Adobe Premiere Pro Classroom in a Book ( release) : Jago, Maxim: replace.me: Books

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

The 17 project-based lessons in this book show students step-by-step the key techniques for working in Premiere Pro. Students learn skills to take a project from beginning to end, including the basics on things like organizing media, using audio, creating transitions, producing titles, and adding effects. Once they have the basics down, they’ll learn how to take their projects further by sweetening and mixing audio, compositing layered footage, adjusting color, customizing motion graphics, exporting files, and much more.

The companion DVD also available as an online download includes lesson files so students can work step-by-step along with the book. All buyers of the book also get full access to the Web Edition: a Web-based version of the complete eBook enhanced with video and multiple-choice quizzes. Read more Read less. Kindle Cloud Reader Read instantly in your browser. Frequently bought together. Total price:.

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Adobe Photoshop Classroom in a Book release. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Previous page. Adobe Premiere Pro Classroom in a Book release. Maxim Jago. Lisa Fridsma. Adobe Premiere Pro For Dummies. Keith Underdahl. Andrew Faulkner. Conrad Chavez. Next page. Customers who bought this item also bought.

Adobe Creative Team. Adobe Illustrator Classroom in a Book release. Brian Wood. Special offers and product promotions Amazon Business: Make the most of your Amazon Business account with exclusive tools and savings. Login now. He speaks at film festivals and conferences around the world exploring creativity in the modern era, and has trained all types of creatives – ranging from schoolchildren to university professors, from ABC’s top editors in Australia to the BBC’s tech gurus in the UK.

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There was a problem filtering reviews right now. Please try again later. Verified Purchase. I have never experienced such an aggravating experience with this Classroom in a Book product.

Premiere as a program is complicated enough as it is. I have spent the entire day trying to down load and re-learn Premiere.

Learning a program like Premiere and using a digital version should not have to be some fnng complicated. The website even has a cheat sheet on how to organize files. Also equally useless. And just to make things even more entertaining Microsoft Windows 10 has to screw things up even more.

I want my money back. The illustrations in this book are so bad that in desperation I am now going to purchase a Kindle edition in order to see this material which is an indispensable part of learning to use Adobe Premiere.

I am disappointed that a company specialized in illustration would produce such a shoddy product and sell it at such a price. The book goes into great detail to highlight and teach use of Premier Pro tools, functions, process and recommendations. What is exceptionally helpful is the enclosed CD that contains at minimum a dozen active tutorial sessions using Premier Pro. While using the CD examples, the book walks you through a hands on experience so you can observe the results of your learning.

My only complaint for new users is at times the book will advise you to press a particular button in the application, but it’s not well defined where the button is located on one of the many user interface panels.

If you look around long enough on the panels you will find the button, or as I did, at times resorted to google for help. There is a massive amount of data in this book to teach you the hundreds of possible manipulations. Don’t expect to finish the book and be able to quickly begin editing complex video and software. Adjust the audio mix: Adjust the volume of your audio clips to get the mix just right, and use transitions and effects on your audio clips to improve the sound.

Output: Export your finished project to a file or videotape. Premiere Pro supports each of these steps with industry-leading tools. A large community of creative and technical professionals is waiting to share their experience and support your development as an editor. Enhancing the workflow with Premiere Pro Premiere Pro has easy-to-use tools for video editing.

It also has advanced tools for manipulating, adjusting, and fine-tuning your projects. You may not make use of all of the following features in your first few video projects.

Still, this book will enable you to fully postproduce professional projects and get you ready to take your skills to the next level. The following topics will be covered: Advanced audio editing: Premiere Pro provides audio effects and editing tools unequaled by any other nonlinear editor.

As well as producing a soundtrack mix, you can clean up noisy audio, reduce reverb, make sample-level edits, apply multiple audio effects to audio clips or whole tracks, and use state-of-the-art Virtual Studio Technology VST plug-ins.

Color correction and grading: Correct and enhance the look of your footage with advanced colorcorrection filters, including Lumetri, a dedicated color correction and grading panel. You can make secondary color-correction selections that allow you to adjust isolated colors, adjust selected areas of an image to improve the composition, and automatically match the colors in two images.

Keyframe controls: Premiere Pro gives you precise control over the timing of visual and motion effects without using a dedicated compositing or motion graphics application.

Broad hardware support: Choose from a wide range of compatible input and output hardware. GPU acceleration: The Mercury Playback Engine operates in two modes: one that uses only software running in the central processing unit CPU for playback and one that uses graphics processing unit GPU acceleration for enhanced playback performance. GPU acceleration mode requires a graphics card that meets minimum specifications in your workstation.

See helpx. Most modern cards with a minimum of 2 GB of dedicated video memory will work. Multicamera editing: You can quickly and easily edit productions shot with multiple cameras.

Multiple camera sources are displayed in a split-view, and you can choose a camera view by clicking the appropriate screen or using shortcut keys. You can automatically sync multiple camera angles based on clip audio or timecode. Project management: Manage your media using a single dialog box. View, delete, move, search for, and reorganize clips and bins.

Consolidate your projects by copying just the media used in sequences to a single location, and then reclaim storage space by deleting unused media files. Metadata: Premiere Pro supports Adobe XMP, which stores additional information about media as metadata that multiple applications can access. You can use this metadata to locate clips or communicate important information, such as preferred takes or copyright notices.

