Video Editing

Developed by
Allama Iqbal Open University, Islamabad, Pakistan
In association with
Commonwealth Educational Media Centre for Asia (CEMCA), New Delhi
2016

These curricula are made available under a

Creative Commons Attribution-Share Alike
4.0 License (international):
http://creativecommons.org/licenses/bysa/4.0/
 Unit 1

Introduction to Video Editing

Written by: Shakeel Adnan

Reviewer: Muzzamil Dani

 CONTENT

Introduction

Objective

1. Video Editing

2. History of Editing

3. Characteristics of Video Signals

4. Hardware Requirements

Self Assessment Questions

Reference
INTRODUCTION

Editing is a language that uses pictures & sounds instead of words. Learning to edit is like learning

to play a musical instrument. It’s craft and practice is important. The more you edit the more it

becomes easier it becomes to please yourself and the audience. Music & Editing share another trait.

Both can create deep emotional responses from audiences. There are few things in life more

rewarding than sitting in the back of a room and watching other people be profoundly moved by

the story you have told.

No matter what the story is, the Editor’s job is to tell well to us, that means editing that’s invisible.

Anything be acting , Camera Work , Lighting , Music or editing that calls the attention to itself

rather than serving the needs of the story is determined.

Editing digital video is easier than it looks. Everyone starts out confused and fearful. You can learn

as you edit. However, once you grasp the underlying concepts of digital editing, the process will

cease to be a mystery breakthrough sooner or later. Afterwards, all the aspects of editing will

become clear to you. Nothing will stand in your way; we’ve seen this happen hundreds of time

with our students. Our method will help you achieve your breakthrough faster.
OBJECTIVES:

After the successful completion of this unit, the students will be able to understand the:

 Knowledge about the history of Video Editing

 Learn about the types of Video Signal and their characteristics.

 Students will learn about which aspect ratio is appropriate for the project

 Knowledge about the hardware requirements required for Video Editing.

 Learn about the ultimate goal of editing

 Knowledge about the fundamental elements of editing.

 Learn the use of Digital Format.

1. VIDEO EDITING

 The Ultimate Goal of Editing

 Shot: The fundamental element of editing

 Why we do editing?

 Definition of an Editor.

 Use of Digital Format.

The Ultimate Goal of Editing

The ultimate goal of editing is to tell stories. Writers use words and sentences to craft stories,

editors use pictures and sound. Joining disparate shots together in fundamental to editing. In one of

the oddities that persist in the film and video industry, the simplest way to join two shots together

is to cut from one shot to another. It’s called a cut because film editors once had to cut and splice

together strands of film to join two shots. What’s important to know is that the act of placing one

shot next to another can create an emotional impression that’s greater than the sum of the parts.

SHOT: The Fundamental Element of Editing

The Shot is the basic visual element in a television production. A shot is a single, continuous

image taken by a camera. It can be as short one-thirtieth of a second (the length of a single video

frame) or as long as the length of the entire program. We almost never use a single shot for an

entire program. Rather, we assemble a number of different shots together into a sequence to show

the viewer the action from the best possible angle, distance and viewpoint.
Individual shots must be edited, or joined together, into a meaningful sequence. The director edits

a show by working with three factors:

1. the juxtaposition of shots – the sequence and order of individual shots have a definite

impact on the viewer.

2. the timing of the shots and the transitions.

3. transitional devices; or the way in which we change camera shots.

There are four basic transitional devices:

1. The cut

2. The fade

3. The dissolve

4. The wipe

The timing of the transition and knowing when and when not to change shots are important

directional decisions. In general, we change shots when we want viewer something new or

different or more effective angle or view of the scene, or when there is obvious motivation for the

cut. Jump cuts are abrupt or radical changes from one shot to another and usually startle or

disorient the viewer. Among the most common jump cuts are radical changes in shot or subject

size, severe change in camera angle or point of view, jump in screen direction, discontinuity, and

cutting from a moving camera to a stationary camera shot.

Why should we do Editing?

The most efficient approach to telling stories with a camera is to follow the Hollywood model.

Shoot what you want, in the order you want to shoot it, and then assemble those elements into a
story. Filmmakers realized that joining disparate shots together gave them more control over how

the story was told and on the impact their stories had on the audience, turning editing into an

important tool. Another early realization was that editing could alter how an audience perceives

time and space. Although the reason comes in mind, is to create stories, it’s actually only one of

the four reasons for editing, which include the following:

1. To build stories from the material you shoot

2. To fix mistakes or eliminate technical errors.

3. To increase or decrease the duration (running time) of a show

4. To combine multiple stories or videotapes on one tape. This could mean adding

commercial to a television program or compiling several shows on single videotape.

Examine the list. You’ll notice that three of the four reasons are not creative; most editing tasks are

technical. Fixing mistakes, cutting for length, or combining things are what most editor do day in

and day out. It’s an interesting fact that when an editor finally has the opportunity to build a story,

he or she often ends up fixing mistakes, adjusting the length, and combining things.

A Real Definition of an Editor!

The definition of an editor is, hanging in editing rooms around the world, is the person who takes

out-of-focus, badly framed, and poorly shot footage of people mumbling, bumping into furniture,

and forgetting what to say, turns that footage into a compelling story with lasting value for which

the director will take all the credit. There’s a kernel of truth definition, although we prefer to say

that editing is about taking the best of what you have at hand and telling the most compelling story

you can create for the audience.

Why should we use Digital Format?

Digital video editing gives you ability to change the digital video files stored in your editing

system in any shape, any way, or fashion. The information in those files is stored as binary data,

which means that the file contains a series of numbers that can be either ones or zeros. The power

of digital video editing beyond simply changing the order of a series of shots. You can change the

colors, luminance, contrast, and even the size and shape of the image itself down to the smallest

part of the picture information, which is called a pixel. A typical editing system enables the

operator to manipulate multiple layers of video, audio, text and graphics in a completely non-

destructive way. Digital editing is the umbrella term for this new way of doing things. The person

who operates these editing systems in a professional environment often becomes a super user

because its no longer enough to be just an editor. You need to be an expert in graphics, audio,

effects, editing, composition, and compression because it all falls under the umbrella of digital.

2. HISTORY OF EDITING

Usually fairy tales that begin with "once upon a time" take place hundreds, if not thousands, of

years ago. This tale begins just 40 years ago. Imagine a world with no edit controllers, no editing

monitors, no computer-based editors and no time code. Imagine a world without electronic editing

or video and audio dubbing. A look back at the last 40 years of video editing is a look back at a

world that has changed very fast and a set of technologies that has come a long way.

In tracking the history of videotape editing, well discover that many of the so-called standard

features of today’s camcorders and VCRs were once nothing but a pipe dream to the early

founders of the craft. Then, maybe we’ll learn to appreciate the wonders of even the simplest

consumer editing gear of today.

In The Beginning

During the early 1950s, the broadcast industry used film to record programming for later

broadcast. In a process called kinescope, a cameraman would aim a film camera at a video monitor

to record a TV program. This kinescope process proved to be time consuming and expensive. The

industry needed a new medium to replace film, and that medium was videotape.

Kinescope

In 1956, Ampex Corporation introduced the first practical black-and-white videotape recorder

(VTR), the VR-1000. (It wasn't a VCR-video cassette recorder--because the tape wound on open

reels, not enclosed in a cassette.) 3M Company introduced the videotape used in the machine. It

was two inches wide and had a four-part record pattern, and was therefore known as two-inch
 Ampex VTR

Quadraplex tape. In April, at the National Association of Broadcasters (NAB) show, Ampex took

orders for more than 75 recorders. In just a few weeks, the three networks essentially stopped

using the kinescope method of recording television programs. While videotape proved valuable in

its ability to play back immediately after recording, it proved to be very difficult to edit.

Electronic Editing

In 1963, Ampex introduced the Editec and Helical Scan VTRs, the first commercial electronic

videotape editor. A small computer gave the editors the ability to set edit points that were almost

frame-accurate.

Helical Period

The editor pressed a button on the control panel to record a single-frame audio tone on the

secondary cue channel of the two-inch videotape. This tone established the in and out points of the

edit. If the editor recorded the tones at the wrong place, he could go back and re-record them.
 Helical System

This process, though time consuming, eliminated tape handling and physical splicing. The editor

no longer had to cut the original. The editor created an edit master by electronically splicing one

shot to the next onto a blank edit master. If he made a mistake during the edit, he could do it over

again. This transferring of material from one VTR to the next was called transfer editing, and it is

how we do editing on linear systems today.

Time Code

In 1967, the Electronics Engineering Company (EECO) developed the first time code for

electronic editing. The edit machine added a kind of clock timing to each frame of the secondary

cue channel of the videotape. This time code gave the editor the ability to accomplish precise

frame-accurate edits. With the success of the EECO system, other companies began developing

their own systems. These various forms of time code were incompatible, and chaos soon prevailed.

The Society of Motion Picture and Television Engineers (SMPTE) finally developed a standard

time code that the broadcast industry still uses.

Present-day Formats

The end of the two-inch era came as engineers developed and improved the helical-scan recorder.

Today, almost all VCRs use the helical scan to lay down long video tracks at an angle on the tape.

This system allows editors to watch their source tapes in slow or fast motion and choose edit points

more precisely.

The first helical machines used the two-inch tape. In 1963, the constantly improving technology

made it possible to change the width to one inch. In 1978, one-inch Type C machines set the

standard for quality. It offered high- quality still-frame, slow-motion and fast-motion playback. By

the mid '80s, Type C had replaced the two-inch quad format as the standard for making studio

masters. By the late '80s, however, the Type C began to fade due to the advent of the digital

formats.
In 1973, a technological breakthrough was to change the video world completely. The time-base

corrector (TBC) was able to take the signals from non-broadcast quality VCRs and correct the

variations in the high speed scanning and timing pulses. With the TBC, small videocassette

formats were able to meet the strict FCC requirements. Broadcast stations quickly adopted formats

such as the 3/4-inch U-matic cassette, developed by Sony Corporation. Thus the videocassette was

introduced to the broadcast and production worlds. The self-loading tape and smaller size were

welcome changes to the fast-paced world of broadcast news. But, because of its high price, the U-

matic format still didn't make it into most of our homes.

