adjustment layer has been selected, enter the name of the effect that needs to be

 

applied in the Rapid Find box of the Effects panel. Double click on the particular effect needed to add it to the adjustment layer. Note that multiple effects can be added to the adjustment layer. Press the shift key and 5 simultaneously to open the Effect Controls panel. Change the parameters of the effect if it is necessary. When the sequence is played, it is worth taking into consideration that all the clips on the underlying tracks are affected by changes made to the adjustment layer.

Have modes and adjustment layers blended With the use of an adjustment layer, opacity adjustment, and the same blend mode can be applied to a range of clips. Have this done in Adobe Premiere Pro by adjusting the blend mode under Opacity in the Effect Controls tab of the adjustment layer. This method is absolutely the same as having a duplicate clip in a video track over a clip that already exists and then having its blend mode changed.

The Transform effect and adjustment layers A transform effect can be added to an adjustment layer, much like scaling or rotating, and then have it animated over a span of clips or even still images. This technique gives room to achieve motion effects that have formerly been done by nesting clips. When replaying the sequence, the clip will not be displayed as having a transformed effect that animates over the span of several clips.

CHAPTER FIVE WORKING WITH CLIPS AND MARKERS Using the Program Monitor Controls

A program monitor can also be said to be a television screen for the edited sequences on the Timeline. Directly from the program monitor, edits and changes are made to the open sequences, as well as the ability to view them or alter the creation of video effects. The program monitor has basically the same buttons and attributes as the source monitors; the standout difference is that the program monitor makes reference to the sequence, not the source material. For example, the In point, Out point, markers, and edit buttons are added to whatever active sequences are open in the program monitor and not to individual clips. When edits are being made from the source monitor to the Timeline and the editing button is also being used, the position of the CTI, or the In point in the program monitor, is exactly where the edits will be performed. These windows work together as a team, so it's important to monitor what is being done in both windows. In the program monitor, just about any and all sequences can be opened in the project; it doesn't

 

matter if the sequence is opened in the Timeline or not. Doubling-clicking on a sequence in the project panel launches it in the Timeline and activates it in the program monitor. It doesn't matter which sequence is active in the Timeline window; it will also be active in the Program Monitor and vice versa. The panel for the Program Monitor has almost the same structure as that of the source monitor, but all the timecodes and information shown are specific to the sequence that is active as opposed to the active item of media. The CTI position shows the location of the CTI located within the region of the sequence. The tab view of the Program Monitor allows any open sequence to be activated or closed. Due to the fact that the Program Monitor is simply a monitor for sequences, activating a sequence ensures it is opened in the Timeline panel, thereby giving allowance for it to be played back, edited, and manipulated. To ensure a sequence is closed from the Program Monitor, select the dropdown menu with the sequence in its active state and then click close. Activating the close button does not delete the sequence; it only ensures it is closed from view. Having a sequence closed in the Timeline panel also ensures the associated listing in the Program Monitor is also closed.

Controls for time navigation and time coding A sequence can have a total duration of up to 23 hours, 59 minutes, 9 seconds, and 29 frames, which is just about enough time to make sure all the timecode values available are used. When the area within the program monitor ruler is scrubbed, whatever sequence that is open in the program monitor will also be scrubbed. If the Timeline’s ruler is scrubbed, the CTI in your program monitor will be updated and scrubbed. The Program Monitor’s timecode field will always show the latest value that the CTI is on in the active sequence. Zooming in and out with the program’s monitor viewing area bar helps zoom into the program monitor alone and not into the sequence in the Timeline window. This is a lovely inclusion as the view does not update in the Timeline when there is a need to zoom in for more details in the Program Monitor. This is the same as moving the viewing area bar to work in another part of the sequence. In each of these instances, whenever the new view or a different area is scrubbed, the CTI updates in the two panels.

Buttons and transport controls Though the Program Monitor has some buttons that do the same tasks as those in the source monitor, it also has some that are different. For example, the first and last buttons of the center group’s top row are distinct: Go to the previous edit (shortcut key: Page up) This helps you to snap the CTI to the left to the nearest cut point or edit. An edit point is basically any clip end or cut from one clip to the next one. Going to Next Edit (shortcut key: page down): This snaps the CTI position to the nearest edit point to the right of the active CTI position. The right group has about three buttons available in the Program Monitor. They can be found on the button row, starting from the left pane:

 

Lift: This is the very opposite of an overlay. If you have determined an In and Out point at some Lift: point in your sequence and you would like to take off the material from that position, select Lift. Lift helps to remove the material from the In/Out instance and keeps the space it took up. Extract: This is the very opposite of the insert. Decide an In/Out instance in a sequence and Extract: select the Extract button to remove the material and the space that it takes up in the Timeline. For instance, if a five-second section is chosen and the extract button is selected, the whole sequence duration will simply be reduced by five seconds. Trim (shortcut keys: Ctrl + T). It helps to open the Trim panel, which is a monitor panel that is Trim (shortcut used to view and adjust edit points in the Timeline. The Trim panel can also be opened from the Program Monitor’s wing menu. The "live" and "extract" buttons are essential for editing sequences in the Program Monitor.

Editing Functions The editing functions are used together with the insert, overlay, and also the lift and extract functions to make up a very powerful framework for performing difficult edits with very simple key strokes. Be aware, however, that program monitor editing functions cannot be applied to all the tracks of the video at the same time. To have material lifted or extracted, the tracks that need to be edited must be targeted first. One video or audio can be targeted at a time, or choose just the audio or the video. When editing with the Program Monitor, it is best to use the Page Up and Page Down keys to maneuver and also snap to edit points in the Timeline. From these edit points, the clips can either be moved physically or with keystrokes to change and create an edit. If there is no in-point or out-point chosen in the Program Monitor, edits from the Source Monitor will be carried out at the current position of the CTI.

Menu Options for Wings Right from the wing menu of the Program Monitor, you can switch from source to program, simply make some changes to the monitor output, fix the quality of display, toggle between audio units, and then select the mode of view for the monitor.

Multi-Camera Monitor The Multi-Camera Monitor can be opened and integrated into any pane; it can also be accessed through the program monitor’s wing menu.

New Reference Monitor To make a new reference monitor, simply choose this option from the wing menu. Whenever a new reference monitor is opened, a duplicate monitor window is created from which the active sequence can be viewed. By default, a new reference monitor is always fused into the program monitor. To have this setting turned off, simply uncheck the listing in the Program Monitor or the wing menu of the Reference Monitor. You can also choose to simply  simply   click off the Gang Button.. Button

 

Setting the Playback Resolution Playback is a very important aspect of video editing. SpeedGrade has the ability to dynamically adjust the quality of a video to enable smooth playback on computers with less powerful graphic cards or CPUs. To improve the performance, simply set the quality for the image both during playback and when the video is paused. To adjust the settings, button  in the menu located at the upper right corner of the screen, then Click on the  the  settings button  choose the dynamic quality option. Choose a resolution that is quite low for playback, for example, 1:2 (half the original resolution of the source material) or a much lower option. Specify the resolution for paused images (the paused image resolution can be used to see more image detail. It should be fixed as high as, or even higher than, the chosen playback resolution. If you are using a format that has a native colour depth greater than 8 bits per channel, the colour depth can be used for playback and paused images also.

VR Video Playback VR video and 360 VR and AR are basically terms that can be used interchangeably. They pertain to videos that are recorded using a specialist omnidirectional camera. This kind of camera allows the filming of an entire 360 degrees at the same time. The user is allowed to have a look around the entire scene in the finished video. A VR video gives an immersive and interactive experience as opposed to regular videos. There is a feeling of "being there" that comes with the VR video. As against popular belief, a special device is not needed to see 360 videos. A vast majority of devices view them, including mobile devices. To view the entire 360 degrees of a scene, simply swipe or scroll across the screen. Commercial applications such as virtual reality real estate tours can find this very useful. Below are steps for playing back a VR video.

Step 1: Turn on VR in the Sequence Settings 360° footage can be imported into the premiere in the same manner as any regular video would. Although Adobe Premiere Pro has automatic VR property detection when a media is imported, below are the steps to enable VR in sequence settings manually. ●  Go to the menu and choose "sequence," then select "sequence settings." ●  In the lower part of the dialog box, a VR properties section will be displayed. ●  Enable VR in the sequence by simply choosing a projection. At the moment, Premiere Pro one projection format. i.e. equirectangular a piece of footage that only is a supports very common format for 360 video; it allows it to(this wrapis into an immersive

 

sphere). ●  Select a layout based on the type of footage shot and also the type of camera used. The layout can either be monoscopic, stereoscopic-side by side, or stereoscopic-over/under. At a time, just one type of footage can be supported by the sequence at a time. ●  The vertical and horizontal captured view fields enable the user to dictate the number of degrees of view that should be contained in a full frame. Most of the time, 180 degrees vertical and 360 degrees horizontal (a full sphere) are often selected. button to save the changes you made. Now the VR video display ●  Finally, select the OK the OK button to with the chosen sequence should be able to be used.

Step 2: Preview the Video Quality Now that VR editing has been enabled in the sequence, the very next step is to check the clips on the monitor. 360 video can be viewed basically in two ways: ●  Select the settings button on the right-hand side of the monitor and choose the monitor, then select VR Video > Enable. ●  Select the button editor (+) and then click and move the toggle VR video display button to the toolbar for ease of use. ●  With the VR video display mode enabled, navigate to VR video > settings. The monitor view field lets the user control the exact portion of the sphere view and also creates different viewing experiences while operating in the VR video display mode. As an example, the 160 by 90 degree grid creates viewing within YouTube. It is also worthwhile to note that these settings dictate the aspect ratio of the view window. For example, 160 by 90 degrees shows a 16:9 window view.

Step 3: Edit the Video and Choose a Center Point When all this has been done, the 360 footage can be adjusted as though it's regular footage. This gives room for the inclusion of trims, slices, correction of colour, addition of images and lots more. Bear in mind that the text will be anchored to a fixed point on the footage. This won't have viewers follow it immediately or track head movements. The text will be mildly deformed while being stretched into a spherical view. It is also worthwhile to note that transformational effects such as the warp stabilizers won't be of use with the 360 footage. One other aspect that needs to be given important consideration is the center point of the camera. There is very little control over the direction the viewer is looking at, compared to the traditional camera. However, in order to draw the attention of the subject, the user can choose to start the orientation or set the center point.

 

The easiest way to set the center point in Adobe Premiere is to make use of the offset effect. To do this, simply go to the Effects window, then go to Video Effects > Distort > Offset. Then apply the offset effect to the chip in the Timeline. Choose the clip in the Timeline, then open the Effect Controls Window. To have this controlled, move the first number either right or left so the clip can be panned horizontally. the second number is not shifted, as this can lead to a violation of the verticalEnsure position.

Using Markers Markers help to show important points in time and also help position and arrange clips. You can choose to use a marker to identify a very important action or sound in a clip or sequence. Markers are mainly for reference only and do not change the video.

Below are the types of markers that can be found in Adobe Premiere Pro. Marker

Description

Comment

This is a note about a part of the Timeline that has been selected.

Chapter

Chapter markers in the project enable viewers who are seeing the finished video to make use of the markers to swiftly move to those specific points in the video.

Segmentation Marker

This can be used to define ranges in the video to have workflow automated. For example, certain areas can be identified as leaders.

Web Link

This helps to add a URL with the aim of providing more information about the part that is selected.

Markers can be added to a source clip or a sequence. Markers are also colour-coded for easy identification.

Markers panel The marker panel can be used to view all the markers in a clip or sequence that is opened. The details that come with clips, such as in points, colour-coded tags, out points, and comments, are shown. Selecting a clip thumbnail in the Markers Panel helps to move the playhead to the point of the corresponding marker.

 

A marker on a clip or in a sequence displays the in and out points on the marker panel. The In or Out point can be scrubbed to change the marker from a single frame in time to one that covers a range of time.

Add markers to the Timeline Markers can be added to the source monitor, Timeline, or program monitor. Markers added to program monitors are displayed in the Timeline. Also, markers that are added to the Timeline are displayed on the program monitor. In InAdobe Premiere Pro, different markers can be added, which allows a user to also add different notes and comments on the same point in the Timeline. To add a marker, simply move the playhead to the exact point where the marker needs to be Marker, or you can press the M key. key. By default, the colour of a added. Choose Marker > Add Marker, marker is green. To change markers, double click on the maker's icon to open up the Marker dialog box.