Creative titles: Create titles and graphics with the Essential Graphics panel. You can also use graphics created in almost any suitable software. For instance, you can import Adobe Photoshop files as flattened images or as separate layers that you can combine or animate selectively. You also can import and adjust Adobe After Effects motion graphics templates. Advanced trimming: Use dedicated trimming tools to make precise adjustments to the start and end of clips in sequences.

Premiere Pro provides quick, easy trimming keyboard shortcuts, as well as advanced onscreen trimming tools to make complex timing adjustments to multiple clips. Media encoding: Export your sequence to create a media file that is perfect for your needs. Use the advanced features of Adobe Media Encoder to create copies of your finished sequence in multiple formats, based on presets or your own detailed specifications. You can apply color adjustments, timing changes, and information overlays during export, as well as upload media to social media platforms in a single step.

Premiere Pro is part of Adobe Creative Cloud, which means you have access to several other specialized tools. Understanding the way these software components work together will improve your efficiency and give you more creative freedom. The software set has everything you need to produce advanced, professionally finished videos. Adobe After Effects: The popular tool of choice for motion graphics, animation, and visual effects artists. Adobe Character Animator: A tool for creating advanced animation with natural movement for 2D puppets using your webcam for face tracking.

Adobe Photoshop: The industry-standard imageediting and graphics-creation product. You can work with photos, video, and 3D objects to prepare them for your project. Adobe Audition: The powerful system for audio editing, audio cleanup and sweetening, music creation and adjustment, and multitrack mix creation. Adobe Illustrator: Professional vector graphicscreation software for print, video, and the Web. Adobe Media Encoder: A tool that allows you to process files to produce content for any screen directly from Premiere Pro, After Effects, and Audition.

Adobe Dynamic Link: A cross-product technology that enables you to work in real time with media, compositions, and sequences shared between After Effects, Audition, and Premiere Pro. Here are a few scenarios: Use Photoshop to touch up and apply effects to still images and layered image compositions from a digital camera, a scanner, or a video clip. Then use them as source media in Premiere Pro.

Changes made in Photoshop update in Premiere Pro. Send clips directly from the Premiere Pro timeline to Adobe Audition for professional audio cleanup and sweetening. Changes made in Audition update in Premiere Pro. Send an entire Premiere Pro sequence to Adobe Audition to complete a professional audio mix, including compatible effects and level adjustments; the session can contain video so you can compose and adjust levels in Audition based on the action.

Apply special effects, add animation, and add visual elements in After Effects. Adjustments made in After Effects appear in Premiere Pro immediately. Use After Effects to create motion graphics templates that are directly editable in Premiere Pro.

Dedicated controls allow specific types of changes to be made while retaining the original look and feel of the template. Use Adobe Media Encoder to export video projects in multiple resolutions and codecs for display on websites, display via social media, or archiving. You can use the built-in presets, effects, and social media support to upload directly from Premiere Pro to social media platforms.

Naturally, most of this book focuses on workflows involving only Premiere Pro. However, sidebars will explain ways to include Adobe Creative Cloud components in your workflows for additional effects work and finishing. To make it easier to configure the user interface, Premiere Pro includes workspaces.

Workspaces quickly configure the various panels and tools onscreen in ways that are helpful for particular activities, such as editing, special effects work, or audio mixing. Next, launch Premiere Pro. The Home screen appears. The first few times you launch Premiere Pro, the Home screen shows links to online training videos that will help you get started. The Home screen shows links to online training videos when you first start using Premiere Pro. If you have opened projects previously, a list will appear in the middle of the Home screen.

You can hover the pointer over a recent item to see the project file location in a pop-up window. As your list of recent projects gets longer, the links to online training videos are removed to make room for the list. A Premiere Pro project file contains all your creative decisions for a project, links referred to as clips to your selected media files, sequences made by combining those clips, special effects settings, and more.

Premiere Pro project files have the extension. Whenever you work in Premiere Pro, you will be making adjustments to a project file. You need to create a new project file or open an existing one to use Premiere Pro. There are a few important buttons on the Home screen, some of which look like text but can actually be clicked look out for text that works as a button in the Premiere Pro interface : New Project creates a new empty project file. Open Project enables you to open an existing project by browsing your storage drive for the project file.

Home takes you back to this screen if you have clicked Sync Settings or Learn. Sync Settings allows you to synchronize your user settings across multiple computers. Any projects you created with Premiere Rush will be available here, as long as you used the same login as for Premiere Pro.

Try opening an existing project: 1. Click Open Project. In the file navigation dialog box that appears, navigate to the Lessons folder; then double-click the Lesson Leave the file open for the next exercise. After you open an existing project file, a dialog box may open asking where a particular media file is.

Select Locate, at the bottom right. Premiere Pro will locate the missing file and highlight it on the right side of the window. Select the file, and click OK. Premiere Pro will remember this location for other missing files and relink them automatically without your needing to link each one individually. With Lesson Save a copy of the project with the name Lesson 01 Working. This project contains a number of video clips.

Note Unlike other panels, the Timeline panel does not include its own name in its heading. Instead, the name of the current sequence is shown. This works the same way as the playhead when viewing video files in a player.

Drag the playhead to the far left of the Timeline panel. Press the spacebar to play the current sequence. The Program Monitor top-right corner of the Premiere Pro interface displays the contents of the sequence. In the lower-left corner of the Premiere Pro interface, you will find the Project panel, which contains clips and other assets associated with the current project.

The panel name includes the current project name, Project: Lesson 01 Working. The lower-left corner of the Project panel holds a series of buttons that you use to select different ways of viewing the contents of the panel. Icon View makes it easier to identify clips based on their contents. Drag the clip with the name JD. Be sure to drag it by the thumbnail image and not the clip name.