Sony Corporation introduced the first purely consumer VCR format in 1976. Although the public

widely accepted the Betamax format, it soon met its demise to an upstart introduced one year later,

the Video Home System (VHS) format. This format had the distinct advantage in that it could

record two hours of programming on one tape. By the time Sony developed a longer Beta tape, it
was too late. VHS had won the playback-time war. By 1990, even Sony began to manufacture

VHS machines.

VHS machines

In 1984, Kodak introduced the first 8mm camcorder. Others soon followed suit with Sony

Corporation having the most success with their version of this format, called Video8. This format

offered a good-quality video signal on a cassette about one-quarter of the size of the VHS cassette.

This allowed for smaller, more easily carried camcorders.

8mm Film
In 1987, Matsushita introduced a much-improved version of VHS, called S-VHS. This high-

quality format found its niche in smaller broadcast stations, business and industry, and soon began

to replace the 3/4- inch U-matic machines.

In 1989, Sony Corporation countered with a much-improved version of 8mm, called Hi8. This

high-quality video format became the choice for many at the prosumer level, and is being used as

an acquisition format for many corporate and broadcast facilities. The rest, as they say, is history.

Now we are constantly hearing about digital video and the tiny DV cassettes with their beautiful

picture quality. Time will tell how the digital formats fare and which format becomes the king of

the hill. But let's not digress too much. As the formats have changed, so too has the world of video

editing.

Betacam VTR

Electronic Editing II

One advantage of the 3/4-inch U-matic format was its recognition as a standard format by all VCR

manufacturers. This was the first time this had happened, and it paved the way for the development
of advanced cassette-based editing systems. New formats such as Betacam (1981), Betacam SP

(1986) and MII (1985), which offered extremely high-quality video, soon supplanted the reel-

based Type-C and two-inch machines. The advent of the digital formats in the late '80s took

quality and editor's choices to a new level. And manufacturers began developing editing systems

that took advantage of the new high-quality formats.

The digital video editing revolution began in 1971 with the release of the CMX 600. This

refrigerator-sized editor could store up to five minutes of black-and-white, low-resolution video on

magnetic disk drives. It allowed the operator to access video scenes from the magnetic disk drives,

immediately and in any order, to create an edit-decision list from which the system would

construct the final master. This was the first random-access or nonlinear editor. It was a good start,

but not until the 1990s did computer technology advance sufficiently to make nonlinear editing

affordable.
Here and Now

Now, when you look at your editing options, you have a number of choices: stand-alone edit

controllers, computer-based edit controllers, linear and nonlinear. With all these choices, one thing

is certain: now you can play with the big boys. Now, more than any time in the history of video

editing, consumers have at their fingertips equipment whose technology is comparable to that used

by the professionals. The only things to separate the consumer-level video editor from his

professional counterpart are skill and imagination.

Linear vs. Nonlinear Editing

Have you heard the buzz about non-linear editing? You know, the computer systems that let you

cut and paste video together the same way you cut and paste sentences or paragraphs in a word

processor? Curious about what these new systems can and can't do? You should be.

Without a doubt, the future of video lies in computer technology and non-linear editing. Unlike the

VCRs and controllers you may use today, computers make the editing process simple and

incredibly flexible. If you plan to edit on into the future, and you want to have fun doing it, you'd

better turn an ear toward the non-linear buzz.

Video Editing in 21 Century

In the beginning of 21st Century, it was a dream come true for those people who were affiliated

with Film and Video Industry as the Digital Technology replaced Analogue and gained a boost.

Although, Sony, in 1986 started Digital Video Recording and invented a machine named “Sony D-

1”. This machine had an ability to copy an “Uncompressed Component Signal” on a ¾” tape at a

speed of 173mb/sec. Today, we are capable of copying massive amount i.e. 5 billion bits per

second due to the addition of Binary Language (0-1) in the field of Information technology.

Between 1991-1993, the companies related to the field of Electronics had a great competition,

Ampex in response to Sony’s D-1 manufactured D-2. After which, Panasonic invented D-3. Also,

Sony developed Sony Digital Beta in 1993.

Digi-Beta
If you ask my personal opinion, Sony Beta is a better option that D-1, this is so because it is not

only faster and reliable but also the choice of many Professionals. Between 1991 to 1995, a

massive amount of work was done for Chroma Compression and Resolution Compression of a

video signal and finally in 1995, the first compression, which was used at a larger scale, was JPEG

motion introduced by AVID. The quality as a resultant was just like VHS tape. But, when

compression was done frame by frame, then Codec was introduced.

Two words Horizon

In 1995, the second biggest change, then came, when Technological 2 was implemented. And it

was the first when DVD optical disc was introduced. The mechanism of this system was MPEG2,

which was developed by Moving Picture Engineering Group. In the same year i.e. 1995, DV

format was also introduced. Which had a compression rate of 25Mb/Sec. Now it was possible to

connect TV cameras live to the computers to transfer the data. Now it was possible to for people to
get a digital copy of their video in a comparatively less price and take it direct to their computer for

editing.

As a result nor was the encoder required neither there was a need of a compression, from here

video production took off in a never-ending sky.

An Apple of an Eye

Till 1990, AVID was known as the “King of Video” in Hollywood. It was known as the most

expensive and best NLE System. In 1990, another AMIGA System “Video Toaster 4000. NLE

could also be done on it. Now, the most important issue was to store the large amount of data in a

computer. Adobe Premier Pro & Media 100 overcome that issue, as it was a remarkable revolution.
They made AVID, think that price tag is also very much important. Afterwards, in 1998, AVID

sold its editing software to the company of Steve Jobs, Apple Inc. And finally in 1999, Apple

introduced software; named Final Cut Pro for ultra editing purposes.
High Definition Video & Film Scanning

The Addition of High Definition (HD) made Film & TV closer which turned to be a remarkable

revolution, in the field of Video Production. One of the most surprising thing is that, Japan, in

1980 started HD TV transmission where as it was started in 1996 in America. During this period,

Hollywood started to use the Digital Intermediate (DI). With the help DI, film could be converted

into a digital file. For which a system named Telecine was introduced. With the Sony HD WF900,

in 2002, first movie in Hollywood “The Star Wars 2” was made at the Digital Format (MPEG 4).

(MPEG 4) Working with the original quality file

Till 2005, a continuous work was seen on Digital Format, Fast Camera, Big Storage and 4K

resolutions, which bore fruit and today we are able to edit our video directly on an online system.

From 1930 – 2005, it has been a very short time. Because 75 years are merely countable in human

life. If those 75 years had made something for even the upcoming 75 years then we were able say

that they had done the work not just for 75 years but for 75 decades. These 75 years are those
remarkable dream years for the Film and Video Industry, which make us think for more positivity

in the near future.

Film editing is done by hand. The process is simple. An editor looks at the film and physically cuts

strips of celluloid with a sharp blade. To isolate the price he or she want the pieces he or she wants

editor cuts out that section and puts it aside. The remaining pieces are then glued or taped back

together, or stored as separate pieces. The image for this phase is of an editor holding film in his or

her hand while cutting it with a blade. In the history of editing, this is the Iron Age. With the

arrival of videotape editing, the videotape recorder became the primary device for making edits.

To make an edit, the editor had to find the piece he or she wanted the original source tapes and

copy that section to a new section on a second recorder. The image for this phase of editing is of an

editor systematically playing back tapes on one machine and electronically transferring the images

to another machine for recording. In the history of editing, this is the Middle Age. With the digital

video editing, the computer has become the primary devices. To make an edit, the editor only

needs to rearrange the sequence in which media files are played. The image for this phase of

editing is of an editor seated in front of computer displaying moving objects on the desktop. In the

history of editing, this is the Information Age.

3. CHARACTERISTICS OF VIDEO SIGNALS

 ANALOGUE VIDEO SIGNAL

 DIGITAL VIDEO SIGNAL

Video started life as an analogue signal and remained so for over 50 years. However, digital

television via satellite, cable and terrestrial transmission is now rapidly replacing analogue. Digital

signals are less expensive to transmit because more information can be carried within a given

bandwidth using digital multiplex and compression techniques. Digital signals also hold a

significant advantage when it comes to video recording, editing and reproduction: whereas an

analogue recording degrades with each generation of copying, the digital equivalent can nearly

maintain the original quality after numerous copies. On initial analysis, picture quality is also

superior to analogue with no apparent interference, ghosting or other problems. On closer

inspection, however, errors can be detected, especially on rapidly moving pictures e.g. a football

match.
Analogue Video Format

Analogue video is commonly distributed as a composite signal, an almost universal connection

between video cameras, VCR / DVD players and video monitors. When superimposed on a radio

frequency carrier it forms the aerial signal transmitted to homes. It is also the most usual input

connection found on a videoconference picture monitor. This and other signal types are described.

 The composite signal:

The composite signal is composed of three parts: the black and white information

(Luminance), the colour information (Chrominance) and the synchronisation (Synch)

signals which ensure that the displayed pictures stay in close time synchrony with the

transmission source. A problem with composite signals is that the three elements have to be

coded to enable them to combine, but in the picture monitor these have to be decoded in

order to display an image. These coding / decoding processes introduce unwanted noise

and distortion. Three different coding systems are used worldwide. These systems – PAL,
 NTSC and SECAM – are all mutually incompatible. The NTSC (the National Television

Standards Committee) system is used in North and South America and Japan. SECAM

(Sequential Couleur Avec Memoire) is used in France and Eastern Europe, and PAL (Phase

Alternating Line) is used in the UK and the rest of Europe.

 S-Video / YC:

To reduce coding / decoding distortion the TV signal can be transmitted as an S-Video or

YC signal. S-Video has two separate parts, Luminance (Y) and Chrominance (C), and so

requires two separate connection channels between equipment in the chain. This involves

less signal processing (decoding) in the picture monitor, which means less noise / distortion

and thus a better picture.

 Alternatives:

To reduce decoding noise even further the TV information may be transmitted as three

signals, with a luminance channel (Y) and two colour component or colour difference

channels, Red-Y (R-Y) and Blue-Y (B-Y). This minimises processing in the display

monitor but requires three connection paths. An alternative method transmits Red (R),

Green (G) and Blue (B), as separate components.

  SCART:

The popular SCART interface includes three separate R G B channels together with

composite and stereo sound signals, with the connected devices choosing the most

appropriate video connection.