Finally, set the options below: Give the marker a unique name. Duration: Move the value of the duration or select the value to highlight it. Type a new value and then press the enter button to have it saved. When making use of markers for URL links, configure the sequence markers to be much longer than one frame in the duration. Comments: Type in the comment that should be used with the marker. This aspect is enabled only when the web link has been checked. Simply enter the address of the web page that needs to be opened. button. When all of these have been done, click the OK button.

Finding, Moving, and Deleting Markers Markers are usually found when navigation toolsdeleted are used. They can be moved from their original location by dragging themthe or by having them altogether.

Navigate among the markers. icon, select marker, marker, and either choose between To move through markers, click on the marker icon, the next marker or the previous marker.

Move a marker To move a marker, you can either move a clip marker that is in a clip in a particular sequence, or have the clip open in the source monitor and simply move the marker icon in the source monitor. A sequence marker can also be moved by dragging the marker in the Timeline panel or the time ruler in the Program Monitor.

 

Note that sequence markers in a nested sequence show up as clip markers, although with a slightly different colour in the source monitor and also in the parent sequence. To have a nested marker adjusted, simply ensure the nested sequence is open in the Timeline panel and then move the marker.

Delete markers Markers can be deleted in the following ways To have a clip marker deleted, ensure the playhead is cued to the clip marker and then open the clip in the source monitor. In a similar way, to delete a sequence marker, have the playhead cued to the marker. To have a marker cleared, choose the marker, then select the clear selected marker option. To clear all the markers, click on the markers, then clear all markers. Whenever the "clear all markers" option is used, Adobe Premiere Pro takes away all the sequence markers and also the clip markers that are on the selected clips.

Share markers with After Effects Markers can be shared between Adobe Premiere Pro and After Effects in any of the following ways: ●  When a Premiere Pro project is imported into After Effects, it helps convert the sequence markers into composition markers.

●  When a sequence is copied from a Premiere Pro Project panel and then pasted into After Effects, the composition that it produces keeps the sequence markers as composition markers and also the clip layers as layer markers. The operation of copying and

pasting helps preserve the markers in an expected way. ●  When a sequence is exported from Premiere Pro through the Adobe Media Encoder into a container format like AVI, the sequence markers are then saved into the file as an XMP temporary metadata. When the video is used as the source for a given layer, After Effects ensures these sequence markers are converted into layer markers.

Filtering markers by colour Adobe Premiere Pro gives allowance for markers to be filtered by colour in the markers panel. To have just these coloured markers shown in the list, select one or more of the coloured checkboxes at the top of the Markers panel.

Use Sync Lock and Track Lock The new sync lock option in Adobe Premiere Pro is a very useful tool that helps to

 

keep the relationship between clips on different tracks. This way, when editing is done, changes are made to just one clip, and editing will be kept in place by making changes to the other clips in the Timeline. Whenever you do not need the contents of some tracks changed due to edits that must have taken place in other tracks, the sync lock option should be disabled for the tracks that don't need to be affected.

Enabling or disabling sync lock Sync lock is by default enabled on the Adobe Premiere Pro. To disable it, simply click the sync lock button. When a line appears over the sync lock icon, it means the sync lock has been disabled. And vice versa, sync lock can also be enabled through the same process, but this time it is enabled when the line disappears. On the other hand, track lock is exceptionally different from sync lock. This locks the track from either being directly edited or from the adjustments made to other tracks that are synced. The locked track just stays in one place. To ensure a track is locked, click on the toggle button for track lock; when the lock icon is closed, Premiere will show a diagonal line pattern on the track. To have a track unlocked, click on the toggle track lock button again. This opens up the lock icon, and the diagonal line pattern is removed.

Working with gaps in the sequence Adding gaps To add gaps in Adobe Premiere Pro, simply place any picture just above the main video and then begin to move that picture into the video while ensuring the Ctrl key is pressed down firmly. This will help to move all the video sequences to the right, and then the stretched image can be deleted to create the new gap.

Closing gaps In the event that there are lots of clips separated by blank spaces between them and these spaces need to be removed, with a very easy change to the keyboard shortcuts in Adobe Premiere Pro, this can be done. Start by opening the keyboard shortcut located under the Premiere Pro CC drop-down menu. Then move to the search bar and type "gap" so as to find the "close gap". Simply add a keyboard shortcut to it, then click on the OK button to ensure this is saved. Finally, move to the sequence Timeline and delete all the gaps that are not needed using the shortcut.

Utilizing Clips With clip usage, the number of times a clip has been used in the Project Panel can be viewed,

 

along with the location at which it was used, and also the number of times it was used. If the selected clip has been used, the clip usage triangle will be displayed next to the thumbnail viewer that is used in a sequence. To do this, simply choose a clip in the project panel, then just towards the top of the project triangle on the movie line beside panel, next to the thumbnail for the clip, select the clip usage triangle on the pixel aspect ratio. A pop menu that will display the timecode location for the clip for any sequence being used will be displayed. Select the preferred, the preferred sequence panel will then move forward, and then the playhead will jump to the place where the clip is.

Choose one or more clips Whenever an action that will affect the whole clip needs to be performed, like adding an effect, moving or deleting a clip, the first thing to do is to select the clip in a Timeline. In the Tools panel, there are various selection tools that can handle different selection tasks. Below are things that can be done. ●  If a single clip is to be selected, make use of the selection tool and then select the clip in the Timeline panel. ●  If the audio or the video part of a clip is to be selected, make use of the selection tool and the Alt-click ●  To have different clips selected by clicking, use the selection tool and then apply shiftclick to each of the clips that need to be selected. (shift-click an already selected clip to have it deselected) ● 

To choose a range of clips, select an empty area of the sequence below the time ruler, then move a rectangle (marquee selection) that has any part of the clips that needs to be selected.

●  If a range of clips is to be included or removed from the current selection, click the shift button and drag a marquee around the clips. When a marquee that has deselected clips is shifted, it adds them to the current selection. Furthermore, when a marquee that has selected clips is moved, the clips become deselected automatically. ●  To choose all the clips that can be found on and after a certain time on a particular track, click on the track select tool and then click the clip at the start of the time span that needs to be selected. Shift-click with the tool to choose clips from the whole track. ●  In order to select clips in a track without regard to their audio or video, Alt-click with the use of the Track Select tool. ●  In Adobe Premiere Pro, make use of the select next clip option or the select previous clip command buttons to choose clips on chosen tracks at the current location of the playhead. These commands, activated by the keyboard, must be fixed in the keyboard shortcuts dialog box before making use of them. ● 

In Premiere Pro, make use of the Select In to Out command button to choose clips depending on the In and Out points on specific tracks. Also, this must be set in the

 

Keyboard Shortcuts dialog box before being used.

Enable or disable clips A clip can be enabled or disabled while a different editing area is being tried out, or to reduce the time for processing when a complex project is being worked upon. Clips that have been disabled will not show in the preview video file that is exported. As long as the track containing the clip that has been disabled is not locked, changes can still be made to it. If you choose to disable all the clips contained on the same track, have the whole track excluded. clip, and then select Enable Enable.. A Choose one or more clips in a Timeline panel, then select the clip, mark located next to the command shows that the selected clip has been enabled. A disabled clip will appear dim in a Timeline panel.

Grouping clips Clips can be grouped together so they can be moved, copied, disabled, or deleted together. The audio and video tracks of a linked clip are always embedded when they are grouped with other clips. Clip-based commands such as effects on the group or speed commands cannot be applied, although individual clips can be be trimmed, applied. The edges of the group (the head of can the be firstselected clip or in thethe tailgroup of theand lasteffects clip) can but outer the interior in-or out points cannot be trimmed. ●  To have clips grouped, choose different clips, select the clip, then group. ●  To ungroup clips, choose a group of clips, select the clip, then ungroup. ●  To choose one or more clips from a given group of clips, simply Alt-click a single clip in a group or shift + Alt-click to choose more clips in a group.

Moving Clips in a Timeline Panel A clip can be dragged and placed in an empty spot or snapped into another clip. Clips being moved can alsoasbethey've inserted anddragged. overwritten. Keep an eyeclips, on the translucent shows the clips' time been To drag various choose a rangerectangle of clips,that or have a group of clips moved. A tooltip shows the number of times it's been moved as it's been dragged.

The window helps to show a negative number if the clip is moved towards the start of the sequence and a positive number if it is at the end. The default mode is "overwrite", and it is indicated by the Overwrite icon when the clips are moved. Pressing Ctrl as a clip is dropped helps to create an insert edit. The insert icon shows up when clips are moved while pressing the control button. By default, the track location of both portions of a clip, audio and video, can be changed by moving the portion. The other portion will stay on its default track. This can, however, be changed by pressing the shift while dragging by dragging vertically across the bar that demarcates the button audio tracks from theorvideo tracks.

 

When a part of a clip is being dragged vertically into a completely new track, it will snap to its default time position in the new track if the snap feature is turned on. To move clips, simply do any one of the following: ●  To move the audio part of a clip to an entirely different track, simply drag the audio part of the clip vertically to the preferred audio track destination. ●  To move the video part of a clip to an entirely different track, simply drag the video part of the clip vertically to the preferred video track destination. ●  To move the video part of a clip to video 1 and then move the audio part to a

completely different audio track, simply drag the video portion downward beyond the bar demarcating audio tracks and video tracks. The audio part will still be in Audio 1, while the video part will be in whichever video track it is dropped from. ●  To drop the audio and video parts of a clip into chosen tracks, drag the video part to the preferred video track destination. Press down and hold the shift key. This will ensure the video part is pinned to the chosen video track. Hold the shift key continuously and drag the cursor below the bar demarcating audio and video tracks. Free the mouse and the shift button when the audio part of the song lies just over the preferred audio track destination. ● 

To have other clips overwritten, move one or more clips and drop them on the track where you have other clips as well.

● 

To move just one track of a clip that is linked, press the Alt button and then drag the portion of the clip video or audio that needs to be moved. The Alt button doesn't have to be held down after the edit has been initiated. The audio and video might have lost sync.

●  To insert, move one clip or more and press the Ctrl button as you set the mouse button loose and drop the clip or clips into a new destination. All clips located at the right of the drop point move to the right of the clip inserted. A gap is then established in the track from which the inserted clip is moved.

Moving clips with the use of the keypad The position of a clip can be changed in a sequence by typing in the number of frames that need to be moved.

Choose the clip in the sequence With the use of the numeric keypad with Num lock on, type the + (plus) and the number of frames that the clip needs to be moved to the right, or type the -button (minus) and the number of frames that it needs to be moved to the left, then press the enter key. The gaps that are filled first are the ones that exist between clips. The chosen clips are then overwritten by the adjacent clips by the number of frames left.

 

Moving clips to a completely differen differentt track ●  Slide the video or audio part of a clip up or down into the desired track. Only the part of the clip that is moved will be in the new track. ●  Keyboard shortcuts can be used to move clips to an entirely different track: Nudge the clip selection up and down.Choose one or more clips in the Timeline panel, after which the command button can be used to move the clip or clips to a new track. The chosen clip or clips help to move a track vertically only if all the chosen clips can be moved; if not, the clips cannot be moved. All the clips ensure their start and end times are kept horizontally. ●  In the case of video clips, going up helps increase the track number (for example, from V2 to V3). In complete contrast, as regards audio clips, going up decreases the track number (for example, from A2 to A1). Going downwards reduces video track numbers and increases audio track numbers. If a clip is moved more than the current number of tracks, a new track might be included. Note that the command button will refuse to move any clip if any of the following occurs: ●  The move will result in the clip being placed before track 1 (for example, a clip on video 1 cannot be moved to a much lower track, or a clip on audio 1 to a much higher track). If a clip is attempted to be moved in this manner, a tooltip will be displayed at the middle of the Timeline panel with the description "Media limit on V1" or "Media limit on A1. ●  The move would put the clip on a locked track. If a clip is attempted to be moved in this manner, a tooltip will be displayed showing "Media Limit" on the track that cannot be moved due to an adjacent track that is locked.