Release the new clip at the end of the existing series of clips already in the Timeline panel. Scroll down in the Project panel and find several more clips of your choice to add to the sequence. Drag each one into the sequence.

At any time, you can position the Timeline playhead at the beginning of the sequence at its left end , and use the spacebar to start and stop playback. When you have finished adding several clips to the sequence, play through it to see the result. You can place the Timeline playhead anywhere and play from that moment. There is one item you will not be able to drag from the Project panel into the sequence: the sequence itself, called Desert Montage. The Project panel contains both clips and sequences.

You can have as many sequences as you like in a project, and they are identifiable by the icon in the lower-right corner of the clip thumbnail , which shows multiple clips combined. You edited a sequence! Exploring workspaces The Premiere Pro interface is divided into panels. Each panel has a particular purpose. For example, the Effects panel lists all the effects available for you to apply to clips, while the Effect Controls panel gives you access to the settings for those effects. A workspace is a preset arrangement of panels, organized to make particular tasks easier.

Every panel is accessible from the Window menu, but workspaces are a quicker way to access several panels and have them laid out exactly as you need them, in a single step. Then, to reset the Editing workspace, click the small panel menu icon next to the Editing option on the Workspaces panel, and choose Reset To Saved Layout. Notice the various workspace names displayed in the Workspaces panel. Things become simpler when you know what the buttons are for.

The interface is designed to make video editing easy, so commonly used controls are immediately accessible. Workspaces consist of panels, and you can save space by gathering several panels into a panel group.

The names of all the panels in the group are displayed across the top. When many panels are combined, you may not be able to see all their names. If this is the case, a list of all the panels in the group becomes available. Click the chevron in the upper-right corner of the panel group to access a panel. The principal elements are shown here. Some of the important interface elements include: Project panel: This is where you organize your clips these are the links to your media files , sequences, and graphics in bins.

Bins are similar to folders—you can place one bin inside another for more advanced organization of your project. You view and work on sequences the term for video segments edited together in the Timeline panel.

One feature of sequences is that you can nest them place one sequence inside another sequence. Combining sequences this way, you can break up a production into manageable chunks or create unique special effects. Tracks: You can layer—or composite—video clips, images, graphics, and titles on an unlimited number of tracks. Video and graphic clips on upper video tracks cover whatever is directly below them on the timeline.

Therefore, you need to give clips on higher tracks some form of transparency or reduce their size if you want clips on lower tracks to show. Monitor panels: Use the Source Monitor on the left to view and select parts of clips your original footage.

To view a clip in the Source Monitor, doubleclick its icon in the Project panel. The Program Monitor on the right shows the contents of your current sequence, displayed in the Timeline panel. Media Browser: This important panel allows you to browse your storage to find media to import into your project. Libraries: This panel gives access to custom Lumetri color Looks, motion graphics templates, graphics, and shared libraries for collaboration.

It also acts as a browser and store for the Adobe Stock service. For more information, go to helpx. Effects panel: This panel contains most of the effects you will use in your sequences, including video filters, audio effects, and transitions. Once applied, the controls for these effects are displayed in the Effect Controls panel. Effect Controls panel: This panel displays the controls for any effects applied to a clip you select in a sequence or open in the Source Monitor or Project panel.

If you select a visual clip in the Timeline panel, Motion, Opacity, and Time Remapping controls are automatically available. Most effect settings are adjustable over time. Audio Clip Mixer: This panel is based on audio production studio hardware, with volume sliders and pan controls.

There is one set of controls for each audio track on the timeline. The adjustments you make are applied to audio clips. Tools panel: Each icon in this panel gives access to a tool that performs a specific function in the Timeline panel.

The Selection tool is context-sensitive, which means it changes function depending on where you click. Several tools have a small triangle icon, indicating a menu of additional tools. Press and hold on one of these tools to see the menu of options. Info panel: The Info panel displays information about any item you select in the Project panel or any clip or transition you select in a sequence.

History panel: This panel tracks the steps you take and lets you easily undo a series of changes. When you select a previous step, all steps that followed it are also undone.

Most panels display their name at the top. When a panel is displayed, the name is underlined, and the panel is outlined in blue. Most panels have a menu next to the name with options particular to that panel.

Using the Learning workspace Although other workspaces are intended to facilitate a particular creative activity, the Learning workspace is an exception.

This workspace includes the Learn panel, which offers tutorials to help you build familiarity with the Premiere Pro interface and learn important skills. You will find the tutorials complement the exercises in this book well, and you may find it helpful to practice first with this book and then explore the relevant tutorials to reinforce the lessons you have learned. Customizing a workspace In addition to choosing between the default workspaces, you can adjust the position and location of panels to create a workspace that works best for you.

You can create multiple workspaces for different tasks. As you change the size of a panel or panel group, other panels change size to compensate. Every panel within a panel group is accessible by clicking its name. All panels are movable—you can drag a panel from one group to another. You can drag a panel out of a group to become a separate floating panel. You can double-click the name of any panel to toggle it between full screen and its original size.

In the Project panel, double-click the icon for the clip AO. Be careful to double-click the icon and not the name, as clicking the name selects the text, making it ready for renaming. Position your pointer on the vertical divider between the Source Monitor and the Program Monitor. Drag left and right to change the sizes of those panels.

You can choose to have different sizes for your video displays, which is useful at different stages of post-production. Now place the pointer on the horizontal divider between the Program Monitor and the Timeline panel. Drag up and down to change the sizes of these panels.