Digital Video Formats

Analogue video signals degrade when material is recorded or distributed. To overcome this, digital

signals are now used throughout broadcasting. Another important advantage of digital signals is

that massive compression is possible.

 CCIR-601 / 4:2:2: CCIR-601 was one of the first high quality digital standards to be

introduced. It is also known as 4:2:2 or Y Cr Cb. It comprises Luminance (Y) and two

Chrominance components (Cr and Cb) but as it requires a very wide bandwidth for

transmission (around 166Mbit/s), it is rarely found outside broadcast studio environments.

 4:2:0: To reduce the required bandwidth, and thus cost, other formats were developed,

including 4:2:0. This has the same picture rate and luminance resolution as 4:2:2 but a

reduced colour resolution, which is imperceptible to human eyes, as the human eye is much

more sensitive to the luminance signal than to the chrominance signal.

It is important as it forms the basis for the MPEG-2 (a video compression standard) form of

coding used extensively for distributing digital television including SKY and Free view.

More information on MPEG-2 coding is available at: Videoconferencing Standards.

 SIF and CIF:

For less demanding applications SIF (Source Intermediate Format) was introduced. This

has reduced frame rate and chrominance resolutions. An even lower quality format – CIF

(Common Intermediate Format) which is a cross between the US and UK SIF formats – is

used in videoconferencing. Other formats found in videoconferencing include the Quarter

(QCIF), 4xCIF and 16CIF (for still images). QCIF has the lowest resolution and frame rate

and is the base line format used within IP and ISDN conferencing for compatibility. A big

advantage of CIF and its derivatives is that they are independent of origination television

standards (PAL, NTSC etc.). This allows communication from the UK to the USA without

standards conversion.

Serial digital interface (SDI)

Digital Visual Interface (DVI)

HDMI

DisplayPort
4. HARDWARE AND SOFTWARE REQUIREMENTS

 Software requirements

 Hardware requirements

 Speed, RAM and Storage

Editing systems have two parts – Hardware and software. The hardware is the computer. Even

though an editing appliance might look like a computer, it is one. The computer lets you store and

play pictures and sound in digital files called Media Files. These files are stored on large hard

drives. Fast, powerful hardware is required to ensure quick, efficient, and error free retrieval of the

files. If the hardware is up to the task, the editor sees smooth, nonstop playback of the pictures and

sound stored on the hard drives.

Digital editing doesn’t happen in a vacuum. The picture and sounds stored on the system of editing

must eventually be played elsewhere. It’s impractical for people to come to where your editing

system resides to watch your show. They’ll want watch it in a more comfortable venue. Hardware

(called an encoder) that converts the digital media files into standard television signals is at the

heart of a digital video editing system. Your editing system has to be capable of displaying video

on a computer and television. This may seem simple and obvious, but the technology to make this

possible is magical and phenomenal. Without it, digital video editing is nothing but a file

management computer game with no lasting purpose.

Software is what allows editors to manipulate media files to their heart’s content without ever

having known anything about computers. It’s the go between. Most of the people think software as

the user interference even though that’s the only a tiny fraction of what software does for us. The

degree of sophistication determines whether you have a lot of tools or just a few to perform the

tasks necessary to create a finished show. Some software programs are the intuitive and easy to use.

Others are complex with a multiple of features. Every editing software program includes a basic

set of functions and tools that enable you successful edit a finished show a long as you become

familiar a proficient with the program.

Speed, RAM and Storage

Computer manufactures are in the business of selling speed. Every year the speed of the central

processing unit (CPU), which is where all the work gets done, increases dramatically. The reality

is that the computers can never be fast enough, or have enough memory or storage space to satisfy

the enormous demands digital video places on computer. Digital editing is taxing and editing

software uses every bit of your computer ‘s processer and memory in a never-ending search for

more. One second of full motion video is made up of sixty still images. There are 30 frames – 2

fields per frame, 2 separate images – that must be processed and displayed from a file on a hard

drive. Any current computer can display a single still picture. Digital video requires the computer

to display 60 pictures every second in perfect time to maintain smooth motion. That requires

processing power. Not only does the motion have to smooth, but the sound also has to be in a

perfect sync with the picture.

Need for Speed

The Editing system retrieves the thousands of images stored in multiple files and plays them back

with full motion and sound. To manage all of this data, you need fast CPUs that can move the data

stored in large files on your hard drives through the computer and process them quickly. Digital

video editing involves reading files and writing new ones. Speed has an impact on how quickly the

computer is able to do the calculations needed to create transitions and effects and how fast a new

file can be written store the results. We call this creation of new media files rendering.
Random Access Memory (RAM)

With every new editing software release, you gain more tools and feature, although you may also

need a faster computer to run the new version efficiently. Newer, faster computers will always read

and write digital video files faster and efficiently. The corollary to the rule is if your editing system

does everything you need it to do today, it will still do it a year from now. There’s no such thing as

being too thin or too rich. When it comes to Random Access Memory (RAM), there’s no such thing

as having too much. The more memory you have in your computer, the better it will run.

Remember that the computer is processing 60 pictures a second and each picture is composed of

hundreds of thousands of pixels. The pixels change with each new frame. Memory determines how

often your computer can update those pictures. All of the pictures on screen, including the

interference’s buttons, tools, menus, and viewers are kept in memory to display them even though

most of what’s on screen remains static, the editing system interface uses up a lot of memory. The

overhead to run the program, along with all those pictures and sounds the editor is trying to

manipulate, translate into a never-ending need for more memory. The amount of memory in your

editing system also has an impact on how many video and audio tracks can be played in real time.
The memory you have, the more layers you’re likely to be able to use. That’s why we say you can

never have too much and should have as much as you can afford.

Storage

One gigabyte of hard-drive space stores about four and a half minutes of DV footage. To

hold a footage of 1 hour you will need about 13 gigabytes of space. If you are using

1080/24P high definition (HD) video format, you’ll need 334 gigabytes, which is nearly 26
times the space for one hour of storage. The rule is that bigger is the pictures need faster

connections to move through the system. Its easy to see, even with the DV Format that,

projects with a lot of footage will quickly eat up the drive space. Any source of original

material to which you need instant access should be on your editing system. Thankfully,

Storage seems to be bigger, faster, and cheaper every year. The DV Format works well with

the typical drives found in computers of recent vintage. Even storage suitable for 1080/24P

HDTV format, which has a very high data transfers rate requirements and huge files, is

inexpensive. Now one can purchase a terabyte (1000 GB) of 1080/24ps HD storage for under

cheaper than the price of 75 Mb hard drive a decade ago.

 SELF-ASSESSMENT Questions

1. What are three major factors of Video Editing?

2. What is the role of cut in Video Editing? Why cut is essential?

3. Define briefly the history of video editing?

4. Explain the ultimate goal of editing?

5. Why should we use Digital Format?

6. Explain the difference between linear and non-linear editing?

7. Explain a Creative Video Editor?

8. Why the system RAM is essential for video editing?

9. Define Digital Format?

10. Define storage?

 References

1. Editing Digital Video (The Complete Creative and Technical Guide) by Robert M.

Goodman & Patrick McGrath.

2. Television Production by ALAN WURTZEL

3. Filmmaker IQ.com

4. Televison & Video Technology By Eugene Trundle

5. https://www.youtube.com/watch?v=Wa_VZISu6fc

6. https://www.youtube.com/watch?v=r38nVmxBfvM

7. https://www.youtube.com/watch?v=Xr-N3fSo62w

8. https://www.youtube.com/watch?v=Bfg9nF2YhOI

9. https://www.youtube.com/watch?v=9ik907te-LA

10. https://www.youtube.com/watch?v=w43afErsEhc
 Unit 2

Interface

Writer: MuzammilDani
Reviewer: Umer Mehmood
 CONTENT

Introduction

Learning outcome

1. Launching application

2. Setting up the project

3. Setting sequence

4. Familiarizing with the interface

5. Customizing the workspace

6. Understanding tool panel

7. Keyboard shortcuts and customizing

8. Understanding playback systems

9. Understanding Rendering

Self Assessment Questions

Reference
INTRODUCTION

Dear Students in this unit you will learn how to launch the application managing all the basics

project options and then the settings of all the options will be taught. In this unit the interface of

the editing software will be discussed so that the students understand what is happening in all the

windows and what they are used for as there are different windows in different versions. Most of

them will be covered along with familiarizing with the interface, then there will be a topic to help

out students to customize the interface of the software so that everyone can customize their

interface according to their need and convenience. The main tool box will be explained, every tool

will be explained so that after the topic every student know what the basic tools in the tool bar do

and how to use them. They also have shortcut keys which can be seen by dragging the mouse over

them staying there for couple of seconds. Keyboard is the most important part of editing. There are

a lot of options to customize the keyboard keys so everyone can set it according to their needs.

Some default keys are also available and if someone comes from some other software default keys

for them are also saved by default and they can be select to make the software environment

friendly. The details of how to save the customize keyboard is also explained in this unit.

The explanation of rendering is explained in this unit which is used to process all the timeline

materiel so that it is ready to be played and used. There is also a smart rendering option available

in the software which the students will be briefed. The students will also learn the details of

playback systems used for play back of timeline materials which is rendered and ready to be

played through different playback systems. Its use depends on the hardware being used otherwise

every software have its own playback system which is also briefed in this unit.
Objectives:

After reading this unit the students will be able to:

 Know how the application will be launched.

 Learn about setting the project according to their requirement.

 Learn the setting of the sequence of the project.

 Making editing environment more user friendly.

 Familiarized with different tools and use of those tools.

 Learn to utilize the keyboard during editing.

 Customize the keyboard shortcuts.

 Knowing about the playback systems.

1. LAUNCHING THE APPLICATION:

First of all, you have to open the application by clicking on the shortcut of Adobe Premiere; it will

look like something as follows:

When you open it you will be welcomed with the screen on which you will be given an option to

make new project, open existing project and help as shown below:
Here if you are starting for the first time you have to click on new project or if you want to

continue on some old project then you have to click on open project and select the project which is

needed and skip next two steps. When you open new project you will be given option for naming

your project and selecting other options.

2. SETTING UP A PROJECT:

 Video Rendering and Playback option is there if you have an external video rendering,

capturing card you will have an option to change it otherwise it will stay default.