Rearranging clips in a Timeline Panel A useful feature of the insert and overwrite edits in a Timeline panel is basically known as "rearrange edit." A rearrange edit pulls a clip and fixes it in a new location. However, only the clips in theThis destination track aretoshifted; that in in thea other trackquickly, are not affected in any way. technique helps changethe theclips order of are clips sequence a task that would have required a lot of additional steps. When a rearrangement edit is done, the rearrange icon appears. Drag a clip and then press Alt as it is dropped in a new location. As the Ctrl + Alt button is pressed, the rearrange icon is shown. When the clip is released, it performs an insert edit that moves the clip into the destination tracks alone.

Chapter Six Adding Transitions

 

What are the transitiosn effects? Transition effects are effects that are added in between pieces of media to make an animated link right between them. Transitions help to move a scene from a particular shot to the next. The Adobe Premiere Pro gives a list of transitions that can be applied to a sequence. Transitions can either be a stylized effect or a subtle crossfade. By default, when a clip is placed next to another clip in a Timeline panel, it results in a cut, such that the last frame of a particular clip will be followed by the first frame of the next. Transitions are most times placed on a cut line right in between shots. They can also be applied at the beginning or end of a clip only. Ensure clips are trimmed before transitions are applied. The more trimmed clips, the more frames to be used in transition will be made available. To apply a transition effect between two clips (based on the cut line), it's essential the clips are on the same track and there should be no space between them. Select windows, then effects. Expand the audio or video transition bin that contains the transition that will be used. Drag the transition to cut the line between two clips so as to apply a transition between the two clips, then release the mouse when the Center At Cut Icon has been displayed.

Set and apply default transitions Video and audio transitions can be set as default transitions. The preset video and audio default transitions are Cross Dissolve and Constant Power Crossfade. In the Effects panel, a blue outline marks the default transition icon. If another transition is used more frequently, it can also be set as the default. When the default transition setting is altered, the default for all projects is altered as well.When the default transition is changed, it does not in any way affect the already applied transitions to the sequences. To set a transition as the default, select Windows, then Effects, and then expand the Audio Transitions or Video Transitions bin, and then choose the transition that you wish to make the default. Choose the menu button from the Effects Panel or right click the transition and then click on Set Selected As Default Transition.

Apply default transitions between chosen clips The default video and audio transitions can be applied to any selection of two or more clips. They are applied at every point where the two selected clips touch each other. The placement is not based on the position of the current-time indicator or if the clips are on targeted tracks. The default transitions are not used where a chosen clip gets in touch with a clip that is not selected. In the Timeline, choose two or more clips. Shift-click the clips or have a marquee drawn over them to select them.

 

   sequence then Choose sequence Choose  then apply default transitions to selection.

Applying a single sided transitions Usually, transitions are double-sided as they get applied to the two clips. A singlesided transition can only be applied to a single clip. This is particularly useful when there is no clip handle. When a single transition is being used, there is more control over how the clips are transitioned. For example, the effect ofclip onefading clip can be making created use by of departing using the Venetian Blinds transition and then the next whale, Cross Dissolve.

 

In a Timeline or in an effect control panel, the double-sided transition has a dark vertical line through it, but the single-sided transition is split diagonally such that one half is dark while the other half is light. To add a single-sided transition, simply navigate to the Effects panel, find the transition that should be applied, expand the video and audio transition bins, and then expand the bin that has the transition that should be applied. To have a transition placed on a single cut, select the Ctrl+drag so as to move the transition into a Timeline panel. Release the mouse when either the End At Cut OR Start At Cut icon is displayed. End At Cut Icon: Icon: Helps to align the end of the transition with the end of the first clip. Start At Cut icon: icon: This helps to align the beginning of the transition to the start of the second clip.

Copy and Paste transitions A transition can be copied in a sequence and pasted on any other cut line on a track of the same type that is audio transitions to audio tracks and also video transitions to video tracks. Select a transition in a sequence. Choose edit then copy or make use of the keyboard shortcut "Ctrl + C. ●  To copy a transition to a single clip: Drag the current time indicator to the cut line where the transition should be pasted. ● 

To copy a transition to different clips: Choose multiple edit points in the sequence by simply moving a marquee all around the edit points, or by making use of the Shift key with any trimming tool.

Changing the transition To change a transition, move the new audio or video transition from the Effects panel onto the transition that is in the sequence. When a transition is replaced, it helps to preserve the duration and alignment. However, this change ensures the settings for the old transition are discarded and replaced with the default settings for the new transition.

The importance of clip handles Clip handles are additional footage before the clip’s in-point and right after the clip’s-out point that can be used to have a transition manipulated. If the source media doesn't have enough frames, clip handles might be absent as there will be no additional footage to add the transition. When the transition is added, Adobe Premiere Pro will send a warning that there is "Insufficient Media" and that the transition might have frames that are repeated. The Adobe Premiere Pro creates its clip handles by repeating the end frames so as to form a freeze frame of the clip. The transition will show in the Timeline panel with the vertical warning bars through it.

 

Whenever there are less clip handles for transition, the most easy solution is to have the clip reedited. Choose the clip in the Timeline then make use of the Ripple edit tool to have the clip trimmed back. The transition can then be added. Using A/B mode to fine-tune a transition

CHAPTER SEVEN MASTERING ADVANCED EDITING TECHNIQUES Performing a Four-Point Edit Points are said to be the "In point" (mark in) and "Out point" (mark out) markers that are added to the source clip and the Timeline. Four point editing gives a very fast and accurate way clips can be added. It can be used for any project but works best for projects where clips need to be aligned suchInasmost connecting visual clips to narration connecting clipsthe to speed defined parts of accurately a sound track. cases, four-point editing results inorhaving to change of the clip in such a way that it accurately matches a specific time in the Timeline.

How it works In the Timeline, the area where a source clip needs to be added can be identified by adding an Inpoint marker for where the clip should start and an Out-point marker for where the clip or both clips should end. The same is with the source clip. In-point and out-point markers can be added. The source clip will be trimmed in accordance with these markers when they are added to the Timeline, and they will replace any existing content in the Timeline. If the four-points are set, most times, the time set in the Timeline won't match the time of the trimmed clip. This means the speed needs to be changed to fill the time defined in the Timeline or choose 3 points of priority and give room for the clip to run at its own original speed.

 

Do the following to add clips by using four-point editing ●  Click the 3-4 Point Edit Mode in the Timeline in the editing mode dropdown ● 

When you must have had one or more clips in the Timeline, move the scrubber to the very In-point position needed and click the Mark In button located on the Timeline toolbar

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Choose the source clip needed in the library and in the Player panel, make sure the Source view is shown

●  With the use of the controls under the preview, drag the scrubber to the In-point position needed and select the Mark In button ●  Drag the scrubber to the position the Out-point is needed and select the Mark out button ●  Choose the track where the clip needs to be added in the Timeline ●  Just beneath the preview, select the Fit to Duration button

Replacing Clips and Media Very often, different clips outside of Premiere Pro might need colouring. Other times, effects or CGI might need to be added. As work is carried out progressively, clips in the Timeline that are being built upon might need to be updated. Changing a piece of clip in the Adobe Premiere Pro is a very wonderful feature to fall back on most especially in the concluding stages of the project. It makes each version easy to be updated with the latest iteration or special effects. Despite this, the will to continue to edit in the original project is still retained.

Changing Clip Playback Speed The speed of a clip can be defined as the rate at which the clip plays back in contrast to the rate at which it was recorded. The duration of a clip is the amount of time taken to play from the Inpoint to the Out-point. The duration can be fixed for both audio and video clips, allowing them to speed up or slow down to fill up the duration. The speed and duration of one or more clips can be changed at a time. The Adobe Premiere Pro provides various ways for the speed and duration of clips to be changed. The following can be used to change the speed of a clip

Speed /Duration command In the Timeline panel or the project panel, choose one or more clips. Select the Ctrl-click clips to choose a non-contiguous group of clips from the project panel. Select clip > Speed/duration or right-click  right-click  just over a selected clip and choose Speed/Duration.. Speed/Duration Then do any of the following:

 

●  To change the duration without having to change the speed of the chosen clips, select the gang button such that it displays a broken link. Changing from ganging gives room to allow the speed chan change ge without the duration changing. ●  Check the reverse speed to play the clips backward ●  Check the maintain audio pitch to keep the audio at its current pitch while the duration or speed changes ● 

To ensure the clips follow the changing clips next to them, simply select ripple edit and then shift trailing clips

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Choose a Time Interpolation option for speed changes : Frame blending, frame sampling or optical flow.

Finally click the ok button.

Using the Rate Stretch tool The rate stretch tool offers a fast way to change the time of a clip in the Timeline while at the same time changing the clip’s speed so as to fit the duration. For example, if there is a gap in the sequence of a given length and the gap needs to be filled with some media that is speed-altered. The speed of video doesn't really need to be taken into consideration, just ensure it fills the gap at whatever speed it has to. The rate stretch gives room to stretch or compress the speed to the desired percentage. A clip’s speed can be changed to fit a particular duration with the use of the Rate Stretch tool in Premiere Pro. Choose the Rate Stretch tool and move any of the edges of the clip in a Timeline panel.

Using Time Remapping The speed of the video portion of a clip can be varied. Make use of the Time Remapping to create slow and fast motion effects within a single clip. clip, and choose Show clip keyframes>Time remapping> speed. Right click on the desired the desired clip, The clip should be shaded blue. A vertical rubber band that controls the speed of the clip should be displayed across the center of the clip. At the upper portion of the clip, a white speed-control track should also be displayed beneath the clip title bar. If the clip is very hard to be seen, to make enough room simply zoom in. Move the rubber band in an upward or downward manner so as to increase or decrease the speed of the clip. A tooltip showing the change in speed as a percentage of the original speed will be displayed. The playback speed of the video portion of the clip will be changed and the duration will be expanded or contracted based on if the speed increases or decreases. The audio part of the clip will be unchanged by Time Remapping though it will still be linked to the video portion.

 

Nesting a Sequence Nesting in a sequence simply means placing one sequence in another sequence. This allows effects and edits to be applied to the nested sequence as a single clip rather than changing the different clips inside it. Nested sequences will keep being editable. Changes that are made to the nested sequence will be dynamically updated in the other sequence.

To nest a sequence, ensure that the insert and overwrite sequences as nest or individual clips button in the Timeline has been enabled. When nesting, make use of the same editing techniques that might be used to edit a clip into the sequence. Make a nested from the clips already in a sequence then ●  Choose the clip that should be included in the new nested sequence ●  Right -click on the chosen clip(s) and select Nest ●  Type in a name for the new sequence and select ok The newly nested sequence then replaces the chosen clips in the current sequence and shows in the project panel. Nested sequences are still the same editable sequences that can be edited by doubleclicking. Simply double-click the sequence in the Project panel and then double click the nested sequence clip in the Timeline. If the insert and overwrite sequences as nest or individual clips button in the Timeline indicates disabled, editing a particular sequence into another can cause the individual clip to be disabled.

Performing Regular Trimming The regular technique works the same choosing as choosing the Out clip on side the side edit of point basically for trimming the opposite direction. For example, a Trim theofright an empty gap is the same as choosing the Trim In of the adjacent clip.

CHAPTER EIGHT PUTTING CLIPS IN MOTION Adjusting Motion Effect In Adobe Premiere Pro, motion controls effects are fixed. What this means is that they are automatically applied to every clip. In contrast to other effects, they are not applied manually. However, as work is ongoing on the video, there might be a need to adjust these effects. This can be done by making use of the Effects Control panel. The motion controls can be viewed by

 

clicking on the clip that needs to be worked on in the Timeline then go over to the Effects Control tab located right within the source monitor to make the necessary adjustment needed.

Changing a Clip Position, Size and Rotation To change the position of a clip in the Program Monitor simply do the following: Choose a clip in the Timeline panel and drag the current-time indicator to a particular location of the frame right within the clip. Make sure that the Uniform Scale checkbox of the Motion effect is deselected.