Click the name of the Media Browser panel at its top , and drag it to the middle of the Source Monitor until a blue rectangle appears the drop zone. Release the Media Browser panel to dock it in that panel group.

The drop zone is displayed as a center highlight. Drag the Effects panel which is grouped with the Project panel by default by its name to a point just inside the right edge of its current panel group until a blue trapezoid-shaped area the drop zone is highlighted.

Release the Effects panel; it is now alone in its own panel group. When you drag a panel by its name, a drop zone is displayed. If the drop zone is a trapezoid, it will create a new panel group. You can also pull panels into their own floating windows. Note You may need to resize a panel to see all of its controls.

Drop the Source Monitor anywhere, creating a floating panel. You can resize the panel by dragging a corner or a side. As you gain experience, you might want to create and save the layout of your panels as a customized workspace. Type a name, and click OK. Now, to return to a recognizable starting point, choose the preset Editing workspace, and reset it.

Premiere Pro has several types of settings. For example, panel menus , which are accessible by clicking the menu button next to a panel name, have options that relate to each panel, while individual clips in a sequence have settings you can access by rightclicking them.

The panel name, displayed at the top of each panel, is often referred to as the panel tab. This is the area of a panel you use to move the panel, almost like a handle you can grab the panel by. There are also application-wide user preferences, which are grouped into a single dialog box for easy access.

Preferences will be covered in depth as they relate to the individual lessons in this book. Drag the Brightness slider to the right to suit your preference. The default brightness is a dark gray to help you see colors correctly human perception of color is influenced by surrounding colors. There are additional options for controlling the brightness of interface highlights. Experiment with the Interactive Controls and Focus Indicators brightness sliders.

The difference in the onscreen sample is subtle, but adjusting these sliders can make quite a big difference to your editing experience. Set all three settings to Default by clicking the Default buttons when you have finished. Switch to the Auto Save preferences by clicking Auto Save on the left. Imagine if you had worked for hours and then there was a power outage. With these options, you can decide how often you would like Premiere Pro to save an automated backup of your project file and how many versions you would like to keep in total.

Auto Save backups have the date and time they were created added to the filename. Note Premiere Pro allows you to open multiple projects at the same time. This option creates an additional backup of your project file in your Creative Cloud Files folder. If you suffer a total system failure while working, you can log in to any Premiere Pro editing system with your Adobe ID to access the backup project file and quickly carry on working.

If you have a sudden system failure like a power outage , this is the file you will most likely want to open to continue working. Click Cancel to close the Preferences dialog box without applying any changes.

These are usually faster and easier than clicking—once you know them. Several keyboard shortcuts are shared universally by nonlinear editing systems.

The spacebar, for example, starts and stops playback—this even works on some websites. Some standard keyboard shortcuts come from celluloid film-editing traditions. The I and O keys, for example, are used to set In and Out points for footage and sequences: These special marks indicate the start and end of a desired section and were originally drawn on celluloid directly. Many shortcuts are available, but not all are assigned a key by default.

This allows flexibility when setting up your editing system. It can be a little daunting to see the number of keyboard shortcuts available, but by the end of this book you will recognize most of the options displayed here.

Some keyboard shortcuts are specific to individual panels. Open the Commands menu at the top of the dialog box, and choose the name of a panel to create or edit shortcuts for that panel. Specialized keyboards are available with shortcuts printed on them and color-coded keys. These make it easier to remember commonly used shortcuts. The keyboard shortcut display updates to show the results of combining the modifier key with the character keys.

Notice there are many keys without shortcuts assigned when you use a modifier key. These are available for you to assign your own shortcuts. You can set keyboard shortcuts with any combination of modifier keys. If you press a character key, or character and modifier key combination, that particular shortcut information is displayed. To change a keyboard shortcut do one of the following: 1.

Having found an option you would like to assign to a key, drag it from the list onto the key you would like to use in the upper part of the dialog box. To remove a shortcut, click the key, and choose Clear at the bottom right. For now, click Cancel. Close the project file and save any changes. Moving, backing up, and syncing user settings User preferences include a number of important options.

For example, you might prefer the interface to be brighter than the default. Premiere Pro includes the option to share your user preferences between multiple computers: When installing Premiere Pro, you will enter your Adobe ID to confirm your software license.

You can use the same ID to store your user preferences in Creative Cloud, allowing you to synchronize and update them from any installation of Premiere Pro. You can sync your preferences while on the Home screen by choosing Sync Settings. If a dialog box appears asking if you would like to save changes you have made, click Yes. Why is Premiere Pro considered a nonlinear editor? Describe the basic video-editing workflow.

What is the Media Browser used for? Can you save a customized workspace? What is the purpose of the Source Monitor and the Program Monitor?

How can you drag a panel to its own floating panel? Premiere Pro lets you place video clips, audio clips, and graphics anywhere in a sequence; rearrange items already in a sequence; add transitions; apply effects; and do any number of other video-editing steps in any order that suits you. Transfer media to your computer; create a sequence by combining video, audio, and still-image clips in the Timeline panel; add effects and transitions; add text and graphics; mix your audio; and export the finished product as a video file.

The Media Browser allows you to browse and import media files without having to open an external file browser. You can view and select part of your original footage in the Source Monitor and use the Program Monitor to view the contents of the current sequence displayed in the Timeline panel.

Choose video rendering and playback settings. Choose video and audio display settings. Create scratch disks. Use sequence presets. Customize sequence settings. You will not need any of the downloadable lesson files. Luckily, Adobe Premiere Pro gives you easy shortcuts.