 Video option is there to change the time coding formation it can be changed to different

options most commonly used are Time code or frames.

 Audio option is also used to change the display option of audio samples.
 Capture option is there to select which camera you are using if you are using any hd camera

then you have to select HDV otherwise select DV but if you are not using any external

camera to capture video then user can select any option.

 Location is for selecting a location of your complete project for editing which will include

all the things used in recommended is to select storage drive other than your Operation

system device i.e. D,E,F.

 Name is for naming your project so user can identify it easily.

Scratch Disk

There is also an option of scratch disk at the top by clicking on that you will be shown a

window as below.
 In this window there are different options to define multiple folder location or even different

drives for capturing, video and audio preview files of the project. All options can have the

option of same location as of the project so that all of the project data is at one place.

 Captured video is for giving different locations for the video files which are to be
captured in this project.
 Captured audio is also there to give different location for the audio files which are to be
captured.
 Video Previews option is there to change the folder for the files which are rendered and
previewed.
 Audio previews option is there for the saving the audio files.

3. SETTING SEQUENCE

When the project settings are done press OK it will take you to the sequence settings there are the

setting which are required for making your playback system compatible with your output file.
Here we have alot of presets which are made for user ease. These are the standards used around the

world for example in Pakistan PAL type is used so if we select Standard 48kHz in DV-PAL then

all other selecting will be set accordingly which include aspect ratio ,audio bitrate, frame rate etc.

New Sequence Setting:

We have option of settings at the top. By clicking it we will have a window as below.
If user want to change the default setting selected on the previous screen then more option are

available on this screen for power users so the user can make their own preset which can be saved

to be used later on.

Editing Mode The video format used for preview files and playback, the time bases available, the

compression methods which appear in the video settings panel, the display formats available.

Choose an Editing Mode option that best matches the specifications of your target format, preview

display, or capture card. The editing mode does not determine the format of your final movie, you

specify output settings when you export.

Timebase Specifies the time divisions Premiere Pro uses to calculate the time position of each edit.

In general, choose 24 for editing motion picture film, 25 for editing PAL (European standard) and

SECAM video, and 29.97 for editing NTSC (North American standard) video. The frame rate of

the video you play back or export from sequences is not the same as its timebase. However,

timebase and frame rate are often set to the same value. The options listed for Timebase vary

according to the editing mode you select.

Frame Size Specifies the dimensions, in pixels, for frames when you play back sequences.

Alternatively, you can adjust the frame size of final output by changing export settings. The

maximum frame size for a sequence is 10,240 x 8,192.

Pixel Aspect Ratio Sets the aspect ratio for individual pixels. Choose Square Pixels for analog

video, scanned images, and computer-generated graphics, or choose the format used by your

source. If you use a pixel aspect ratio different from the pixel aspect ratio of your video, the video

often gets rendered with distortion.

Fields Specifies the field order, or which field of each frame is drawn first. If you work with

progressive-scan video, select No Fields (Progressive Scan). Many capture cards capture fields

regardless of whether the source footage was shot with progressive scan.

Display Format (Video) Premiere Pro can display any of several formats of timecode. You can

display the project timecode in a film format. Changing the Display Format option does not alter

the frame rate of clips or sequence but it changes only how their timecodes are displayed.

 25-fps Timecode Reports time in hours, minutes, seconds, and frames, separating units

with colons. Use for output to PAL videotape.

 Feet + Frames 16mm Reports time in feet and frames, assuming the frame rate of 16mm

film: 40 frames per foot. Use for output to 16mm film.

 Feet + Frames 35mm Reports time in feet and frames, assuming the frame rate of 35mm

film: 16 frames per foot. Use for output to 35mm film.

 Frames Reports time solely in a running count of frames. Does not assign measurements

of either time or spatial length.

Sample Rate (Audio) In general, higher rates provide better audio quality when you play back

audio in sequences, but they require more disk space and processing. Re-sampling, or setting a

different rate from the original audio, also requires additional processing time and affects the

quality.

Display Format (Audio) Specifies whether audio time display is measured using audio samples or

milliseconds.
Video Previews settings Video Previews settings determine the file format, compressor, and color

depth Premiere Pro uses for preview files and playback of clips and sequences. Among the various

options, you can reduce the frame size of previews. This reduction permits faster and easier

playback of formats with large frame sizes, such as HD.

Preview File Format Select a file format that gives the best quality previews while keeping

rendering time and file size within tolerances acceptable for your system. For certain editing

modes, only one file format is available.

Codec Specifies the codec used for creating preview files for the sequence. (Windows only) The

Uncompressed UYVY 422 8-bit codec and the V210 10-bit YUV codec match the specifications

for SD-SDI and HDSDI video respectively. Select one of them if you intend to monitor or output

to one of these formats. To access either of these formats, first choose the Desktop Editing Mode.

Width Specifies the frame width of video previews, constrained by the pixel aspect ratio of the

original media.

Height Specifies the frame height of video previews, constrained by the pixel aspect ratio of the

original media.

Reset Clears existing previews and specifies full size for all following previews.

Maximum Bit Depth Maximizes the color bit depth, up to 32 bpc, to include in video played back

in sequences. This setting is often not available if the selected compressor provides only one

option for bit depth.

Maximum Render Quality Maintains sharp detail when scaling from large formats to smaller

formats, or from high-definition to standard definition formats. Maximum Render Quality

maximizes the quality of motion in rendered clips and sequences. Selecting this option often

renders moving assets more sharply.

Tracks

There is a track option at the top. By clicking on it we will have a screen as below:
  Video option is to select how many tracks are required for video.
 Audio have multiple options to select which output is required from mono to 5.1.
User can even define different names to different tracks and change the types for that particular

track.

Change sequence settings

You can change some of the settings for an existing sequence. Note that, depending on the Editing

Mode selected, some of the settings will be fixed.

Do one of the following:

a. Select Sequence > Sequence Settings.

b. In the Project panel, right-click a sequence, and select Sequence Settings
Select the desired settings on the General tab. For more information, see Sequence presets and

settings.

4. FAMILIARIZING WITH THE INTERFACE

When all setting is done the OK button is pressed the main program is opened with windows as below:
1. Top left window the source screen is the source monitor is used for getting video from

the raw footage by putting in point and out point and easily dragging it to the time line.

2. Top right is the program monitor it is actually the screen which shows the contents

which are on the timeline and will be rendered, it includes all the tracks on the timeline.

3. Lower left window is the Project interface it shows all the sequences, clips (audio and

video) on the time line.

4. Along with the Project interface there is a tool bar, it is available in almost every

software, so that the user can select the most used tools easily.

5. Sequence window will show the current sequence. The user is working on the timeline

will be shown in this window. All the clips will be on it and all the editing will be done

on it.

It has all the access to different areas of the program.

 In every window there are options of multiple tabs as it can be seen in window 1

and 3. They are for fast access to different areas of programs, which will be

discussed later.
5. CUSTOMIZING THE WORK SPACE

When the user requires making changes to their work space it is possible for them by going in the

windows in the menu bar as shown below.

In there if they go to the workspace there are a couple of default settings available, if a person is

familiar to an old Premiere Pro version then editing (CS5.5) can be selected. All the windows will

be adjusted accordingly as shown below.

Here everything is the same just the positioning of the windows are different. Any user can adjust

according to requirement. They can add the windows from the window menu or closing the

window by pressing the cross on the window. The size of the window can also be adjusted by

placing the mouse at the divider line and changing the size of the particular window.

The 2-up editing workspace (CS6)

In Premiere Pro CS6, there is a new workspace called, "2-up". 2-up refers to the large Source

Monitor and Program Monitor found at the top of the interface. This arrangement allows you to

focus more on the images, and less on the user interface.

The 2-up editing workspace and the Preview Area

In Premiere Pro CS6, the new default editing workspace does not display the Preview Area in the

Project panel, as it had in past versions of Premiere Pro. You can view the Preview Area by

choosing the panel menu > Preview Area in the Project panel.
The 2-up workspace and the Media Browser

In the 2-up interface, the Project panel covers up the Media Browser, so it is not apparent that you

can drag items from the Media Browser into the Project panel. To drag media from the Media

Browser to the Project panel, do the following:

1. Select the items you wish to import in the Media Browser.

2. Drag the items to the Project tab.

 Media is then imported into the Project panel.

 You can also import items from the Media Browser by selecting media and then

choosing File > Import from Media Browser.

 You can also choose Import from the context menu.

Brighten or darken the interface

You can lower the brightness, when making color corrections or working in dark environments.

Changing the brightness will affects panels, windows, and dialog boxes but will not affect scroll

bars, title bars, and menus. The process to the changing is as below.

1. Choose Edit > Preferences > Appearance (Windows) or Premiere Pro > Preferences >

Appearance (Mac OS).

2. Drag the User Interface Brightness slider to the left or right. Click Default to restore the

default brightness levels.

Display any panel full-screen

You can expand any panel to display it in full-screen mode, and toggle back to normal view. You

can do so with the current panel in focus. To maximize a selected panel you can choose Window >

Maximize Frame. To restore the panel size, choose Window > Restore Frame Size. You can also
press Shift+accent to maximize the panel size of a selected panel. Press the accent key to toggle

the panel size of a panel you are hovering over with the mouse.

Dock, group, or float panels

You can dock panels together, move them into or out of groups, and undock them so they float

above the application window. As you drag a panel, drop zones-areas onto which you can move

the panel-become highlighted. The drop zone you choose determines where the panel is inserted

and whether it docks or groups with other panels.

Docking zones

Docking zones exist along the edges of a panel, group, or window. Docking a panel places it

adjacent to the existing group, resizing all groups to accommodate the new panel.

Dragging panel (A) onto docking zone (B) to dock it (C)

Grouping zones

Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping

a panel on a grouping zone stacks it with other panels.

Dragging panel (A) onto grouping zone (B) to group it with existing panels (C)

Dock or group panels

a) If the panel you want to dock or group is not visible, choose it from the Window menu.

b) Do one of the following:

 To move an individual panel, drag the gripper area in the upper-left corner of a

panel’s tab onto the desired drop zone.

 Drag panel gripper to move one panel

 To move an entire group, drag the group gripper in the upper-right corner onto the

desired drop zone.