Lighting Effects only Using the Effects panel, apply Lighting Effects to the clip. A lens flare will be displayed on the clip. The position of the light can be adjusted using the options that are available in the Effects Control panel.

Motion Effects Choose the clip in the program monitor. The handles and clip anchor point will be displayed in the program monitor which gives room for the position of the clip to be adjusted.

Scale a clip To scale a clip in the program monitor , simply do the following ●  To have a clip or light effect positioned, double-click on the clip. The handles and clip anchor point will be displayed on the clip. Move the clip to change its position. Ensure the handle is not moved to change the clip or lighting effect. ●  To scale the clip freely, move a corner handle. ●  For scaling along a single dimension only, move a side and not the corner handle ●  For proportional scaling , shift-drag a corner handle

Scale Asset When an asset is moved into a sequence, by default the Adobe Premiere Pro keeps its frame size and positions the asset in the program frame. The asset can be resized without distortion, if its pixel aspect ratio has been correctly interpreted.

Scale assets manually Move the asset from the Project panel into a sequence and choose the asset. Open the Effects control panel. In order to open the motion controls beneath the motion effect, select the triangle

 

next to it. Select the triangle located next to the scale control within the motion effect to show the scale slider. Drag the scale slider to either left or right to increase or decrease the size of the frame.

Rotating a clip To rotate or a clip position the pointer slightly just any of the clip handles so an thateffect the pointer can simply help change the rotate icon then drag.outside In the effect controls panel, triangle next to the motion to open the motion controls. To rotate the clip, enter a value click the the triangle next in the rotation field. To flip a clip, enter a negative value into the rotation field.

Working with keyframe interpolation Interpolation is simply the process that fills data that is unknown between two values. This happens basically when animating effects. Interpolation in Adobe Premiere Pro is used basically for the animation of movement, image adjustments, transparency, colour changes etc The type of interpolation that will be used in the Adobe Premiere Pro will be based on the effect that needs to be achieved. Temporal Interpolation: Interpolation: This is used for motion. It helps to apply the selected interpolation method to changes that are in motion. The default interpolation for temporal interpolation is always linear. Spatial Interpolation: Interpolation: This helps to apply the selected interpolation method to the changes in shape such as if the corners were to be rounded or angled. The default interpolation technique is linear but can sometimes be bezier also. Linear Interpolation: Interpolation: This will create and also pace change from one keyframe to another. Bezier Interpolation: Interpolation: This gives room for the rate of change to either accelerate or decelerate depending on the shape of the curve of the Bezier. keyframe.. However, all An interpolation technique can be chosen by right clicking on any keyframe keyframes do not offer this technique. For example, scaling offers temporal interpolation only. To modify an interpolation technique, simply right click the triangle the triangle located  located next to the name of an effect. The control handles can also be adjusted to the values needed.

Applying Auto reframe Effect Auto Reframe intelligently knows the actions in the video and then reframes the clips for various aspect ratios. This feature can be really useful for posting videos to various social media handles such as YouTube, facebook or Instagram. Auto reframe can be used to reframe sequences for square, vertical and cinematic 16:9 or when cropping a content with high-resolution images such as 4K and above. Individual clips or a complete sequence can be reframed automatically. Adding the Auto Reframe Effect to a Clip

 

To add the auto reframe effect to a clip simply: ● 

Select video effects then transform. Move the auto reframe effect to the particular clip that needs to be reframed.

●  Fine tune the Auto Reframe effect by simply selecting a desired motion preset from the Effect Controls panel. When the effect is being applied, Adobe Premiere Pro produces motion keyframes that will follow the action in the content. One of the following options can be chosen :

Slower Motion This is appropriate when there is little or no camera motion like talking head interviews. When this control is used, the clip will have just a few keyframes and the results will be almost unchanged.

Default This can be used for almost all content. With default, the Auto reframe effect goes after the action, though the results might not be so great if the action is very rapid.

Faster Motion This is used when there appears to be a lot of motion in the footage and the Uto reframe effect needs to go after the action like in action sports or skateboarding videos. Autoframe will make sure that objects that are moving are always in the frame and also adds a lot of keyframes to the selected clip.

CHAPTER NINE EDITING AND MIXING AUDIO Setting Up the Interface to Work with Audio In the Audio Hardware pane of the preferences dialog box, click on the edit button then preferences and the audio. The computer audio device settings can be specified. The ASIO and MME settings can also be specified as premiere pro uses both recording and also for audio playback. When an audio device is connected, the hardware settings like the default output or the default input, master clock and sample rate are all loaded in this box. The Adobe Premiere Pro can use these kinds of sound drivers when inputs and outputs for recording and playback are recorded. The ASIO drivers offer support for professional cards while the MME drivers basically offer support for standard cards.

 

ASIO and CoreAudio drivers are preferred due to the fact that they offer better performance and a low latency. Audio can also be monitored while recording it and immediately listen to the pan, volume and effect changes as it's being played back. ●  Select Edit then preferences and then audio hardware ●  From the device class menu, select the driver fo the preferred sound card ●  Select a default output or input from the chosen card. ● 

For a very fast master clock, select the input or output that is preferred for the digital audio hardware to be synchronized to.

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For I/O Buffer size(ASIO and CoreAudio) or Latency (MME) indicate the lowest possible setting without the audio dropouts. The right setting is based on the speed of the system used hence the need for some experimenting before concluding on what should be used.

●  Select a sample rate for the audio hardware ● 

Under the output Mapping, the target speaker can be indicated in the computer sound system for every channel that is supported.

Examining Audio Characterist Characteristics ics Play Audio while Scrubbing This helps to ensure audio is enabled while scrubbing. A keyboard shortcut called "Toggle Audio"can be created during the process of scrubbing to switch audio scrubbing either on or off while scrubbing. Making use of a keyboard shortcut is actually better than always navigating to the preferences dialog box each time the audio scrubbing feature needs to be turned on or off.

Mute Input During Timeline Recording This helps to eliminate tracking of the audio inputs while recording is ongoing in the Timeline

Auto Waveform Generation To allow the Adobe Premiere Pro generate waveforms automatically when audio is being imported, choose this preference. To avoid displaying audio waveforms simply deselect this option.

Automation Keyframe Optimization This helps to specify the linear keyframe thinning and also the least time interval during thinning.

Adjustment of Large Volume This option allows the number of decibels to increase when making use of the Increase Clip Volume Many command to be determined

 

Adobe Plug-In Manager This opens up the plug in manager dialog box so as to work with the third party VST3 plug-ins and Audio Units.

Adding Adobe Stock Audio To add a music track easily and quickly while making use of the Adobe Stock Audio simply do the following: ●  Open the Essential Sound panel in Adobe Premiere Pro preset  or choose workspace  workspace  > In the Adobe premiere pro, choose the  the   audio workspace preset  essential sound to show all the new essential sound panels the Adobe audio stock has. Ensure to click the browse button located at the top of the panel, this way the extensive option of the library can be explored. ● 

With the aid of the search bar, search for keywords. Results can also be limited by Mood, Genre, Vocals Tempo etc. For example , if a user is looking for a background video to support a short brand video needed for an adventure travel company, the key words to be searched can include "beach" and the filter genre "pop".

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The Adobe Premiere Pro’s powerful Timeline sync gives the permission to be able to preview any Adobe stock audio cue, in perfect time with the video even before the video is imported to the project. Once that is enabled, park your Timeline playhead anywhere in the Timeline where the start of the music cue is anticipated. Then pick a music cue in the results from the search that will be preferred to be previewed and then click on the play button that is located next to the new track name. The playhead in the Timeline will then move back to its original starting point for a new preview.

It's worthy to note that the outpoint in the Timeline is determined by the duration of the music cue that is being previewed and it will be updated with each new cue that is played. ●  When the track that will be cut into the Timeline has been found, simply move and drop it from the Essential Sound panel straight into the Timeline. It can also be dropped directly in the project or simply right click and choose "Add to project" if that is preferable. ●  Now that the Adobe Stock audio track has been gotten in position, make use of the blade tool to trim the end so as to suit the duration of the edit. Default transition can also be applied by right clicking the head of the audio track and choosing the "Apply default transition" option. Ensure the same is repeated for the tail of the track. To add a little finesse to the edit the audio might need to be extended a little just so the video is faded out. ●  More than one track can be auditioned , they just need to be brought into the Timeline. Non watermarked videos can be reviewed before adding final touches. Once the track that the project will be locked with has been chosen, the track can then be licensed right from the Timeline. Simply right click on the preferred Adobe stock audio track and click on the license button. Once the track has been licensed, right in the background,

 

Adobe Premiere Pro will easily replace all traces of the m4a with a high quality wav file that has been made ready for export and broadcast. ●  Finally, if video needs to be exported for socials, export using the Adobe Premiere Pro preset.

Adjusting Audio Volume

Gain can be referred to as the input level of the volume in clips. The audio gain command is used to change the volume level for one or more chosen clips. The audio gain command does not depend on the output level settings in the Audio Track Mixer and the Timeline panels. Its value is added with the track level for the final mix. The gain can also be adjusted for the entire sequence with the "Normalize Mix Track" command. Volume on its own refers to the output level of the volume in sequence clips or tracks. The volume can be adjusted for a particular sequence in the clip in the Effect Controls or Timeline panels. In the Effect Control panel , the same methods can be used to make changes to the volume that is used to set other effect options. It is much easier to make changes to the volume in the Timeline panel. Gain or volume levels can be fixed to ensure consistent levels among tracks, or to adjust the volume of a track. Whatever the case may be, if the level of an audio clip was fixed too low when it was been digitized, having to increase the gain or volume increases noise. For the best of results, the standard practice of recording or digitizing source audio at the optimum level should be followed. This will give room for concentration on adjusting track levels.

Auto-Dock Music Level A highly regarded feature newly introduced in the Adobe Premiere Pro is the Auto Ducking feature. This feature enables keyframes to be added swiftly to a music clip and have it ducked automatically under dialogue or another audio clip in the Timeline. Just get into the Essential sound panel to make changes to how the keyframes are added and then use the preset option to automate the entire process more. This feature helps to save a lot of time also. This feature can be seen under the Music audio type. To apply simply select the preferred music clip. clip. Once this has been done, it will display different options which include duration, clip volume and ducking. Before ducking, the overall music level has to be set, this can be done by selecting the Auto-match option in the loudness section. This will auto fix a clip to a standard average loudness for music. Then the ducking checkbox will be chosen and opened up. In here there are a number of controls to help change how the premiere handles the mix. The audio clip that the music will also be ducked against can be chosen here including the sensitivity of the duck and also the level of the decibel. Once all of this has been done, premiere will automatically create keyframes so as to mix music.

Creating A Split Edit

Splitting a clip at any point allows you to create one clip that ends, and another that begins. The

 

two clips can be edited as normal. The video clip that you wish to split can be imported by clicking Add media. You can also choose the video clip from the Quick view Timeline or the Expert view Timeline, if it is already there. You can view all the frames in your video clip by clicking the Fit to Visible Timeline button or by pressing /. In addition, by dragging the zoom button to the right or pressing =, you can enlarge the video clip. The current-time indicator should be dragged to the frame where you button  next to the current-time indicator line to want the split to occur. Select the Split Clip button  split the clip.

Adjusting Audio Levels for a Clip clip  in a To adjust the volume of a single clip in the Effects Controls panel, choose an audio clip  sequence. Then in the Effect Controls panel, select the triangle located next to the volume to expand the effect. ●  Enter a value for the level. A negative value reduces the volume level and vice versa. A value of 0.0 shows the original volume level of the clip without any changes being made. ●

 

Select use the of triangle thattocan be found next to level to have Make the slider make changes to the volume level.the effect options expanded.

●  At the location of the current-time indicator in the Effect Controls panel, a keyframe is usually generated automatically

 

CHAPTER 10 IMPROVING AUDIO Improving audio with the essential sound panel To improve the audio via the essential sound panel simply navigate to audio and then to the essential panel. Click on ducking which has so many options. To get the best audio quality, the settings should be docked against dialogue. This way when there is a dialogue, the music goes down and when there is no dialogue the volume rises again. To make use of this feature simply navigate to the essential sound panel section in adobe premiere pro and click duck against. Then click on dialogue Once dialogue has been selected then the music will always lower when there is any form of dialogue in the track. This feature can be observed the most in films.