To help you plan and manage your projects, this lesson contains information about formats and video technology. You may decide to revisit this lesson later, as your familiarity with Premiere Pro and nonlinear video editing develops.

A Premiere Pro project file stores links to all the video, graphic, and sound files you have imported. Each item is displayed in the Project panel as a clip.

The name clip originally described a section of celluloid film lengths of film were literally clipped to separate them from a roll , but these days the term refers to any item in the project, regardless of the type of media.

You could have an audio clip or an image sequence clip, for example. Clips displayed in the Project panel appear to be media files, but they are actually only links to those files. You can delete one without affecting the other more on this later. When working on a project, you will create at least one sequence—that is, a series of clips that play, one after another, sometimes overlapping, with special effects, titles, and sound, to form your completed creative work.

The beauty of nonlinear editing with Premiere Pro is that you can change your mind about almost anything, at any time. Premiere Pro project files have the file extension. Starting a new project is straightforward. You create a new project file, import media, choose a sequence preset, and start editing. To speed things up, you can use a sequence preset to choose the settings and then make adjustments if necessary. You need to know the kind of video and audio your camera records because your sequence settings will usually be based on your source footage to minimize conversion during playback.

In fact, most Premiere Pro sequence presets are named after cameras to make it easier to choose the correct option. Launch Premiere Pro. You should see Lesson Notice that you can thin out the list of recent project files by typing some text into the Filter text box, where it says Filter Recent Files—only project files whose filenames contain the text will be displayed. There are a couple of other items in this window: 1.

Magnifying glass button: Click the magnifying glass at the top right of the Home screen to open a multipurpose Search screen.

You must be connected to the Internet to access the tutorials. User button: Next to the magnifying glass is a thumbnail of your Adobe ID profile picture. If you have just signed up, this may be a generic thumbnail. Click the button to manage your Creative Cloud account online.

Click New Project to open the New Project dialog box. Below the new project name and file location fields, this dialog box has three tabs: General, Scratch Disks, and Ingest Settings.

Click in the Name box, and name your new project First Project. Note When choosing a location for your project file, you may want to choose a recently used location from the Location menu. Click Browse, and browse to the Lessons folder. Click Choose to establish this new folder as the location for the new project.

Click OK to create your new project. Just like media files, sequences have settings that specify such things as the frame rate and image size. This is called conforming. Each sequence in your project can have different settings. Matching the settings reduces the work your system must do to play your clips, improving real-time performance, and maximizes quality. If the first clip you add to a sequence does not match the settings of your sequence, Premiere Pro checks if you would like to change the sequence settings automatically to fit.

Premiere Pro can work natively with a wide range of video and audio formats and codecs and will often play mismatched formats smoothly. However, when Premiere Pro has to adjust video for playback because of mismatched sequence settings, your editing system must work harder to play the video, and this will impact real-time performance you might see more dropped frames.

Note The Preset Description area of the Sequence Presets tab often describes the kind of camera used to capture media in this format.

The essential factors are always the same: the number of frames per second, the frame size the number of pixels in the picture horizontally and vertically , and the audio format. If you were to turn your sequence into a media file without applying a conversion, then the frame rate, audio format, frame size, and so on, would all match the settings you chose when creating the sequence.

Premiere Pro can create a sequence based on your clip. Use this menu to create new items for your project, including sequences, captions, and color mattes full-screen color graphics useful for backgrounds. To automatically create a sequence that matches your media, drag any clip or multiple clips in the Project panel onto the New Item menu.

A new sequence will be created with the same name as the first clip selected, and a matching frame size and frame rate. You can also select one or more clips, right-click the selection, and choose New Sequence From Clip. Using this method, you can be confident your sequence settings will work with your media.

If the Timeline panel is empty, you can also drag a clip or multiple clips into it to create a sequence with matching settings. Choosing the correct preset If you do know the settings you need for a new sequence, you can configure the sequence settings exactly. Click the New Item button at the lower-right corner of the Project panel now and choosef When you choose a preset, Premiere Pro applies settings for the new sequence that closely match a particular video and audio format.

After choosing a preset, you can adjust these settings on the Settings tab if necessary. These settings are organized based on camera formats with specific settings inside a folder named after the recording format. You can click the disclosure triangle to see specific formats in a group.

These are typically designed around frame rates and frame sizes. Click the disclosure triangle next to the group Digital SLR. You can now see three subfolders, based on frame sizes. Remember that video cameras can often shoot video using different frame sizes, as well as different frame rates and codecs.

Click the disclosure triangle next to the p subgroup. Choose the DSLR p30 preset by clicking its name. For this sequence, use the default settings. Take a moment to familiarize yourself with the description displayed on the right. Click in the Sequence Name box, and name your sequence First Sequence. Click OK to create the sequence. You have made a new project and sequence with Premiere Pro.

Formats and codecs A format is a frame rate, frame size, audio sample rate, and so on. Codec is a shortening of the words coder and decoder. The media file is referred to as the wrapper, and the video and audio inside the file, stored using a codec, are sometimes referred to as the essence. Tip You created a new sequence using the File menu this time.

There are often several ways to achieve the same goal in Premiere Pro. Choose the DSLR p30 preset again by clicking its name. This lets you view the settings while reading about them. Click Settings at the top of the dialog box. Premiere Pro will automatically conform footage you add to your timeline so that it matches your sequence settings, giving you a standard frame rate and frame size, regardless of the original clip format.