Drag group gripper to move entire group

The application docks or groups the panel, according to the type of drop zone.

Undock a panel in a floating window

When you undock a panel in a floating window, you can add panels to the window and modify it

similarly to the application window. You can use floating windows to use a secondary monitor, or

to create workspaces like the workspaces in earlier versions of Adobe applications.

Select the panel you want to undock (if it’s not visible, choose it from the Window menu), and

then do one of the following:

 Choose Undock Panel or Undock Frame from the panel menu. Undock Frame

undocks the panel group.

 Hold down Ctrl (Windows®) or Command (Mac OS®), and drag the panel or

group from its current location. When you release the mouse button, the panel or

group appears in a new floating window.

 Drag the panel or group outside the application window. (If the application window

is maximized, drag the panel to the Windows taskbar.)

Resize panel groups

When you position the pointer over dividers between panel groups, resize icons appear. When you

drag these icons, all groups that share the divider are resized. For example, suppose your

workspace contains three panel groups stacked vertically. If you drag the divider between the

bottom two groups, they are resized, but the topmost group doesn’t change.

To quickly maximize a panel beneath the pointer, press the accent key. Press the accent key again

to return the panel to its original size.

1. Do either of the following:

a. To resize either horizontally or vertically, position the pointer between two panel

groups. The pointer becomes a double-arrow.

b. To resize in both directions at once, position the pointer at the intersection between

three or more panel groups. The pointer becomes a four-way arrow.

2. Hold down the mouse button, and drag to resize the panel groups.

Dragging divider between panel groups to resize them horizontally

A. Original group with resize icon B. Resized groups

Open, close, and scroll to panels

When you close a panel group in the application window, the other groups resize to use the newly

available space. When you close a floating window, the panels within it close, too.

1. To open a panel, choose it from the Window menu.

2. To close a panel or window, press Control-W (Windows) or Command-W (Mac OS), or

click its Close button.

3. To see all the panel tabs in a narrow panel group, drag the horizontal scroll bar.

4. To bring a panel to the front of a group of panels, do one of the following:

 Click the tab of the panel you want in front.

 Hover the cursor above the tab area, and turn the mouse scroll wheel. Scrolling

brings each panel to the front, one after another.

 Drag tabs horizontally to change their order.

 To reveal panels hidden in a narrow panel group, drag the scroll bar above the

panel group.

Drag horizontal scroll bar to see all panels in narrow group

Working with multiple monitors

To increase the available screen space, use multiple monitors. When you work with multiple

monitors, the application window appears on one monitor, and you place floating windows on the

second monitor. Monitor configurations are stored in the workspace.

Save a custom workspace

As you customize a workspace, the application tracks your changes, storing the most recent layout.

To store a specific layout more permanently, save a custom workspace. Saved custom workspaces

appear in the Workspace menu, where you can return to and reset them.

 Arrange the frames and panels as desired, and then choose Window > Workspace >

New Workspace. Type a name for the workspace, and click OK.

Reset a workspace

Reset the current workspace to return to its original, saved layout of panels.

 Choose Window > Workspace > Reset workspace name.

Delete a workspace

a. Choose Window > Workspace >Delete Workspace.

b. Choose the workspace you want to delete, and then click OK.
6. UNDERSTANDING THE TOOL PANEL

A. Selection tool B. Ripple Edit tool C. Rate Stretch tool D. Slip tool E. Pen tool F. Hand

tool G. Track Select tool H. Rolling Edit tool I. Razor tool J. Slide tool K. Zoom tool

Select any tool to activate it to use in the Timeline, by clicking it or pressing its keyboard shortcut.

Let the cursor hover over a tool to see its name and keyboard shortcut.

Selection Tool The standard tool for selecting clips, menu items, and other objects in the user

interface. It’s generally a good practice to select the Selection Tool as soon as you are done using

any of the other, more specialized, tools.

Track Selection Tool Select this tool to select all the clips to the right of the cursor in a sequence.

To select a clip and all clips to the right in its own track, click the clip. To select a clip and all clips

to its right in all tracks, Shift-click the clip. Pressing Shift changes the Track Selection Tool into

the Multi-track Selection Tool.

Ripple Edit Tool Select this tool to trim the In or Out point of a clip in a Timeline. The Ripple

Edit Tool closes gaps caused by the edit and preserves all edits to the left or right of the trimmed

clip. For more information about using the Ripple Edit tool.

Rolling Edit Tool Select this tool to roll the edit point between two clips in a Timeline. The

Rolling Edit Tool trims the In point of one and the Out point of the other, while leaving the

combined duration of the two clips unchanged.

Rate Stretch Tool Select this tool to shorten a clip in a Timeline by speeding up its playback, or to

lengthen it by slowing it down. The Rate Stretch Tool changes speed and duration, but leaves the

In and Out points of the clip unchanged.

Razor Tool Select this tool to make one or more incisions in clips in a Timeline. Click a point in a

clip to split it at that precise location. To split clips in all tracks at that location, Shift-click the spot

in any of the clips.

Slip Tool Select this tool to simultaneously change the In and Out points of a clip in a Timeline,

while keeping the time span between them constant. For example, if you have trimmed a 10-

second clip to 5 seconds in a Timeline, you can use the Slip Tool to determine which 5 seconds of

the clip appear in the Timeline.

Slide Tool Select this tool to move a clip to the left or right in a Timeline while simultaneously

trimming the two clips that surround it. The combined duration of the three clips, and the location

of the group in the Timeline, remain unchanged.

Pen Tool Select this tool to set or select keyframes, or to adjust connector lines in a Timeline.

Drag a connector line vertically to adjust it. Ctrl-click (Windows) or Command-click (Mac OS) on

a connector line to set a keyframe. Shift-click noncontiguous keyframes to select them. Drag a

marquee over contiguous keyframes to select them.

Hand Tool Select this tool to move the viewing area of a Timeline to the right or left. Drag left or

right anywhere in the viewing area.

Zoom Tool Select this tool to zoom in or out in a Timeline viewing area. Click in the viewing area

to zoom in by one increment. Alt-click (Windows) or Option-click (Mac OS) to zoom out by one

increment.

7. KEYBOARD SHORTCUTS AND CUSTOMIZING

Many commands have keyboard shortcut equivalents, so you can complete tasks with minimal use

of the mouse. You can also create or edit keyboard shortcuts. The default shortcut set is called

Premiere Pro CS6.

Find keyboard shortcuts

Find the keyboard shortcuts for a tool, button, or menu command by doing any of the following:

 For a tool or button, hold the pointer over the tool or button until its tool tip appears. If

available, the keyboard shortcut appears in the tool tip after the tool description.

 For menu commands, look for the keyboard shortcut at the right of the command.

 For the most-used keyboard shortcuts not shown in tool tips or on menus, see the table

at the end. For a complete list of default and current shortcuts, choose Edit > Keyboard

Customization.
Use the search field in the Keyboard Customization dialog box to find specific commands quickly.

Customize or load keyboard shortcuts

You can set shortcuts to match shortcuts in other software you use. If other sets are available, you

can choose them from the Set menu in the Keyboard Customization dialog box.

1. For customizing keyboard shortcuts, choose one of the following:

 In Windows, choose Edit > Keyboard Customization

 In Mac OS, choose Premiere Pro > Keyboard Shortcuts

2. In the Keyboard Customization dialog box, choose an option from the menu:

 APPLICATION Displays commands found in the menu bar, organized by category.

 PANNELS Displays commands associated with panels and menus.

 TOOLS Displays a list of tool icons.

3. In the Command column, view the command for which you want to create or change a

shortcut. If necessary, click the triangle next to the name of a category to reveal the

commands it includes.

4. Click in the item’s shortcut field to select it.

a) Type the shortcut you want to use for the item. The Keyboard Customization dialog box

displays an alert if the shortcut you choose is already in use. Do one of the following:

 To erase a shortcut and return it to the command that originally had it, click Undo.

 To jump to the command that previously had the shortcut, click Go To.

 To simply delete the shortcut you typed, click Clear.

 To re-enter the shortcut you typed previously, click Redo.

 b) Repeat the procedure to enter as many shortcuts as you want. When you’re finished, click

Save As, type a name for your Key Set, and click

c) Save.

To remove the shortcut

To remove the shortcuts do one of the following:

 To remove a shortcut, select the shortcut you want to remove, and click Clear.

 To remove a set of shortcuts, choose the key set from the Set menu and click Delete. When

prompted in the warning dialog box, click

 Delete to confirm your choice.

Print keyboard shortcuts

You can paste the lists of keyboard shortcuts from the Keyboard Customization dialog box into a

text document, from which you can print them.

 Press Ctrl+Shift> Edit > Keyboard Customization (Windows), press Command+Shift>

Premiere Pro > Keyboard Shortcuts.

 Select a set of keyboard shortcuts from the Set menu in the Keyboard Customization dialog

box (Windows).

o Click the Clipboard button.

o Start a new document in a text editor.

o Paste the contents of the clipboard into the document.

8. Understanding playback systems

Mercury Playback Engine is a name for a large number of performance improvements in Adobe

Premiere Pro CS5 and later. Those improvements include the following:
  64-bit application

 multithreaded application

 processing of some things using CUDA (and OpenCL in Premiere Pro CS6)

 Everyone who has Premiere Pro CS5 or later has the first two of these. Only the third one

depends on having a specific graphics card.

CUDA is a technology (architecture, programming language, etc.) for a certain kind of GPU

processing. CUDA is an Nvidia technology, so only Nvidia cards provide it. OpenCL is a

technology that is similar in purpose to CUDA. OpenCL features are provided by many graphics

cards, including ATI/AMD cards.