CHAPTER 11 ADDING VISUAL EFFECTS Working with Visual Effect The Effects panel provides access to visual effects. ●  You can access the Effects workspace by selecting Window > Workspaces > Effects. In the Effects panel Search field, effects whose names match your search will appear. ●  Drag and drop a visual effect on a clip in a sequence. ●  You can change the effect settings for a single clip in your sequence in the Effect Controls panel by selecting it. The controls and options for each

 

effect are different. ●  A reset button is located in the Effect Controls panel for each setting. If you want to remove an effect, select its name in the Effect Controls panel and press Delete. Press Control+Z to undo the changes you have made. ●  When you're done working with effects, return to the editing workspace.

Applying the Masterclip Effect Keyframe Effects An audio keyframe marks the moment when you specify a value, such as the spatial position, the opacity, or the volume. You need to set at least two keyframes to create a change in a property as it evolves over time. One keyframe represents the value at the beginning of the change, and the other keyframe represents the value at the end. After creating keyframes, Premiere Pro interpolates the values between them. The Timeline and Effect Controls panels are currently where you can add keyframes. Keyframes can be added in the Timeline or the Effect Controls panel at any time by clicking the Toggle Animation button in the Effect Controls panel. The keyframing process can be activated by clicking the Toggle Animation button in the Effect Controls panel. Click the clip containing the effect you wish to animate in the Timeline panel. When editing keyframes in a Timeline panel, make sure that the keyframes are visible in the video or audio track. To view the keyframes, click the wrench icon in the Timeline panel and select Show Video Keyframes. Activate keyframes for an effect property by clicking the Toggle Animation icon in the Effect Controls panel, and then expand the effect you want to add keyframes to. The graph of the effect property can be displayed in one of the following ways: ● 

Click the triangle to display the value and velocity graph of the effect property (Effect Control panel).

●  On the Timeline panel, click the effect property next to the clip or track name. Add a keyframe by moving the playhead to the desired time in the Timeline. Choose one of the following:

 

●  The keyframe can be added or removed in the Effect Controls panel, after which the property's value is adjusted. ●  Use the selection or pen tool to select a keyframe graph and then adjust the value of the effect property. Select or pen tools can be used to create keyframes anywhere on a graph. A current-time indicator does not need to be positioned. ●  Adjust the controls for an effect's property in the Effect Controls panel. By doing so, a keyframe will be created for the current time.

Using Effects Preset A preset containing settings for one or more effects can be applied to any clip in a sequence. Extend the Presets bin and choose from the following options: ●  Select the preset in the Timeline panel and drag it onto the clip. ● 

When the clip is selected in the Timeline panel, drag the effect preset into the Effect Controls panel.

If you drag the preset onto the clip in a Timeline panel, the drop destination is determined as follows: ●  In the absence of selected clips on the Timeline, the preset is applied to the clip targeted by the drop. ● 

If the Timeline has clips selected but the clip targeted by the drop is not one of those clips, then the clips selected are deselected. Any tracks targeted by the drop become selected. A preset is created and applied to the targeted clip and linked tracks.

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Whenever the preset is applied to a selected clip within the Timeline and that clip is included within the Timeline selection, the preset is applied to the entire selection. However, linked clips that are not selected will not be affected by the preset.

Exploring frequently used effects Premiere Pro comes with audio and video effects that can be applied to clips in your video program. Adding an effect can provide an unusual feature attribute or add a special visual or audio characteristic. An effect can, for instance, alter the exposure or colour of footage, manipulate sound, distort images, or include artistic effects. There are also effects for rotating video footage that can be animated or resized and positioned within the frame. The values that you assign to an effect determine its intensity. Animating controls for most effects is also possible with keyframes using the Effect Controls panel or a Timeline panel. Presets can be created and applied to all effects. The Timeline panel allows you to animate effects and view information about individual keyframes by using keyframes.

 

Fixed effects Whenever you add a clip to a Timeline panel, fixed effects are already applied. When a clip is selected, the Effect Controls panel shows fixed effects that control its inherent properties. The fixed effects can all be adjusted in the Effect Controls panel. It is also often easier to operate the Program Monitor, Timeline panel, and Audio Mixer. Some of the fixed effects are:

Motion This property allows you to animate, rotate, scale, adjust anti-flicker properties, or composite your clips with others.

Opacity It provides the ability to reduce the opacity of a clip for use in overlays, fades, and dissolves.

Time Remapping slows down, speeds up, reverses playback, or freezes a frame for any part of a clip. Acceleration and deceleration of these changes can be controlled with fine precision.

Volume It specifies the volume for any clip that contains audio.

Standard effects In order to achieve the desired result, you must first apply standard effects to the clip. A sequence of clips can have any number or combination of standard effects applied. Adding special effects or editing your video can be done with standard effects, such as adjusting the tone or trimming pixels. There are a number of video and audio effects in Premiere Pro, which are located in the Effects panel. Effect controls are used to manipulate standard effects after they have been applied to a clip. Some video effects can be directly manipulated in the Program Monitor. With the Effect Controls panel, you have the ability to animate all standard effect properties over time using keyframing and changing the graph shapes. If you adjust the Bezier curves in the Effect Controls panel, you can adjust how smooth or fast the effect animation is.

Clip-based and track-based effects Video effects, whether fixed or standard, are clip-based. They modify individual clips. Using nested sequences, you can apply the same clip-based effect to more than one clip at a time. It is possible to apply audio effects to either clips or tracks. If you want to apply track-based effects, you should use the Audio Mixer. Adding keyframes to an effect allows you to adjust it either from the audio mixer or from the Timeline panel.

Effect plug-ins

 

Premiere Pro comes with dozens of built-in effects, but many additional effects can be added as plug-ins. Adobe and third-party vendors sell plug-ins, or you can get them from other applications that are compatible. For instance, many Adobe After Effects plug-ins are compatible. Premiere Pro can also make use of VST plug-ins.In reality, Adobe officially supports only plug-ins that are preloaded with the application.

Using the Render and Replace Command In most cases, Premiere Pro tries to play back all sequences, clips, effects, transitions, titles, and any other non-rendered elements in real time without rendering them first. To ensure smooth playback, it may be necessary to render media files, especially for VFXintensive sequences. In addition, rendering any unrendered media elements of the Timeline reduces the dependency on the system resources. Using Premiere Pro's Render and Replace feature, you can flatten video clips and After Effects compositions, resulting in improved performance for VFX-heavy sequences. It is possible to revert to the original clip at any time by using the Restore Unrendered feature.

CHAPTER TWELVE USAGE OF COLOUR CORRECTION AND GRADING Understanding Display Colour Management colour management assists you in achieving consistent colour in your devices, such as digital cameras, scanners, computer monitors, and printers. Each of these devices reproduces a different range of colours, called a colour gamut. As you move media from your digital camera to your monitor, the colours shift. This shift happens because each device has a different colour gamut and thus reproduces the colours differently. colour management interpretes the media colours so that each device can reproduce them in the same way. The colours that you see on your monitor are similar to the colours in your printed image. All colours may not match exactly because the printer may reproduce a different range of colours than the monitor. Display colour Management works for any internal monitor and for any secondary computer monitor used as part of the OS desktop. As always, showing accurate colours and contrast requires that your display be, to a large extent, calibrated or characterized.

Following the colour adjustment workflow Adobe Premiere Pro provides you with professional-quality colour grading and colour correction tools that allow you to grade your footage directly on your editing Timeline. These colour tools are available within the Lumetri colour workspace in Premiere Pro. Using these tools, you can adjust colour, contrast, and light in your sequences in new, different, and innovative ways. In Premiere Pro, editing and colour grading work hand in hand, making it easy

 

for you to freely move between editing and grading tasks without having to export or launch a separate grading application. The colour workspace is designed not just for experienced or professional colourists but also for editors who have little or no experience in colour grading. You can either apply simple colour corrections or complex Lumetri looks using intuitive sliders and controls, or you can easily adjust cuts or fine-tune grades using advanced colour correction tools like curves and colour wheels. Adobe Premiere Pro provides a preset colour workspace that makes your task of colour grading faster and more efficient. colour,   or choose colour from the To set a colour workspace, select Window > Workspace > colour,  workspace switcher. The colour workspace opens with a Lumetri colour panel to the right and a Lumetri Scopes panel to the left of the Program Monitor. The Lumetri colour panel offers effective and easy-to-use colour tools. Examples are curves, colour wheels, and slider arrangements, arranged into different sections. Each section of the Lumetri colour panel focuses on a specific task of the colour workflow. The Lumetri Scopes panel displays different analyses of luma and chroma as waveforms based on your adjustments, letting you evaluate as you grade your clips.

Steps to the general correction workflow: ●  Ensure that you have set up the colour workspace. ●  Place the playhead on the required clip in your sequence. When the Lumetri colour panel is open, Premiere Pro automatically selects the Selection Follows Playhead option from the Sequence menu. The auto-selection of the clip makes sure that any colour adjustments or corrections you make are applied to the selected clip. ●  Start making colour adjustments using the Basic Correction section. The controls in the Basic Correction section guide you through applying a LUT (Lookup Table) and making other technical adjustments to exposure and light through easy-to-use controls. ● 

Use the Creative section to apply the looks. After that, you make further adjustments using the Adjustments sliders.

● 

Use the curves section to further modify the look using RGB curves and the Hue Saturation Curve.

●  Adjust shadows, midtones, and highlights using colour wheels for more precision in your colour adjustments. ● 

To make individual shots recorded under different lighting conditions look like they were in the same scene and not out of place when cutting from one shot to the next, use the colour Match section.

● 

After making all the colour adjustments, create a high-quality vignette to make your video outstanding.

 

Using Comparison View When working with colour, looking at a before-and-after can be really helpful. Our eyes sometimes deceive us the longer we work with the colour grading of a piece of footage. We become accustomed to the changes, and keep thinking we need to add more effects. After a while, we notice that we have moved away from a nice, subtle shift and have moved into a large change that doesn’t look so great. This is where understanding the comparison view can help. It gives us a quick way to see where we started, so that we don’t stray too far from it.

Below are the steps to using the comparison view: Set up the Program Monitor to compare the two clips, or to review the before and after appearance of a clip when working with visual effects.

Switch to Comparison View ●  Click the Program Monitor Comparison View button or choose "Comparison View" in the Program Monitor Settings menu me nu.

Choose a reference frame ●  Drag on the Reference View mini-Timeline, enter a specific time, or click Go to Next Edit or Go to Previous Edit to choose a reference frame.

Choose a split-screen view ● 

Click the Vertical Split button or Horizontal Split button to switch to the split screen view.

●  Click the Side by Side button to view separate frames.

Choose a shot or frame comparison ● 

When adjusting visual effects, click the Shot or Frame Comparison button to switch between a reference frame and the current clip in its previous state.

Swap sides ●  Click the "Swap Sides" button to switch the current frame to the left or right.

Matching colours The following are steps to match colours in Adobe Premiere Pro: Apply an automatic adjustment to match one footage to another, and thereafter make

 

manual adjustments to make your result perfect.

Step 1: Choose a comparison view ● 

Click the "Comparison View" button in the Program Monitor or in the Lumetri colour panel.

Step 2: Select a frame of reference ●  Choose a reference frame in the "Comparison View". When you match another clip, this is the specific frame it will be matched to.

Step 3: Select a clip that corresponds to the referenc referencee frame ● 

Position the Timeline playhead over a clip you would like to match to the reference frame, and ensure the clip is selected. The current frame will be matched to the reference frame, so if the content changes over time, choose a part of the clip that indicates the overall colour and brightness.

Step 4: Enable Face Detection to prioritize skin tones When Face Detection is enabled, faces are automatically identified and prioritized for colour and brightness matching.

Step 5: Use the colour Wheels to match colours ●  When you apply an automatic colour match, you achieve adjustments by using the colour wheels and their accompanying shadows, midtones, and luminance controls.

Step 6: Perform manual adjustments ●  Once the match is applied, all controls remain adjustable.