This makes the sequences settings a critical part of your project configuration. Creating a sequence preset Although the standard presets usually work, you may sometimes need to create a custom preset. To do so, first choose a sequence preset that matches your media closely, and then make custom selections in the Settings and Tracks areas of the New Sequence dialog box.

Having adjusted the settings, you can save your custom preset for future use by clicking the Save Preset button near the bottom of the Settings area. When you save a preset, you can give your customized project settings preset a name in the Save Settings dialog box, add notes if you want, and click OK. The preset will appear in a Custom folder with the other sequence presets.

The new sequence is intended for online distribution only, so change this to 30 fps to accurately measure playback speed. Tip For now, leave the settings as they are, but review the way the preset configures the new sequence.

Look at each setting from top to bottom to build familiarity with the choices required to configure a sequence. For complete flexibility, choose Custom from the Editing Mode menu. For many effects, this means bit floating-point color, which allows for trillions of color combinations. This is the best possible quality for your effects but is more work for your computer, so you may get lower performance in real-time playback.

Without this option, you might see minor artifacts or noise in the picture when making images smaller. Both of these options can be turned off or on at any time, so you can edit without them to maximize performance and then turn them on when you output your finished work. Even with both options enabled you can use real-time effects and expect good performance from Premiere Pro.

Tracks are horizontal areas in the Timeline panel that hold clips in a particular position in time. There is more than one video track, and video clips placed on an upper track will appear in front of clips on a lower track. The Tracks tab in the New Sequence dialog box allows you to preselect the track types for the new sequence.

This is perhaps most useful when creating a sequence preset with names already assigned to audio tracks. All audio tracks are played at the same time to create a complete audio mix. To create a mix, simply position your audio clips on different tracks, lined up in time. Narration, sound bites, sound effects, and music can be organized by putting them on different tracks. You can also rename tracks, making it easier to find your way around more complex sequences. Premiere Pro lets you specify how many video and audio tracks will be included when the sequence is created.

For now, choose Stereo. An audio track can be one of several types. Each track type is designed for specific types of audio clip. When you choose a particular track type, Premiere Pro shows the right controls to make adjustments to the sound, based on the number of audio channels in the track. For example, stereo clips need different controls than 5. The types of audio tracks are: Standard: These tracks are for both mono and stereo audio clips. Adaptive: Adaptive tracks are for mono, stereo, or multichannel audio and give you precise control over the output routing for each audio channel.

For example, you could decide the track audio channel 3 should be output to your mix in channel 5. This workflow is used for multilingual broadcast TV, where precise control of audio channels is used at the point of transmission. Mono: This track type will accept only mono audio clips. The Submix options available in the Track Type menu are used in advanced audio mixing workflows. Premiere Pro makes sure clips go to the right kind of track.

You will usually configure the project settings when creating the new project, but all of the options can be modified at any time. Some special effects can be played immediately, combining your original video with the effect and displaying the results as soon as you click Play. Real-time playback is desirable because it means you can watch the results of your creative choices right away, staying in your creative flow without waiting.

If you use lots of effects on a clip or if you use effects that are not designed for real-time playback, your computer may not be able to display the results at the full frame rate. That is, Premiere Pro will attempt to display your video clips, combined with the special effects, but it will not show every single frame each second.

Premiere Pro displays colored lines along the top of the Timeline panel, where you build sequences, to tell you when extra work is required to play back your video. No line, a green line, or a yellow line means Premiere Pro expects to be able to play without dropping frames. A red line means Premiere Pro may drop frames when playing that section of the sequence. Real-time playback can make a difference to your editing experience and your ability to preview the effects you apply with confidence.

If frames are being dropped, there is a simple solution: preview rendering. When you render, Premiere Pro creates new media files that look like the results of your effects work and then plays back those files in place of the original footage. The rendered preview is a regular video file, so playback is at reasonable quality and full frame rate, without your computer having to do any extra work. You render effects in a sequence by choosing a render command from the Sequence menu.

Many menu items display a keyboard shortcut on the right. What do rendering and real time mean? As something is visualized, it takes up paper and takes time to draw. Imagine you have a piece of video that is too dark. You add a visual effect to make it brighter, but your video-editing system is unable to both play the original video and make it brighter at the same time.

When your edited sequence plays, sections that are rendered display the newly rendered video file instead of the original clip or clips. The process is invisible and seamless. In this example, the rendered file would look like the original video file but brighter.

When the part of your sequence with the brightened clip is finished, your system invisibly and seamlessly switches back from playing the preview file to playing the other original video files in the sequence. The downside of rendering is that it takes up extra space for media storage, and it takes time. The upside with rendering is that you can be confident your system will be able to play the results of your effect at full quality, with all the frames per second.

Real-time playback, by contrast, is immediate! When using a real-time special effect, your system plays the original video clip combined with the special effect right away, without waiting for the effect to render. The only limitation with real-time performance is that the amount you can do without rendering depends on how powerful your system is.

More effects are more work to play back, for example. Back in the Project Settings dialog box, in the Video Rendering And Playback settings, if the Renderer menu is available, it means you have graphics hardware in your computer that meets the minimum requirements for GPU acceleration and it is installed correctly. The menu has two types of setting you will choose between: Mercury Playback Engine GPU Acceleration: If you choose this rendering option, Premiere Pro will send many playback tasks to the graphics hardware on your computer, giving you lots of real-time effects and smooth playback of mixed formats in your sequences.

Performance can vary and some graphics hardware configurations allow multiple types of acceleration, so you may need to experiment to find the best option for your system. You may also see an option described as deprecated in the Renderer menu. This uses an approach to hardware acceleration that will work but is less efficient than the other options. You will almost certainly want to choose GPU acceleration and benefit from the additional performance if you can.