 SELF ASSESSMENT QUESTIONS

1. How can we change the sequence settings of already make project?

2. Is it possible to customize the workspace, if it’s possible then how we do it?

3. What does razor tool do, Explain it?

4. What does Rate Stretch Tool do, explain?

5. What does hand tool do and explain its uses?

6. Which is the commonly used standard in Pakistan PAL/NTSC?

7. Explain the process of customized and saving the shortcut keys?

8. How to print all the shortcut keys?

9. What are the playback systems?

10. What do you mean by rendering systems?

 Reference

 https://en.wikipedia.org/wiki/Adobe_Premiere_Pro

 https://helpx.adobe.com/premiere-pro/using/default-keyboard-shortcuts-cc.html

 https://www.youtube.com/watch?v=DLElzmuhrnY

 https://helpx.adobe.com/premiere-pro/using/creating-changing-sequences.html

 https://www.youtube.com/watch?v=EpqZJF1_j5s

 https://www.youtube.com/watch?v=MfY0nD4uYAA

 https://www.youtube.com/watch?v=8VL96ypNBnw

 http://www.adobepress.com/articles/article.asp?p=2118683&seqNum=9

 https://www.youtube.com/watch?v=aaJMQEgvv7o
 Unit 3

Fundamentals of Editing Software

Writer: Muzzamil Dani

Reviewer: Umer Mehmood Qureshi

 CONTENTS

Introduction

Objectives

1. Importing files and folders

2. Creating new sequence

3. Fundamentals of Timeline panels

4. Navigate in a sequence

5. Capturing

6. Creating clips for offline editing

7. Organizing media

8. Reconnecting media

Self Assessment Questions

References
INTRODUCTION

Dear Student editing software like Premier Pro can handle a lot of file formats and these files can

be used for editing. In this unit students will learn to import different type of files and folders.

Student will learn about the different panels on a timeline, in this unit there is a detailed

description of how a person can navigate in timeline. In this unit student will learn how to use tools,

which will be used on files. Dear Student in this unit you will learn to create a new sequence

according to your requirement, which will help students during complex editing. Capturing of clips

is also an option to get the requested data from different type of formats like tapes, cameras, live

converges and many more. Capturing media is explained in the unit so the students can capture any

kind of video to their computer for editing. Students will learn about the option to make a low level

video clips which are very useful for editing on those systems which are not that high powered.

During low level video clips the copy of the whole video is made in low resolution so that the

computer can handle it easily and quickly. When all the editing is done it is replaced with the

original high resolution version so the outcome is high resolution video. Dear students the

important thing for the editing is organizing the data so it can be easily accessible whenever

required during editing or when the project is to be edited again for some reason this is really

important thing and that is also taught in this unit in details. Dear students in this unit you will

learn how to delete any unused data from the project folder so the folder size can be reduced to

save the storage space. When some data gets deleted and user have a backup of that data to

reconnect it is must to have a same videos so that timeline is reconnected exactly like it was before

otherwise the editor have to do all editing again and all his work will be wasted. If any file is

appearing offline, any project file goes missing, how to re-link the file, at the end of the unit

students will learn to reconnect the disconnected media.

OBJECTIVES:

After reading this unit the students will be able to:

 Learn the process of importing files and folders in a project.

 Students will be familiarized with the timeline panels.

 Learn to create a sequence that matches the characteristics of asset.

 Learn to navigate in a sequence.

 Knowledge of capturing videos from external sources.

 Learn to work with low level clips and export in high resolution.

 Organizing the project, maintain a clean editing environment.

 Learn to reconnect any offline media.

1. IMPORTING FILES AND FOLDERS

The Import command brings files that are already on your hard disk or other connected storage

device into your project. Importing files makes them available to a project. The editing software

lets you import many types of video, still images and audio. Finally, you can export a Premiere Pro

project from other software of adobe like After Effects and import it into Premiere Pro. You can

import a single file, multiple files, or an entire folder. Frame sizes cannot exceed 16 megapixels.

Import files with the Media Browser

The Media Browser makes it easy to browse to files, and to find them by their type. Unlike the

Import dialog box, the Media Browser can be left open and docked like any other panel. The

Media Browser gives you quick access to all your media while you edit. Also, you can use the

Media Browser to import clips copied from video storage media such as Memory Cards, MMC,

SxS cards, XDCAM disks, and DVDs. When you import an asset Premiere Pro leaves it in its

current location, and creates a clip in the Project panel that points to it. By default, Premiere Pro

writes XMP files to the directory where the media files are located, but you can turn off this

behavior in Preferences. For best performance, first transfer files from their file-based media to a

local hard disk. Then, import them into editing projects from the hard disk.

1. Select Window > Media Browser.

2. To browse to the desired files, do one of the following:

 To open a folder recently opened, click the triangle in the Recent Directories menu, and

select the folder.

 In the list of hard drives and folders in the Media Browser, click the triangles next to

folder names to open them.

3. To view only files of certain types, click the triangle in the Files of Type menu, and select a

file type. To select an additional type open the menu again and make another selection.

Repeat until all desired types have been selected.

 4. Select one or more files from the list of files. To select more than one file, Ctrl-click

(Windows) or Command-click (Mac OS) the filenames. To select more than one file, Shift-

click the filenames.

5. Do one of the following:

 Select File > Import From Browser or right-click the file in the Media Browser and

select Import. Alternatively, you can drag the file from the Media Browser into the

Project panel, or drag the file from the Media Browser into a Timeline.

The Media Browser imports the file into the Project panel.

 Right-click the file in the Media Browser and select Open In Source Monitor.

Alternatively, double-click the file in the Media Browser to open it in the Source

Monitor.

The Media Browser opens the file in the Source Monitor.

Import files with the Import commands

While you can import clips directly from file-based media connected to your computer, it is

best to first transfer clips from these media to a hard disk. Then, import them from the hard disk.

 Choose File > Import. You can select multiple files.

 To import a recently imported file, choose File > Import Recent File >[file name].

 To import a folder of files, choose File > Import. Locate and select the folder, and then

click Import Folder. The folder, with its contents, is added as a new bin in the Project panel.
2. CREATE NEW SEQUENCE

In many cases, you want to create a sequence that matches the characteristics of the primary clips

that you’ll be editing. You can create a sequence that matches the characteristics of clip by

dragging the clip to the New Item button at the bottom of the Project panel.

A. New sequence button

You can also create a sequence by using a sequence preset by keyboard shortcut Ctrl+N. The

sequence presets included with Premiere Pro include the correct settings for common types of

assets(clips). For example, if you have footage mostly in DV format, use a DV sequence preset. If

you plan to specify lower quality settings for output, don’t change your sequence settings. Instead,

change your export settings later. When all the parameters of your assets do not match all the
settings of any preset do one of the following. In the Sequence Presets tab of the New Sequence

dialog box, select a preset with most settings matching the parameters of the assets (clip) you want

to edit.

Do one of the following:

1. Select File > New > Sequence

2. In the Project panel, click New Item. Then select Sequence.

3. On the Sequence Presets tab, select a preset from the Available Presets list.

4. Type the name of the sequence, and then click OK.

OR

You can create a new sequence from a selected clip by one of the following methods:

 Drag and drop a clip onto the New Item button. As shown above

Settings according to the clip

1. Drag a clip into the sequence. Premiere Pro detects if the attributes of the clip match the

sequence settings.

2. If the attributes do not match, a Clip Mismatch Warning dialog box launches with the

message, “The clips does not match the sequence settings. Change sequence to match the

clip’s settings?” Choose “Change Sequence Settings” if you want to create a new sequence

with attributes that match the clip. This technique is the one to do if you are creating a new

sequence from scratch. If there are existing clips in the sequence, they will be conformed to

the new sequence settings. Choose “Keep Sequence Settings” if you want the clip to be

conformed to play back in the existing sequence.

 3. FUNDAMENTALS OF TIMELINE PANELS

A. Sequence tabs B. Time ruler C. Video tracks D. Audio tracks

Time ruler Measures sequence time horizontally. Tick marks and numbers indicating the

sequence time are displayed along the ruler and change according to the level of detail at which

you view the sequence. By default these tick marks and numbers are based on the time code

display style specified in the Display Format field of the New Sequence dialog box, time ruler

numbers can be turned on/off by right clicking on time ruler and selecting Time Ruler Numbers in

the Timeline panel menu.

A single Timeline panel appears in a frame in the lower central portion of the screen, open any of

its default workspaces, or create a project. You can remove all sequences from a Timeline panel, or

add multiple sequences to it, each appearing as a tab within that Timeline panel. You can also open
multiple Timeline panels, each within its own frame, with each containing any number of

sequences.

You can show or hide items by selecting, or deselecting them in the Timeline panel menu. These

items include: time ruler numbers, and the work area bar.

Open additional Timeline panels

You can open more than one Timeline panel if you have more than one sequence in a project.

1. Open more than one sequence.

 Each will appear in its own tab in the default Timeline panel.

2. Drag a sequence tab and drop it into another docking area.

 The sequence tab appears in a new Timeline panel.

Open a sequence in a Timeline panel

You can open one or more sequences in a Timeline panel.

 In the Project panel, double-click the sequence you want to open.

4. NAVIGATE IN A SEQUENCE

A Timeline panel contains several controls for moving through the frames of a sequence.

Time navigation controls in a Timeline panel

A. Current-time display

B. Play head

C. Work area bar

D. Time ruler

E. Source track indicators

F. Pointer

G. Zoom scroll bar

 H. Pointer

Current time display shows the time code for the current frame in a Timeline panel. To move to a

different time, click in the time display and enter a new time, or place the pointer over the display

and drag left or right. You can change the display between time code and the simple frame count

by Ctrl-clicking (Windows) or command-clicking (Mac OS) the current time in either a monitor or

a Timeline panel.

Play head Indicates the current frame displayed in the Program Monitor. The current frame

displays in the Program Monitor. A vertical line extends from the playhead to the bottom of the

time ruler. You can change the current time by dragging the playhead.

Zoom scroll bar Located at the bottom of the Timeline panel, this bar corresponds with the visible

area of the time ruler in the Timeline. The Source Monitor and Program Monitor also have zoom

scroll bars. You can drag the handles to change the width of the bar and change the scale of the

time ruler. Expanding the bar to its maximum width reveals the entire duration of the time ruler.

Contracting the bar zooms in for a more detailed view of the ruler. Expanding and contracting the

bar is centered on the playhead. By positioning the mouse over the bar, you can scroll the mouse

wheel to expand and contract the bar. You can also scroll the mouse wheel in the areas outside of

the bars for the same expanding and contracting behavior. By dragging the center of the bar, you

can scroll the visible part of a time ruler without changing its scale. When you drag bar, you are

not moving the playhead, however, you can move the bar and then click in the time ruler to move

the playhead to that same area as the bar.