Exploring the colour adjustment effects The colour-and luminance-adjusting effects can be found in the colour Correction bin inside the Video Effects bin. Although other effects can adjust colour and luminance, the colour Correction effects are designed to make fine colour and luminance corrections. Application of the colour correction effects to a clip is the same way you apply all standard effects. The effect properties are usually adjusted in the Effect Controls panel. The colour correction effects and other colour effects are clip-based. However, you can apply them to multiple clips by nesting sequences. When correcting colour, it’s useful to use the Vectorscope or waveform scopes (YC Waveform,

 

RGB Parade, and YCbCr Parade) to help you analyze the chroma and luminance in a clip. You can view a scope on a separate reference monitor that’s ganged to the program monitor so that you can check your video levels as you make adjustments.

How to Adjust colour Effects New Item File button button  1. Create adjustmentLayer." layer: You Clickcan thealso   in the Project panel and > New > Adjustment Layer choose an "Adjustment choose choose File from the main menu. 2. Review the settings of your adjustment layer: In the Adjustment Layer dialog box, review the video settings for the adjustment layer, which will match your sequence, and make any necessary changes. Click OK. 3. Add the adjustment layer to your sequence: Drag the adjustment layer from the Project panel to your sequence in the Timeline panel. Position the adjustment layer above the clips you want to affect even the entire sequence. You can change its duration by dragging the end of the adjustment layer. 4. Apply a video effect:layer, Applyfind a video effect to in thethe adjustment layer. and To doubledo this, select the adjustment a video effect Effects panel, click that effect to apply it to the selected layer. Another way you can do this is by dragging the effect from the Effects panel directly onto the adjustment layer. You can combine multiple effects on a single adjustment layer or use multiple adjustment layers to control your effects. 5. Fine-tune your video effect. Open the Effect Controls panel. Modify the parameters of the applied effect the way it’s necessary. When you play the sequence, you will see that all the clips on the underlying tracks are affected by the changes you make parameter  in the to the adjustment layer above them. Clicking on the  the   Motion parameter  Effect Controls panel reveals a bounding box in the Program Monitor. Move or resize the bounding box to change the effect’s position or size within the viewable area of the Program Monitor. This is an easy way to show a before-and-after comparison of a given effect as you play your sequence.

Fixing Exposure Problems Overexposure is a common occurrence for most digital clips and footage. Even experienced videographers face this problem. The shooting environment or hardware glitches are usually the causes of oversaturated highlights in your videos. The following are steps to fix overexposure problems when using Adobe Premiere Pro: 1. Open the Lumetri Scopes panel at the top left of the screen. Follow this sequence in colour). Then select the footage the colour workspace (Window (Window > Workspaces > colour). you want to adjust and click the Basic Correction section of the panel to expand it. 2. Adjust Brightness and Tonal Values with the Waveform Monitor

 

3. colour Exposure: To implement a natural colour effect, you can explore the creative section and select a preset that sets the mood you’re looking for. Then, use the vectorscope to enhance the skin tones. Adjust the saturation notch towards the right. Further, isolate specific colours for adjustment to improve the skin tones.

Colour Offset Correction Step 1: Open 1: Open the "Lumetri colour Panel" window by going to Window at the top of the Premiere screen, then clicking on "Lumetri colour". Step 2: Open 2: Open the "Basic Correction tab" inside the Lumetri colour panel window to reveal all of the main colour correction options. STEP 3:  3:  To begin colour correcting this clip, correct the overall colour.Assuming that the footage is blue, we will correct it by using the WB Selector under the White Balance section. By selecting an area of the frame closest to white, Premiere will automatically balance the image. Step 4:  4:  Now that the image is balanced, adjust the "Exposure" to increase or decrease the footage's overall brightness. Step 5:  5:  Using the Shadows setting, you can increase or decrease the darkest parts of the clip without affecting the lighter areas. Step 6: Now, 6: Now, move on to the contrast slider. Decreasing the contrast will help wash out the clip, making the darker areas much lighter. STEP 7: Reduce 7: Reduce the Whites slider to help maintain the detail in the curtains in the background. Step 8: Next, 8: Next, with the Black slider, adjust the black level to your liking so that the darkest areas have a rich black level. Step 9:  9:  Lastly, change the saturation, which significantly changes the look of your clip. When the saturation is set to 0, it will remove all of the clip's colours, giving you a black and white look.

Using special colour effects Designing a great colour effect is sometimes hard. What can make your work easier is having all you need, whether it's a plugin or additional software, but actually figuring out which levels to adjust and which buttons to push can be incredibly frustrating. The following tools will help you maximize solar effects: ●  For a cool 3D effect, channel Blur. ●  colour Isolation: For isolating a single colour. ●  Adding a stylish tint to your shot ●  Invert: For many different looks, whether you want an "X-ray" or even a subtle colour correction ●  HLS Shift: Used to adjust the hues in rotations.

 

Creating a Distinctive Look ●  Switch to the colour workspace and make the Project panel active. File > New > Adjustment Layer) Layer) and accept the ●  Then, create a new adjustment layer ((File default settings. ●  Drag your item from the project panel to your sequence, above your clip. Trim it to fit. ●  Thereafter, select the adjustment layer and then expand the Basic Correction section of the Lumetri colour panel. ● 

Auto   to apply automatic White Balance and Tone adjustments to the shot Click Auto appearing in the Program Monitor. For best results, start with a clip that is properly exposed.

CHAPTER THIRTEEN EXPLORING COMPOSITING TECHNIQUES What is an Alpha Channel? The alpha channel is a colour component that represents the degree of transparency/opacity of a colour (that is, the red, green, and blue channels). It is used to determine how an image is rendered when blended with another. When an image has an alpha channel on it, it means you can adjust the image's transparency levels and make its bits translucent or totally see-through. When you want to remove the background from an image, the alpha channel can help you achieve this. When a colour (source) is blended with another colour (background), for example, when an image is overlaid onto another image, the alpha value of the source colour is used to determine the resulting colour. If the alpha value is opaque, the source colour overwrites the destination colour; if transparent, the source colour is invisible, allowing the background colour to show through. If the value is in between, the resulting colour has a varying degree of transparency or opacity, which creates a translucent effect. The alpha channel is used primarily in alpha blending and alpha compositing.

Making Compositing Part of Your Project

 

Simple steps for creating a composite 1. In the Editing workspace, place your main clip on track V2 in the Timeline panel. With the video clip selected, open the Effect Controls panel (Shift+5) and click the icon under Opacity that’s suitable for the object you’re masking: Ellipse, Rectangle, or Free Draw Bezier. Position the mask path points so they black out the object. Increase the mask feather to soften the edges. 2. If the masked object remains fixed throughout the scene, you can move on to the next step. However, if it moves, you’ll need to track the mask so it follows the object. In the Effect Controls panel, click the wrench the wrench icon next to Mask Path and choose the appropriate tracking method. Enable Preview so you’ll be able to gauge button. Mask the tracking’s accuracy in real time. Click the Track Forward button. tracking takes time, so be patient. When it’s completed, play the sequence. If at any point you need to change the position of the mask to keep it on target, readjust the mask path and click the Track Forward button again to create new tracking keyframes from that point onward. 3. Place the video inset clip on track V1. Trim it to match the length of the clip above it. Play your sequence. Depending on how the tracked object moves coming closer, moving farther away, or rotating you may need to keyframe the position, scale, and rotation values of the inset clip over the course of the sequence to maintain the illusion that the inset clip is an integral part of the composition. 4. Depending on the nature of your composition, the inset clip may either blend naturally into the main scene or create a surreal visual juxtaposition. Consider switching to the colour workspace and applying Lumetri colour adjustments to the inset clip whether a Look preset or basic colour corrections to fine-tune the final scene to your liking.

Working with the Opacity Effect By default, clips appear at full (100%) opacity. To reveal the lower clips, simply specify an opacity value below 100%. At 0% opacity, a clip is completely transparent. If no clips are below the transparent clip, the video’s black background becomes visible. Effects button to open the Applied Effects panel. 1. Click the Applied Effects button 2. Select the clip you want to make transparent and choose Opacity choose Opacity > Opacity from the popup menu just above the clip. clip . (You may need to zoom in to see this menu.) tool, position it over the clip’s Opacity graph, and when the Click the Selection tool, pointer becomes a double-arrow icon, drag the Opacity graph up or down.

Adjusting Alpha Channel Transparencies Transparencies When part of a clip is transparent or opaque, transparency information is stored in its alpha channel. You can composite images together without modifying the transparency of the clips themselves. For example, you can use blending modes or some of the channel effects to blend

 

image data from different clips into a composite. Except where alpha channels indicate transparency, clips on upper tracks usually cover clips on lower tracks. Premiere Pro composites clips from the lowest track up, creating a composite of clips on all visible tracks. Areas where all tracks are empty or transparent appear

black. Rendering order affects how opacity interacts with visual effects. The video effects list are rendered first, then geometric effects such as motion are rendered, and then alpha channel adjustments are applied. Within each effects group, effects are usually rendered from the top of the list down. Opacity renders after the video effects list because it is in the fixed effects list. If you want opacity to render earlier or later than certain effects, or if you want to control additional opacity options, apply the Alpha Adjust video effect. In the Interpret Footage dialog box, you can choose how to interpret the alpha channel in a file. Choose Invert Alpha Channel to swap areas of opacity with areas of transparency, or choose Ignore Alpha Channel to not use the alpha channel information at all.

Colour-Keying a Green Screen Shot The use of the green screen is one of the great skills to have as a video editor or creator. Shooting with a green screen allows you to insert video of an object or person on top of another layer of video, basically inserting the person into a new scene. The definition of chroma keying (or greenscreen): Chroma key compositing, or chroma keying, is a special effects or post-production technique for compositing (layering) two images or video streams together based on colour hues (chroma range). The technique has been used in different fields to remove a background from the subject of a photo or video particularly in the film, motion picture, and video game industries.

Steps to Keying a GreenScreen GreenScreen Shot: 1. Add green-screen green-screen footage to your sequence. 2. Drop the Ultra Key effect onto your clip. 3. Go to the effects control tab. 4. Use the eyedropper to select select the green colour in your v video ideo frame (click somewhere near your subject). You may have to try this a few times to get the best key. 5. Use the Setting option to choose how aggressively the effect works.

 

6. Play with the numbers under Matte Matte Generation until all the "noise" is gone. Usually, your green screen backdrop isn’t perfect. So shadows and highlights won’t be "keyed out" until you make adjustments with the Matte Generation. 7. Use thewill Matte Cleanup options affect the edges your objects. Choke shrink the edges, whiletosoftening will makeofthe edges more fuzzy. 8. Use spill suppression to adjust the edge colours of your subject.

Sometimes, when shooting in front of a green screen, a green reflection will make your subject appear slightly tinted green. Spill Suppression can fix this problem.

CHAPTER FOURTEEN CREATING NEW GRAPHICS Exploring the Essential Graphics Panel Working on a video project is made ten times easier with the Essential Graphics Panel. One of the main reasons motion designers are excited about the Essential Graphics Panel is the ability to link After Effects projects to Premiere Pro. As opposed to traditional After Effects templates, the Essential Graphics Panel allows editors to edit an After Effects composition without ever opening After Effects. Editors of any skill level are able to edit and customize After Effects templates without any prior knowledge of the software. The Essential Graphics panel is accessible by default through the Graphics workspace. In case you don't see it, it can be directly opened by clicking Window clicking  Window > Essential Graphics.

Create clip layers Layers of still images and video clips can be added to your graphic. Among the methods of creating clip layers are:  the icon and icon and ●  The Edit tab of the Essential Graphics panel has a New Layer icon. Click Click the choose From File. ● 

Layer  from the You can create a new layer from a file by selecting Graphics > New Layer  application menu bar.

● 

Choose a still image or a video item in the Project panel. Add the graphic to your Timeline by dragging it into the Layers panel of the Essential Graphics panel.