However, if you experience performance or stability issues using GPU acceleration, choose the Software Only option in this menu. You can change these options at any time— including in the middle of working on a project. Playback performance: Premiere Pro plays back video files with great efficiency, even when working with the types of video that are difficult to play back, such as H.

The results are even better performance and responsiveness when working with sequences, and many special effects will play in real time, without dropping frames. For more information about supported graphics cards, see helpx.

Setting the video and audio display formats The next two areas of the General tab in the Project Settings dialog box allow you to choose how Premiere Pro should measure time for your video and audio clips. The correct choice for a given project largely depends on whether you are working with video or celluloid film as your source material. The choices are as follows: Timecode: This is the default option.

Timecode is a universal system for counting hours, minutes, seconds, and individual frames of video. The same system is used by cameras, professional video recorders, and nonlinear editing systems around the world. This system counts the number of feet plus the number of frames since the last foot. Frames: This option counts the number of frames of video. This is sometimes used for animation projects. For now, leave Video Display Format set to Timecode.

The Audio Display Format menu For audio files, time can be displayed as samples or milliseconds. Audio Samples: When digital audio is recorded, the sound level technically, air pressure level as captured by the microphone is sampled thousands of times a second. In the case of most professional video cameras, this happens at least 48, times per second. When playing clips and sequences, you can choose to display time as hours, minutes, seconds, and frames, or as hours, minutes, seconds, and samples.

Milliseconds: With this mode chosen, time can be displayed as hours, minutes, seconds, and thousandths of a second instead of samples. By default, you can zoom the Timeline enough to view individual sequence clip segment frames. However, you can easily switch to showing the audio display format instead. This powerful feature lets you make the tiniest adjustments to your audio. About seconds and frames When a camera records video, it captures a series of still images of the action.

When it captures enough images each second, the result looks like moving video during playback. Each picture is called a frame, and the number of frames each second is usually called frames per second fps , or the recording or playback frame rate. It could be any number, including Most cameras allow you to choose between more than one frame rate and more than one frame size. However, there may be times you need to capture from videotape. The Capture Format menu under Capture in the Project Settings dialog box tells Premiere Pro what videotape format you are using when capturing video to your storage drive.

Capturing from third-party hardware If you have additional third-party hardware installed, you can connect your video deck for capture.

Note The Mercury Playback Engine can share performance with video input and output hardware for playback, thanks to a feature called Adobe Mercury Transmit. The software installer will usually discover Premiere Pro on your computer, automatically adding extra options to this menu and to others. Follow the directions provided with your third-party equipment to configure new Premiere Pro projects. For more information about the video-capture hardware and video formats supported by Premiere Pro, visit helpx.

Ignore this setting for now because you will not be capturing from a tape deck in this lesson, and you can change the setting as needed later.

With this option selected, when you change name of a clip, or the color of the label assigned to a clip, all copies of the clip used anywhere in the project will update accordingly. If this option is not selected, only the copy you select will be changed. Both options can be useful, depending on your chosen workflow for a particular project. Leave this deselected for now, and click the Scratch Disks area to view the options.

Setting up the scratch disks Whenever Premiere Pro captures records video from tape, renders special effects, saves backup copies of the project file, downloads content from Adobe Stock, or imports animated motion graphics templates, or whenever you record a voiceover, new files are created. The various scratch disks are the locations where these files are stored.

Though they are described as disks, they are actually folders. Some of the files that are stored will be temporary, and some will be new media created in Premiere Pro or imported. Scratch disks can be stored on physically separate disks, as the name suggests, or in any subfolder on your storage.

Scratch disks can be located all in the same place or in separate locations, depending on your hardware and workflow requirements. There are generally two approaches to storage for video editing: Project-based setup: All associated media files are stored with the project file in the same folder. This is the default option for scratch disks and the simplest to manage. System-based setup: Media files associated with multiple projects are saved to one central location often high-speed network-based storage , and the project file is saved to another location.

This might include storing different kinds of media files in different locations. To change the location of the scratch disk for a particular type of data, choose a location from the menu next to the data type. The choices are: Documents: Stores the scratch disk in the Documents folder in your system user account. Same As Project: Stores the scratch disk with the project file. This is the default option.

This option is automatically chosen if you click Browse and choose a specific location for the scratch disk. Below each Scratch Disk location menu, a file path shows the current setting and the disk space available at that location. Your scratch disks might be stored on local hard drives or on a network-based storage system; any storage location your computer has access to will work.

However, the speed and responsiveness of your scratch disks can have a big impact on both playback and rendering performance—choose fast storage if possible. Using a project-based setup By default, Premiere Pro keeps newly created media together with the associated project file this is the Same As Project option.

Keeping everything together this way makes finding relevant files simple. It also makes it easier to stay organized if you move media files into the same folder before you import them into the project. You can use subfolders to keep your project media, notes, scripts, and associated assets organized. Using a system-based setup Some editors prefer to have all their media stored in a single location, for all projects.

Others choose to store their capture folders and preview folders in a different location from their project. This is a common choice in editing facilities where multiple editors share several editing systems, all connected to the same networkbased storage.

This is slower and more complex when your media files are distributed across multiple storage locations. Typical drive setup and network-based storage Although all file types can coexist on a single hard drive, a typical editing system will have two hard drives: Drive 1, dedicated to the operating system and programs, and Drive 2 often a faster drive , dedicated to media, including captured video and audio, video and audio preview files, still images, and exported media.