Work area bar Specifies the area of the sequence that you want to render previews, or to define a

region you plan to export. The work area bar is located in the lower portion of the time ruler. You

can drag the edges of the work area bar, or use keyboard shortcuts to set the work area in a

sequence. To return the work area bar to the Timeline, enable it from the panel menu by selecting
Work Area Bar. When the work area bar is enabled, commands for Render Effects in Work Area,

and Render Entire Work Area are available in the Sequence menu. You can now use In and Out

points for most things the Work Area does, so you can keep it hidden and use In and Out points for

rendering an area of the Timeline, or for marking an area to export for encoding.

Zoom controls Change the scale of the time ruler to increase or decrease the number of frames

visible within the current viewing area. The zoom controls are located at the bottom left of a

Timeline panel.

Source track indicator Represents a video or audio track of the clip in the Source Monitor. Place

into the head of the Timeline track where you want to insert or overwrite the source clip track.

Position the Playhead in a Timeline panel

Do any of the following:

 In the time ruler, drag the playhead or click where you want to position the playhead.

 Drag in the current time display. Use any playback control in the Program Monitor.

 Press the Left or Right Arrow key to move the playhead in the direction you want. Press

Shift while pressing the arrow keys to move in increments of five frames.

Move the playhead using time code

Click the time code value, type a new time, and press Enter (Windows) or Return (Mac OS).

Scroll horizontally in a sequence in a Timeline panel

When you have a long sequence of clips, many of them are out of view. If you need to work on a

clip that is out of view, you need to scroll horizontally in your sequence in the Timeline panel. For

each of these commands, the Timeline panel need not be selected; however, your mouse should

hover over the Timeline panel. The sequence will scroll left or right by the number of frames

visible in the viewing area.

  Scroll the mouse wheel.

 Use the Page Up key to move left and the Page Down key to move right.

Scroll vertically in a sequence in a Timeline panel

When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden

from view. If you need to work on a clip that is out of view, you need to scroll vertically in your

sequence in the Timeline.

Do one of the following to scroll vertically in a sequence in the Timeline.

For each of these commands, the Timeline panel need not be selected; however, your mouse

should hover over the Timeline panel.

 In the right of the Timeline panel drag up or down in the scroll bar.

 Place the mouse pointer anywhere in the Timeline panel and turn the mouse wheel while

pressing Ctrl.

Work with tracks

The video and audio tracks in a Timeline panel are where you arrange clips, edit them, and add

special effects. You can add or remove tracks as needed, rename them, and determine which to

affect by a procedure.

Add tracks

New video tracks appear above existing video tracks, and new audio tracks appear below existing

audio tracks. Deleting a track removes all clips in the track but does not affect source clips listed in

the Project panel.

1. With a Timeline panel active, choose Sequence > Add Tracks.

2. In the Add Tracks dialog box, do any of the following:

  To add tracks, type, the number of tracks you want to add in the Add field for video,

audio, and audio sub mix tracks.

 To specify the placement of added tracks, choose an option from the Placement menu

for each type of track added.

 To specify the type of audio or sub mix track you want to add, choose an option from

the Track Type menu for audio and audio sub mix tracks.

3. Click OK.

Delete tracks

You can delete one or more tracks at a time, whether video or audio.

1. With a Timeline panel active, choose Sequence > Delete Tracks.

2. In the Delete Tracks dialog box, check the box for each type of track you want to delete.

3. For each checked item, specify which tracks you want to delete in its menu.

Rename a track

1. Right-click (Windows) or Ctrl-click (Mac OS) the track's name and choose Rename.

2. Type a new name for the track, and press Enter (Windows) or Return (Mac OS).

Prevent changes with Track Lock

Locking an entire track is useful for preventing changes to any clips on that track while you work

on other parts of the sequence. In a Timeline panel, a pattern of slashes appears over a locked track.

Although clips in a locked track cannot be modified in any way, they are included when you

preview or export the sequence. If you want to lock both a video track and a track with

corresponding audio, lock each track separately. When you lock a target track, it is no longer the

target; source clips cannot be added to the track until you unlock it and target it again.
Exclude tracks in a sequence

You can exclude video or audio clips in any track from previews and export. Clips in excluded

video tracks appear as black video in the Program Monitor and in output files. Clips in excluded

audio tracks are not output to the Audio Mixer, to the speakers, or to output files. Click to hide the

Eye icon (for video) or the Speaker icon (for audio) at the left edge of the track. (Each icon is a

toggle switch. Click its box again to display the icon and include the track.)

Expand and resize a track

You can expand a track to display track controls. Increase the height of a track to better see icons

and key frames or to display larger views of video track thumbnails and audio track waveforms.

1. To expand or collapse a track, click the triangle to the left of the track name.

2. To resize the track, position the pointer in the track header area between two tracks so that

the height adjustment icon appears, and then drag up or down to resize the track below (for

video) or the track above (for audio).

Collapsed tracks always appear at the same height and cannot be resized.

Set the display style of the video track

1. Expand the track by clicking the triangle next to the track name.

2. Click the Set Display Style button at the left corner below the track name, and choose an option

from the menu:

 Show Head Only Displays a thumbnail image at the beginning of the clips in the expanded

track.

 Show Frames Displays thumbnail images along the entire duration of the clips in the

expanded track. The number of thumbnail frames corresponds to the time units displayed in

the time ruler.

  Show Name Only Displays the name of clips in the expanded track, without thumbnail

images.

 Show Head And Tail Displays a thumbnail image at the beginning and end of clips in the

expanded track.

Set the display style of the audio track

1. Expand the track by clicking the triangle next to the track name.

2. Click the Set Display Style button , and choose an option from the menu:

 Show Waveform Displays audio waveforms in clips.

 Show Name Only Displays the name of audio clips without waveforms.

5. CAPTURING

Capturing is different from importing. In this process audio and video is saved to the system hard

disk. This process is done through using the capture panel. The editing software records the audio

and video signal to the hard disk and it can controls the device through the panel.

Capturing DV or HDV video:

You can capture audio and video from a DV or HDV device by connecting the device to your

computer with a FireWire cable. The device can also be controlled through the FireWire port.

You can capture DV or HDV footage from XDCAM or P2 devices. You can capture through SDI

ports if your computer has a supported third-party capture card or device installed.

In a sequence made with one of the DV or HDV presets, the capture settings are set for DV

Capture or HDV Capture, respectively. You can, however, change the capture settings to either

DV or HDV from within the Capture panel in an already made project.

You can choose whether to preview DV video in the Capture window during preview and capture.

You can also preview HDV footage in the Capture window, in Windows only. However, you
cannot preview HDV footage in the Capture window during capture. Instead, the word Capturing

appears in this window during HDV capture.

Capturing HD video:

You can capture audio and video from an HD device with an SDI port. Your computer must have a

supported SDI capture card, and its drivers and software installed. Similarly, you can capture HD

footage from SDI sources provided a supported SD capture card is installed, along with its

respective driver. Correct installation adds HD presets to the Available Presets pane of the New

Sequence dialog box. It also adds HD formats to the Capture Format menu on the General tab of

the Project Settings dialog box. You typically connect the HD device to your computer by

connecting its SDI ports by coaxial cable with BNC connectors. To provide device control

(Windows only), you also connect the serial port on the device with an RS422 or RS-232 port on

the computer.

Capturing and Digitizing:

To bring footage that is not already in the form of a file or set of files into a project, you can

capture it, or digitize it, depending on the type of source material:

1. Capture: You capture digital video from a live camera or from tape: you record it from the

source to the hard disk. Many digital camcorders and decks record video to tape. You

capture the video from tape to the hard disk before using it in a project. The software

captures video through a digital port, such as a FireWire or SDI port installed on the

computer. The captured footage is saved to disk as files, and imports the files into projects

as clips.

2. Digitize: You digitize analog video from a live analog camera source or from an analog

tape device. You digitize the analog video, convert it to digital form, so your computer can

store and process it. The capture command digitizes video when a digitizing card or device
 is installed in the computer. The interface saves digitized footage to disk as files, and

imports the files into projects as clips.

Set capture format, preferences, and tracks

Use the Capture panel (choose File > Capture) or press F5 to capture digital or analog video and

audio. This panel includes a preview, which displays video being captured, and controls for

recording with or without device control. The Capture panel also contains a Settings pane for

editing your capture settings, and a Logging pane for logging clips for batch capturing. For

convenience, some options available in the Capture panel are also available in the Capture panel

menu. You can control certain source devices, such as camcorders and decks, directly from the

Capture panel. Your computer must have an IEEE1394, RS-232, or RS-422 controller. If your

source device lacks any of these interfaces, you still use the Capture panel. You must cue, start,

and stop your source device using its controls.

Specify capture settings

1. With a project open, choose File > Capture, and select the Settings tab.

2. In the Capture Settings pane, click Edit.

3. In the Capture Settings dialog box, select an option from the Capture Format menu.

4. Click OK.

Set capture preferences

1. Choose Edit > Preferences > Capture (Windows) or Premiere Pro > Preferences > Capture

(Mac OS).

2. Specify whether you want to cancel capture on dropped frames, report dropped frames..

3. Specify whether to use device control time code. If a device controller is installed,

Premiere Pro can record the time code supplied by the controller instead of recording any

time code written to the source tape.

Select tracks for capture

1. To open the Capture panel, select File > Capture.

2. In the Capture panel, click the panel menu.

3. Select Record Video, Record Audio, or Record Audio and Video, depending on the option

desired.

Capture without device control

If you do not have a device that Premiere Pro controls, you can capture video manually. You

manually operate both the playback device controls and the Capture panel controls in Premiere Pro.

1. Make sure that the deck or camcorder is properly connected to your computer.

2. Choose File > Capture.

3. These settings are preserved for the project, but you can set them again for each new

project.

4. In the Setup area of the Logging pane, choose your media type from the Capture menu.

5. Use the controls on the deck or camcorder to move the videotape to a point several seconds

before the frame where you want to begin capturing.

6. Press the Play button on the deck or camcorder, and then click the red Record button in the

Capture panel.

7. Record a few seconds beyond the end of the footage you need, to provide room for editing.

Press the Esc key to stop recording.

8. When the Save Captured File dialog box appears, enter logging data and click OK. The

new file is listed in the Project panel and is saved to the disk location specified in the

Settings pane of the Capture panel.