Align and distribute graphic layers l ayers

 

The Essential Graphics Panel allows the selection of multiple layers within a graphic clip and their alignment or distribution. Depending on the alignment method, layers can be aligned horizontally, vertically, by their left or right edges, by their vertical centers, or by their bottom edges. It is also possible to distribute layers vertically or horizontally. icons in the Edit tab of the Essential Graphics panel to align the graphic. Click on the align icons in

Create multiple shadows Shadows can be created for the same object multiple times. It is possible to create numerous interesting effects by adding multiple shadows to an object. To give the text or shape more depth, you can create a narrower shadow on top of a wider shadow. Choose a text, shape, or layer from the Essential Graphics panel. checkbox next Shadow to Click on the checkbox  next to Shadow  to enable shadows for a layer. In the Essential Graphics panel, click the + the + icon next to Shadow. Shadows can be adjusted for opacity, angle, distance, size, and blur.

Create mask layers When you convert text or shapes into mask layers in Premiere Pro, you can create dynamic transitions, reveals, and wipe animations. There is a mask in the Essential Graphic panel layer stack that hides certain portions of a layer and reveals other portions. Within the Essential Graphics panel, click the Edit tab and choose a text or graphics layer. Within the Appearance section of the Essential Graphics Panel, select the Mask with Shape or Mask with Text check box. Mastering typography is essential Essentially, typography is all about arranging letters and words in a way that makes them legible, clear, and visually appealing to the reader. Typeface style, appearance, and structure are used to convey specific emotions and messages through typography. Typography gives a text its life. User interface design relies heavily on typography, which is so much more than just choosing beautiful fonts. With good typography, the website will have a clear visual hierarchy, a graphic balance, and set its overall tone. Your typography should assist and inform your customers, optimize readability and accessibility, and provide an excellent user experience.

 

The different elements of typography Fonts and Typefaces Often, typefaces and fonts are confused, with many treating them as synonyms. In contrast to typefaces, fonts are simply graphical representations of text characters in varying sizes and weights. Typography refers to the family of related fonts, while font refers to the weights, widths, and styles of a typeface. A typeface can be serif, sans-serif, or decorative. The interface should never have more than three fonts-and decorative fonts should be kept to a minimum. It is common for UI designers to pair serif and sans-serif fonts, such as using a serif font for body text and a sans-serif font for title text, or vice versa.

Contrast By using contrast, you can convey which ideas or messages you want to emphasize to your readers. You can make your text more engaging, meaningful, and attention-grabbing by focusing on contrast. To create impact andand break up the page, designers typically play around with different typefaces, Colours, styles, sizes.

Consistency The key to preventing a confusing and messy interface is to keep typefaces consistent. Maintain the same font style when conveying information, so that your readers instantly understand what they're reading, and start to notice a pattern. Although it's okay to play around a bit with levels of hierarchy, it's good practice to establish a consistent hierarchy of typefaces (one font for headers, another for subheadings) and stick to it.

White space White space is usually referred to as 'negative space' and is the space around text or graphics. White space is often overlooked and often goes unnoticed by users, but if used correctly, it ensures an uncluttered interface and readable text. The white space can even help draw attention to the text and provide a pleasing overall experience. Margins, padding, or just plain white space can be used as white space.

Alignment Alignment refers to the process of unifying and composing text, graphics, and images so that each element is the same size, spacing, and distance from one another. In most UI designs, margins are created to make sure that the logo, header, and body of the text are aligned. To align your user interface with industry standards, it's a good practice to consider industry standards. For readers who read left-to-right, aligning your text to the right may seem counterintuitive.

 

Colour Colour is an exciting element of typography. In this area, designers can find new ways to elevate the interface. However, the Colour of the text should not be taken lightly: getting the font Colour right can make the text stand out and communicate a specific tone, while getting it wrong

could result in a messy interface and text that clashes with the site's colours. Value, hue, and saturation are three key components of Colour. In order to make the text both visually appealing and easily readable, even for people with visual impairments, a good designer must balance these three factors. Design professionals usually test this by viewing the text in grayscale (without Colour) and making adjustments if the text is too dark or too light against the background colour.

Hierarchy An important principle of typography is establishing hierarchy. Typographic hierarchy seeks to establish a clear distinction between prominent content that should be noticed and read first, and standard text. Due to the short attention spans caused by social media, designers are urged to create typefaces that allow users to consume the necessary information in a short period of time.

Creating New Titles Select the Titles workspace at the top of the screen or choose Window > Workspacess > Titles to access it. Workspace Go to the main menu and choose Title > New Title > Default Still. The New Title dialog box will appear. Name your title clip and click  OK. By doing so, the Project panel saves and opens a blank title clip in the Title panel.

Create a unique title To reveal the title tools panel on the right, select  Window > Title Tools. Type your title into the area where the title appears. You can style your text using the Title Styles panel found under Window > Title Styles, or you can change the font, size, and alignment options at the top of the Title panel. Additional controls for type adjustment are available in the Title Properties panel ( choose Window > Title Properties ). You can move your title by clicking the Selection tool  in the Title Tools panel (choose Window > Title Tools to reveal it ) and then dragging it to the desired location.

 

Add the title clip to your sequence. If you are ready to add the title to your sequence, drag the title clip from the Project panel to the Timeline panel. You should position the title above another video clip if you want to superimpose it. You can extend or shorten the duration of the title clip by dragging its edge left or right. Try it out for yourself.

Working With Shapes And Logos Drawing tools are available in the monitor panel, and you can use them to create a variety of shapes, such as rectangles, ellipses, and lines. As soon as you draw a shape, you can apply a style and change the fill and stroke attributes. Using the Expert view Timeline, double-click the title to open it in the Monitor panel. If you are using the monitor panel, select a shape tool and perform any of the following: ●  By shifting and dragging, you can limit the shape's aspect ratio. ●  Draw from the center of the shape by holding down the Alt key. Shift+Alt+dragging,, you can constrain the aspect ratio and draw from the ●  By pressing Shift+Alt+dragging center. ●  While drawing, drag a diagonal line across the point of the corner to flip the shape. ● 

As you draw, you can drag across, up, or down to flip the shape horizontally or vertically.

It can be styled by clicking on clicking  on a style object in the Style section of the Adjust panel.

Working With A Motion Graphics Template Adding Captions Premiere Pro allows you to create captions. Text can be added; formats can be applied; colour and position can also be specified. To add captions ●  Click on File, then New, then Captions. ●  On the Project Panel, select New Item and then Captions from the list that pops up.

It displays the video setting dialog box for new captions. This allows Premiere Pro to match the caption video settings with the open sequence. From the New Captions dialog box, select the appropriate caption format: Standard, Stream, or Timebase.

 

When you click OK, Premiere Pro adds a caption file to the project panel.

Add text to captions. Open the Captions Panel by following these steps: ●  You can access the caption file from the project panel by double-clicking. ●  Choose Window > Captions. You can type a caption in the caption panel. Formatting tools can be used to set the position, change the colour of the text, and change the background colour. Underlining and italicizing are also available as formatting options. Adding more caption blocks is as easy as clicking on Add Caption (+). You can delete a caption block by selecting it and clicking Delete Caption (-). The caption file should be dragged over the required clip in the source sequence in the Timeline window.

Import and display captions If the files have closed captions embedded in them, or if they have "sidecar" files, you can import them. To import files, follow these steps:  File > Import. Import. ●  To import caption files or caption "sidecars," choose choose File ●  Utilize the context menu of the file to import it through the Media Browser.

Edit captions Imagine that you have a program that already includes closed captions. The program may need to be rewritten in a shorter version. Here are the steps to editing a caption file: file. ●  To edit in the Timeline panel, select the caption file. ● 

As a default, the caption panel is open. In case it doesn't automatically display the Captions. caption panel, you can select Window > Captions.

●  By editing caption clips at a word level in the Captions panel, you can make changes at a more precise level. Additionally, you can change the timing, duration, and formatting, such as text alignment and colour, using the intuitive user interface. ●  From the Timeline, you can also see the text clips. The captions can then be aligned with the media after trimming, ripple deletions, and rearranging segments.

CHAPTER FIFTEEN

 

EXPORTING FRAMES, CLIPS, AND SEQUENCES Making a Fast Export It's easy to export an H264 file with Quick Export in just a few clicks. With the Match Source preset, sequence settings like resolution and frame rate will be matched automatically, or you can pick from a short list of common video resolutions. To export a sequence, open it. The Project panel allows you to select sequences and media file types for export. icon. A new dialog box appears. Select the Quick Export icon. You can choose the name and location of your exported file. Export. Select a preset. Then finally, select Export.

Understanding the Full Media Export Options Adobe Media Encoder is a stand-alone encoding application that is used by Premiere Pro and other The Adobe Media dialog Encoder a request Export.for Export exportapplications. settings in the Export Settings boxreceives and click . an export when you specify To queue Premiere Pro sequences into Adobe Media Encoder on their own, click Queue click  Queue in  in the Export Settings dialog box. Using the queue, you can encode sequences into one or more formats or benefit from other features. You can continue to use Premiere Pro while the stand-alone Adobe Media Encoder renders and exports in the background. The most recent version of each sequence in the queue is encoded by Adobe Media Encoder. Depending on the nature of the video, you may be able to export it in the form you need for further editing or for viewing. Premiere Pro exports video in a variety of formats and target devices.

Exporting Single Frame Within Adobe Premiere Pro, there are two methods for exporting frames from a video clip. One is quick and simple, but doesn't provide a lot of control. On the other hand, the other method gives you more control over things like compression and size.

Method 1 The fastest way to export a single frame from a video as a JPEG in Adobe Premiere Pro is by using this method. Unfortunately, you don't have much control over the output. The playhead should be positioned on the frame you want to export. Click on the camera icon or use the keyboard shortcut SHIFT + E. You'll then see a small export frame dialog box. Although you don't have many options here, you

 

can choose the name of the file and where to save it. File formats are also available. You can choose between JPG, DPX, OpenEXR, PNG, Targa, and TIFF. Compression is not adjustable.

Method 2 The playhead should be positioned on the frame you wish to export. CTRL-M   keyboard shortcut to open the Media Export dialog box. For convenience, Press the CTRL-M you can use the Timeline under the preview to move the playhead to the frame you want to export. You can choose to change the frame here, but it goes to the frame you've selected in the main Timeline automatically. At the top right, select an image format from the Export Settings. The options may not be visible arrow  to the left of "Export Settings." Make sure the "Export Video" until you click the small arrow  box is checked. The "Export Audio" option that is usually available for exporting videos will not be available. You can set the filename of the exported file by clicking on the Output Name filename,, which should be in bright blue. filename Expand the Basic Settings panel under the Video tab. The following three settings are important: ● 

quality. With a compressed file format, such as JPG, you can choose the compression level for the export. Other formats, such as TIFF, do not have the slider-there is no option to select TIFF compression, for example.

●  Size. The size of the source will automatically match the box on the right. When that box is unchecked, you can enter a width and height. The aspect ratio will remain the same if the small chain link icon to the right of the width and height is enabled. In other words, when that's enabled, when you change one, it'll automatically change the other to maintain the same aspect ratio. There is also an option to uncheck that small chain link icon, which separates the width from the height. Thus, you can set the width and height independently to stretch in either direction. ● 

Export As A Sequence This is a crucial step. You will end up with hundreds, or even thousands, of individual files if this option is selected. Selecting this option will result in

exporting only one frame. A playhead selects a single frame from the Timeline, but not the first frame. Export right away by pressing the Export button. You can enqueue with other export jobs by button. clicking the Queue button.

Uploading to Social Media It is possible to export your movie in formats that can be delivered via the Internet using Premiere Elements. Directly from the Export & Share panel, you can upload videos to the web. In the Social Media category, select an online sharing platform. You have a choice of YouTube, Vimeo, Facebook, and Instagram. The fastest way to export your movie is to use the recommended settings. Custom settings can also be applied for a particular situation. However, remember to make sure the audio and video

 

data rates of your movie are suitable for the intended medium. Share, after which you can You can begin sharing on YouTube and Vimeo by clicking  clicking  Begin Share, complete the sharing workflow for your chosen platform. When sharing videos on Facebook or Instagram, save them to a local folder, then upload them.