Some storage systems use local computer networks to share storage between multiple systems. If this is the case for you, check with your system administrators to make sure you have the right settings and then check the performance. Setting up a Project Auto Save location In addition to choosing where new media files are created, you can set the location to store automatically saved project files.

These are additional backup copies of your project file that are created automatically while you work. Storage drives occasionally fail, and you may lose files stored on them without warning. If you use a synchronized file sharing service like Dropbox, OneDrive, or Google Drive, storing your auto-save files using that service will mean you always have access to all your automatically saved project files.

In addition to storing automatically saved project files in the location you choose, Premiere Pro can store a backup of your most recent project file in your Creative Cloud Files folder.

This folder is created automatically when you install Adobe Creative Cloud, allowing you to access files in any location where Creative Cloud is installed and you are logged in. Creative Cloud Libraries downloads You can also use the Creative Cloud Files folder to store media files that you can access from any system. Collaborators on a project can use the Creative Cloud Files folder to store and share standard assets like logos or graphic elements.

Use the Libraries panel in Premiere Pro to access these files. When you add items to the current project in this way, Premiere Pro will create a copy of them in the scratch disk location you choose here.

Motion Graphics template media Premiere Pro can import and display prebuilt animated Motion Graphics templates and titles that have been created with After Effects or Premiere Pro. When you import a Motion Graphics template into the current project, a copy will be stored in the location you choose. For this project, leave all your scratch disks set to the default option: Same As Project. Choosing ingest settings Professional editors describe adding media to a project as importing or ingesting.

The two words are often used interchangeably but actually have different meanings. When you import a media file into a Premiere Pro project, a clip is created in the project that is linked to the original file.

When you enable the ingest options, things are a little bit different. In the Ingest Settings area, you can enable the Ingest option and choose what to do with media files before they are imported. You can: Note There are several ways to import clips into a project. Once ingest options are enabled, they are applied regardless of the import method you use. Existing clips that have already been imported into your project will not have ingest options applied automatically.

Copy the media files to a new storage location. This option is useful if you want to be sure all your media is in one folder. This option is useful if you choose to standardize your media as part of a larger-scale workflow.

Create Proxies of the media file. This option converts them to lower-resolution files that are easier for a lower-powered computer to play and that take up less storage space.

The original media is always available too, and you can switch between the full-quality and proxy-quality files whenever you like. Copy And Create Proxies to combine copying the original media files to a new location and creating proxies for them.

Now that you have checked that the settings are correct for this project, click OK to apply any changes. Save, and close the project.

 
 

 

Adobe premiere pro cc classroom in a book lesson files download free download

 

English Pages [] Year Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Premiere Pro choose Adobe Pre. Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Photoshop choose Adobe Photos. Classroom in a Book training for Adobe Dimension — the powerful tool that lets you composite 2D and 3D assets for reali.

Contents 1. Cover Page 2. Title Page 3. Copyright Page 4. Where are the Lesson Files? Acknowledgments 7. Contents 8. Getting Started 1. About Classroom in a Book 2. Prerequisites 3. Installing Premiere Pro 4. Optimizing performance 5. Using the lesson files 6. Relinking the lesson files 7. How to use these lessons 8. Online content 9. Additional resources Adobe Authorized Training Centers 9. Starting the lesson 2.

Performing nonlinear editing in Premiere Pro 3. Expanding the workflow 4. Touring the Premiere Pro interface 5. Hands on: Edit your first video 6.

Using and setting keyboard shortcuts 7. Review questions 8. Review answers Creating a project 3. Setting up a sequence 4. Explore the Project Settings 5. Review questions 6. Importing media files 3. Working with ingest options and proxy media 4. Working with the Media Browser panel 5.

Importing still image files 6. Using Adobe Stock 7. Customizing the media cache 8. Recording a voice-over 9. Review questions Using the Project panel 3. Working with bins 4. Reviewing footage 5. Freeform view 6. Modifying clips 7. Using the Source Monitor 3. Navigating the Timeline panel 4. Using essential editing commands 5. Performing storyboard-style editing 6. Review questions 7. Using the Program Monitor controls 3. Setting the playback resolution 4.

Playing back VR video 5. Using markers 6. Using Sync Lock and Track Lock 7. Finding gaps in the sequence 8. Selecting clips 9. Moving clips Extracting and deleting segments What are transitions? Using handles 4. Adding video transitions 5. Adding audio transitions 7. Performing a four-point edit 3. Changing clip playback speed 4. Replacing clips and media 5. Nesting sequences 6. Performing regular trimming 7. Performing advanced trimming 8.

Trimming in the Program Monitor 9. Adjusting the Motion effect 3. Changing clip position, size, and rotation 4. Working with keyframe interpolation 5. Applying the Auto Reframe effect 6. Adding a drop shadow 7. Setting up the interface to work with audio 3.

Examining audio characteristics 4. Recording a voice-over track 5. Adjusting audio volume 6. Auto-duck music 7. Creating a split edit 8. Adjusting audio levels for a clip 9. Improving audio with the Essential Sound panel 3. Adjusting dialogue audio 4. Review questions 5. Working with visual effects 3. Applying master clip effects 4. Masking and tracking visual effects 5. Keyframing effects 6. Using effect presets 7. Exploring frequently used effects 8. Using the Render And Replace command 9.

Understanding display color management 3. Following the color adjustment workflow 4. Using Comparison view 5. Matching colors 6. Exploring the color-adjustment effects 7.