CHAPTER SIXTEEN MANAGING PROJECTS Project files contain information about sequences and assets, like controls for capturing, transitioning, and mixing audio. As you edit, the project file records your edits, such as the in and out points for trimmed clips and the parameters for each effect. Premiere Pro applies nondestructive edits, meaning that the source files are not altered. When you start a new project in Premiere Pro, a folder is created on your hard drive. In addition to the files it captures, the preview and conformed audio files, and the project file itself are stored here by default. A Premiere Pro project file does not include video, audio, or still image files; it only contains a reference to each of these files, called a clip, which is based on the filename and location of the file at the time of import. The next time you open a project, Premiere Pro won't automatically find a source file if you move, rename, or delete it. The Where Is The File dialog box appears in this case. There is a single project panel included by default in every project. It stores all the clips used in the project. Bins in the Panel section can be used to organize a project's sequences and media. It is possible for a project to contain multiple sequences, and the settings of the sequences within a project may differ. A project can contain multiple segments that can be edited as separate sequences and then nested into a larger sequence to create a complete program. It is also possible to store multiple variations of the same sequence in the same project as separate sequences. Most project settings can't be changed once a project has been created. After you start working on a project, you can review its settings, but you can only make a few changes. To do so, click on the Project Settings button in the ribbon. 1. Alternatively, select Project > Project Settings > Scratch Disks. 2. You can view or change the settings as needed. 3. To proceed, click OK click OK..

Conclusion The Adobe Premiere Pro is a software application that is widely used for the editing of videos on computers. It is used for editing videos, films, commercials, television programs and online social media videos. It is a well packed video editing software application and is also made

 

available as a part of the Adobe Creative Cloud set of applications. Premiere Pro is most often used with After effects and photoshop on creative projects. Premiere Pro can be used for almost all video editing tasks necessary for making broadcast quality, high definition video. It can be used to import video, graphics and audio and it is also used to make new edited versions of videos that can be exported to the medium and also tweaked for distribution. When making videos the use of Premiere Pro, video still images can be edited side by side. Titleswith can also be added to videos anddifferent filters can alsoand be used alongside other effects. The Adobe Premiere Pro is majorly used by news stations, production managers, video editors and all multimedia designers. Premiere Pro is made by a software development firm known as Adobe Systems.

INDEX 2 2D monito monitors rs , 2 3 360 footag footagee , 83 3D editin editing g,2 A

 

adjustment layer , 6, 73, 74, 75, 138, 139, 142 adjustment Adobe applicatio applications ns , 9, 44 Adobe Illustrator Illustrator , 32, 48 Adobe Premiere , 1, 3, 4, 7, 12, 20, 27, 34, 36, 40, 41, 44, 45, 48, 50, 51, 60, 62, 70, 73, 74, 75, 82, 84, 85, 88, 89, 90, 91, 93, 99, 103, 107, 111, 112, 113, 115, 116, 118, 119, 120, 121, 132, 133, 136, 140, 159, 163, 164 Adobe Stock, 50, 118, 119 Adobe video video applica applications tions , 17 alignmentt method , 149 alignmen alpha channel channel , 45, 46, 48, 143, 145, 146 Alpha Channel, 143, 145, 146 American television , 58 An audio audio keyfra keyframe me , 126 Apple App le ProR ProRes es 422 , 6 Applied Effects , 145 Apply default default transiti transition on , 120 audio aud io footage footage , 7 audio aud io meter meter , 11 Audio Track Mi Mixer xer , 120 audio workspace , 118 Auto Reframe Reframe , 114, 115 B bin name , 60 black bar black barss , 38 Black Blac k slide sliderr , 141 blank track, 52 blank blan k vide video o , 32 C camera motion , 11 115 5 Captions panel , 157 chroma keying , 146 clip marker marker , 87, 88 clips backward , 108 colour gamut , 13 132 2 colour workspace workspace , 133, 134, 140, 142, 14 144 4 column name , 57 Comparison View, 135, 136, 137 complex Lumetri , 133 Constant Power Crossfa Crossfade de , 100 CoreAudio CoreAudi o drive drivers rs , 116 D Dark Fate , 1 database data base , 10, 53 Description Descripti on colu column mn , 58 diagonal line patte pattern rn , 90 documen doc umentary tary , 62 dramatic works , 59 drop zone zone , 15, 16 Duration button , 106 E effect control control , 14, 1 102 02 Effects Control Control panel , 111, 112 Effects Control Control Pan Panel el , 62 equaliz equ alizers ers , 6

 

European standard , 34, 58 external hard hard drive , 17, 20, 29 F Face Detection, 137 Fixed effects, 129 footage files , 9, 56 Frame , 33, 35, 37, 61 61,, 108, 136, 15 159 9 Freeform , 65, 66, 6 67, 7, 68, 70 G galloping ho galloping horse rse , 1 Gaussia Gau ssian n blur , 63 geometric effects , 146 Graphics panel panel , 51, 148, 149 149,, 150 H hardware glitches , 139 history hist ory panel panel , 10 horizontal horizont al line liness , 45 I information pane information panell , 10 innovative innovat ive way wayss , 133 interface , 7, 12, 14, 15, 16, 17, 56, 150, 151 151,, 152, 157 interface. , 7, 12, 16, 56, 1 152, 52, 157 interlacing interlacin g proc process ess , 45 Interpolation Interpolat ion , 108, 113, 11 114 4 K keyframe , 65, 113, 114, 118, 123 123,, 126, 127, 144 Keyframe Effects, 126 keyframes , 60, 62, 64, 65, 109, 114, 115, 121, 122, 126, 127, 129, 131, 144 L librarie librariess panel , 50 licensing program , 1 linear editing editing ssystems ystems , 1 Lumetri colour colour panel , 133, 134, 136, 140, 142 Lumetri Scopes Scopes , 133, 140 luminancee correctio luminanc corrections ns , 138 luminance-adjusting luminanc e-adjusting , 138 M Mac and Windows , 2 Mac platf platform orm , 1 Management Manageme nt works , 132 marker icon , 87 marker panel panel , 85, 86 mask tracking tracking algori algorithm thm , 62 Match Frame , 21, 24 media browser browser , 16, 4 43 3 Media Med ia brow browsers sers , 9 media cache cache , 53, 54, 5 55 5 Media Cache, 53, 54, 55

 

Media columns , 58 media elements elements , 51, 1 131 31 Media Encoder Encoder , 28, 41, 42, 89, 158, 159 Media Med ia Limi Limitt , 98 media managemen managementt , 59 mediaa pane medi panell , 9 megapixels megapixe ls , 18 18,, 44 Metadata, 9, 66 Microsoft Windows , 2 Motion, 60, 61, 111, 112, 115, 129, 139, 155 motion graphics, 51, 58 Motion tracking , 60 Multi-Camera Monitor, 80 multiple clips , 138 multiple layers , 149 multiple shadows, 149 N Nested sequences sequences , 109, 110 non-destructive non-destru ctive edi editing ting , 9 Non-linear Non-line ar editi editing ng , 4 non-linear non-line ar video , 4 O Opacity, 75, 129, 144, 145, 146 Opacity, organization organizat ion , 5, 57, 59, 65, 6 68 8 original orig inal clip. clip. , 6 Out-pointt marke Out-poin markerr , 105 Overexposure Overexpo sure , 139 P parameters , 33, 35, 36, 4 40, 0, 74, 139, 16 162 2 Paste Attribute Attributess , 23 Photoshop Photosho p , 32, 44, 45, 46, 47, 48, 50, 74 Photoshop file, 46, 47, 48 Playback, 80, 81, 107 playback transition transitionss , 11 Premiere Pro , 1, 2, 3, 4, 5, 7, 9, 10, 12, 14, 20, 27, 28, 32, 33, 34, 35, 36, 38, 40, 41, 42, 42, 44, 45, 46, 47, 48, 49, 50, 51, 53, 54, 56, 58, 59, 60, 62, 64, 65, 66, 70, 73, 74, 75, 82, 85, 86, 88, 89, 90, 91, 93, 99, 103, 106, 107, 108, 111, 112, 113, 115, 116, 118,119, 120, 121, 126, 128, 130, 131, 132, 133, 134, 136, 140, 145, 148, 150, 155, 156, 158, 159, 162, 163, 164 professionall video eediting professiona diting , 1 program monitor monitor , 9, 16, 30, 42, 71, 72, 76, 77, 79, 80, 86, 112, 112, 138 Program Monitor, 73, 76, 77, 78, 79, 80, 87, 111, 129, 130, 133, 135, 136, 139, 142 project proj ect data data , 38 Project Proj ect file filess , 162 project panel , 5, 9, 10, 16, 29, 30, 31, 36, 40, 42, 47, 50, 52, 56, 57, 58, 59, 60, 67, 76, 91, 107, 110, 142, 156, 162 Project panel , 32, 33, 56, 58, 65, 66, 67, 74, 88, 110, 113, 138, 142, 149, 153, 154, 158 Project Panel, 9, 68, 91, 155 Pro ProRe Ress ss , 7 proxy destination destination , 41 Q Queue button , 161 Quick Export icon , 158 R 

 

razor too razor tooll , 13 regular footage , 83 regular trimming trimming techniq technique ue , 110 S Segmentation Mark Segmentation Marker er , 85 selection tool , 12, 16, 31, 92 semicolons semicolo ns , 58 sequence , 5, 8, 12, 18, 21, 29, 30, 32, 33, 34, 35, 36, 37, 38, 44, 46, 47, 48, 49, 70, 71, 72, 75, 76, 77, 78, 80, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 95, 96, 97, 98, 99, 101, 102, 103, 108, 109, 110, 112, 113, 114, 120, 122, 125, 128, 130, 134, 138, 139,140, 142, 144, 147, 154, 156, 158, 159, 162 Sequence , 21, 24, 25, 33, 34, 36, 37, 49, 82, 109 109,, 134, 161 sequence markers , 87, 88, 89 Shadows , 141, 149 smooth playback playback , 80, 131 software , 1, 2, 17, 141, 1 148, 48, 163, 164 software packaging , 1 Square Squa re pixe pixels ls , 38 starting star ting frame frame , 39 Stretch tool, 108 Supermac Technolog Technologies ies , 1 Swap Side Sidess , 136 T thumbnail , 20, 28, 29, 43, 66, 67, 86, 91 thumbnail thumbnails thumbnai ls , 29, 4 43, 3, 65 Time Remapping, 109, 130 Timecode Time code , 38, 58 Timeline , 1, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 18, 20, 21, 25, 29, 30, 31, 32, 33, 38, 46, 49, 50, 51, 56, 58, 67, 68, 71, 72, 73, 74, 76, 77, 78, 79, 84, 85, 86, 87, 88, 89, 91, 92, 93, 94, 97, 98, 99, 100, 102, 103, 104, 105, 106, 107, 108, 110, 111,117, 119, 120, 121, 122, 126, 127, 128, 129, 131, 132, 135, 137, 139, 144, 149, 154, 156, 157, 160, 161 Timeline panel , 11, 14, 16, 29, 30, 31, 32, 33, 71, 77, 87, 88, 92, 93, 97, 98, 99, 102, 103, 107, 108, 111, 121, 126, 127, 128, 129, 131, 139, 144, 154, 157 Timeline panel. panel. , 14, 16, 29, 31, 71, 92, 94, 102, 108, 121, 126, 129, 131, 139, 144, 154 Timeline-driven Timeline-d riven , 1 Title Styles , 31, 154 Titles workspace workspace , 31, 153 Toggle Animation , 126 Toggle Audio , 117 Track Forward button , 144 track head head movem movements ents , 84 track trac k lock , 90 tracking movement , 61 Transcod Tran scodee , 41 Transitioning Transition ing , 61 Transitionss , 10, 19, 25, 99 Transition 99,, 100 Trim mode , 71, 7 72, 2, 73 typ typeface eface , 151 typography, 150, 151, 152, 153 U Uniform Scale Scale checkb checkbox ox , 111 unwatermark unwater marked ed , 52 V vector library , 50 Video editing editing , 4, 9, 20

 

video transition transition , 99, 103 Visual Effect, 125 visual hierarchy , 150 VST audio audio , 1 W watermarked watermarke d , 50, 120 Waveform Monitor , 140 Web Link , 85 White Balance Balance sect section ion , 140 word "bin , 59 workflow , 5, 20, 51, 65, 71, 85, 132, 133, 13 134, 4, 161 Z Zooming Zoo ming , 77