Capture with device control

After a device and the project are set up properly, you can begin capturing clips using device

control. You can capture an entire tape or you can mark In and Out points for each clip, and then

capture the clip.

Capture an entire tape or portion of a tape

1. Choose File > Capture.

2. These settings are preserved for the project, but you set them again for each new project.

3. In the Capture panel, make sure that the device is online, as indicated above the preview.

4. Insert a tape into the device. Premiere Pro prompts you to name the tape. Be sure not to

give any two tapes the same name. Including a unique number in the name can help you

avoid using the same name twice.

5. In the Setup area of the Logging pane, choose the media type from the Capture menu.

6. Rewind the tape to its beginning, or to the beginning of the portion you want to capture.

7. You can capture frames that extend beyond the In and Out points of each clip. Enter the

number of frames in the Handles box in the Capture area.

8. Click Tape.

9. To stop capturing at the end of a portion, click the Stop button. Otherwise capturing stops

when the tape comes to its end.

Select and capture a clip

1. Choose File > Capture.

2. These settings will be set for the project, but you may need to set them again for each new

project.

3. In the Capture panel, make sure that the device is online; it will be indicated above the

preview.
4. Insert a tape into the device. Premiere Pro prompts you to name the tape. Be sure not to

give any two tapes the same name.

5. In the Setup area of the Logging pane, choose the media type from the Capture menu.

6. Use the controls in the Capture panel to move to the first frame you want to capture, and

click Set In. Then move to the last frame you want to capture, and click Set Out.

7. Click the In/Out button in the Capture area of the Logging pane to capture the clip.
 6. CREATE CLIPS FOR OFFLINE EDITING:

For online editing, you edit clips at the level of quality required for the final version of the

video program. This is the default method of working in Premiere Pro. Online editing works well

when the speed and storage capacity of the computer are adequate to the demands of the video

formats used. For example, most modern computers can handle the data rate of DV in full

resolution. They may be challenged, however, by the greater demands for example, HDV or HD

footage. For many videographers, that’s where offline editing comes in. In offline editing, after

capturing high-resolution clips, you make low-resolution copies of them for editing purposes.

After editing, you replace the low-resolution footage associated with the clips with the high-quality

original footage. You can finish, render, and export your final product in high resolution.

Editing the low-resolution clips allows standard computers to edit excessively large assets (clips),

such as HDV or HD footage, without losing performance speed. It also lets editors use laptop

computers to edit, for example, while on location.

Create low-resolution clips for offline editing

1. Capture or import assets into the Project panel at full resolution.

2. In the Project panel, click the New Bin button, and name a bin for your low-resolution clips.

3. Launch Adobe Media Encoder, and add all the clips for your project to the Adobe Media

Encoder Queue.

4. In Adobe Media Encoder, click Settings.

5. Change the format and other settings to the format and settings for a lower-resolution

format.

6. Click the filename in the Output Name field, and browse to the folder you created for your

low-resolution clips.
 7. Click OK.

8. Click Start Queue.

Adobe Media Encoder encodes clips in the low-resolution format, and, by default, retains the

filename of the original clips in the filenames of the encoded clips. When creating low-resolution

clips for offline editing with Adobe Media Encoder, clips with two audio channels are created even

if you have four or more audio channels on your footage.

9. In the Premiere Pro Project panel, open the bin you created for low-resolution clips. Import

the low-resolution clips into this bin.

10. Edit the project using the low-resolution clips.

Replace low-resolution clips with high-resolution clips for online editing

You can replace low-resolution copies of assets with the original high-resolution so that you can

render a project at full resolution.

1. Select Clip > Replace Footage. Browse to the original high-resolution clip that has the

same filename as the low-resolution clip you selected, and select it. Click Select.

2. Repeat the previous two steps for each low-resolution clip used in the project.

7. ORGANIZING MEDIA:

The Project panel can include bins, which you can use to organize project contents in much the

same way as folders in Windows Explorer or Mac OS Finder. Bins can contain source files,

sequences, and other bins.

Adding and deleting bins

To add a bin, click the New Bin button at the bottom of the Project panel. You can also use the

keyboard shortcut Control+/ (Windows) or Command+/ (MacOS).

To delete one or more bins, select the bins and click the Delete icon at the bottom of the Project

panel. You can also delete bins by selecting one or more bins, and then pressing the Delete key.
Change bin behaviors

While working in a project, you will sometimes want to change the way you view your bins. In

standard layout, you can see the hierarchy of your entire project, which is useful. However,

sometimes you want to open a bin in its own tab, or open in a new panel. That way, you can focus

on the clips in a particular bin, sort clips in storyboard order in icon mode, or search for clips

within a bin by typing in the search field. To move an item into a bin, drag the item to the Bin icon.

You can move bins into other bins to nest them. Dropping an item into a bin does not

automatically open the bin. To display the contents of a bin, in List view, click the triangle beside

the Bin icon to expand it, or double-click the bin.

 To open a bin in its own floating panel, in place, or in a new tab, do the following:

 To open a bin in its own floating panel, double-click the bin. This panel can be docked or

grouped like any other panel.

 To open a bin in place, Ctrl-double-click (Windows) or Command-double-click (Mac OS)

the bin.

 To open a bin in a new tab, Alt-double-click (Windows) or Option-double-click (Mac OS)

the bin.

You can change the default behaviors of Project panel bins by editing the Bins preferences.

1. Select Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General

(Mac OS).

2. In the Bins area, select options from the menus for Double-Click, + Ctrl (Windows) or +

Command (Mac OS), and + Alt (Windows) or + Opt (Mac OS).

3. Click OK.
Label media:

Labels are basically colors that help you identify and associate media. You assign and view labels

in the Project panel. Label colors mark media in the Project panel’s Label column and in a

Timeline panel.

 To assign a label to a file, select a clip in the Project panel, choose Edit > Label, and

choose a color.

 To select all clips with the same label, select a clip that uses the label and choose Edit >

Label > Select Label Group.

 To edit label names or colors, choose Edit > Preferences > Label Colors (Windows) or

Premiere Pro > Preferences > Label Colors (MacOS). Click a color swatch to edit a color.

 To set default labels for a media type, choose Edit > Preferences > Label Defaults

(Windows) or Premiere Pro > Preferences > Label Defaults (Mac OS).

Rename assets

All files in your project are stored on your hard disk as individual files. Only a reference to each

file is added to the Project panel. Whenever you rename a clip, the original file and filename

remain untouched on your hard disk.

1. In the Project panel, select the clip.

2. Do one of the following:

 In the Project panel, choose Clip > Rename, type the new name, and press Enter

(Windows) or Return (Mac OS).

 In the Project panel, click the Name field, type the new name, and press Enter

(Windows) or Return (Mac OS).

  In the Metadata panel, click the triangle next to Clip to show the clip properties fields.

Type the new name into the Name field, and press Enter (Windows) or Return (Mac

OS).

Remove assets from a project

You can remove assets you don’t need from the Project panel without removing them from your

hard disk.

Remove an asset from the Project panel

Select the item and press the Delete key.

The file remains on the hard disk

Remove unused assets from the Project panel

You can remove assets you haven’t used in a Timeline panel from the Project panel. Do one of the

following:

Sort the Project panel List view by the Video Usage or Audio Usage columns to identify unused

clips, and then select and delete them. Choose Project > Remove Unused.

8. RECONNECTING MEDIA

You can link offline clips to video files, audio files, and still-image files. However, you cannot link

an offline clip to a still-image sequence different from its original source file. Instead, import new

still-image sequences, and place them into timelines manually.

If you selected more than one offline clip, the Link Media The dialog box appears in turn for each

clip you selected. The title bar of the dialog box gives the filename for each offline clip. Re-link

the correct source file to each offline clip. If all of the offline clips selected point to media in the

same folder, the Link Media To dialog asks for the first file, then links the selected offline clips to

all the files in the same folder as the file selected. If you link to a file from a different project, and
if that project has the same folder structure and folder names as the first project, the Link Media To

dialog box asks for the first file, and then links the selected offline clips to all the files in the other

project.
 SELF ASSESSMENT QUESTIONS

1. Explain the process of importing asset from the system hard disk?

2. Explain the method of navigating in timeline using keyboard and mouse?

3. How can you create a new sequence?

4. How to match the clip and sequence properties?

5. Explain the time-ruler in a sequence?

6. Can you prevent any time track been changed if possible write the process?

7. Explain the process of capturing HDV asset?

8. Explain labeling and renaming an asset?

9. How to create low-resolution clips for offline editing?

10. How to re-link an offline clip?

 References

 https://www.youtube.com/watch?v=neg6IsIf778

 https://www.youtube.com/watch?v=zXh3a11SRE0

 https://helpx.adobe.com/premiere-pro/using/transferring-importing-files.html

 https://library.creativecow.net/harrington_richard/Premiere-Pro_Timeline-Navigation/1

 http://www.peachpit.com/articles/article.aspx?p=2102372&seqNum=4

 https://www.youtube.com/watch?v=odn5Yq7iOIQ

 https://helpx.adobe.com/premiere-pro/using/capturing-digitizing.html

 https://www.youtube.com/watch?v=YzgTYrH2MVk
 Unit 4

VIDEO EDITING TECHNIQUES

Written by: Umer Mehmood Qureshi

Review by: Mukhtiar Hussain Talpur

 CONTENTS

Introduction

Objectives

1. Adding Clips to a sequence

2. Three-point and four-point edits

3. Trimming

5. Creating special clips

6. Rearranging clips in a sequence

7. Rendering sequences

8. Rendering in Adobe Premier

9. Memory settings

Self Assessment Questions

References
INTRODUCTION

Dear students in this unit you will learn the techniques of adding clip to the sequence and when

adding a clip to a sequence how important i s to assign tracks. The unit introduces students to all

the skills necessary to cut their own program. Students will learn different procedures like

how to drag clips from the Project panel, Source panel, or Media Browser and use insert or

overwrite buttons in the source monitor. The students will be briefed about link/re-link a clip for

editing according to his needs. You will see how to link an offline clip containing audio to a source

file containing no audio.

The unit will focus on the standard techniques in video editing of three-point and four-point edits.

The students will learn to perform using the control provided by source and program monitors for

three-point and four-point edits. The student will understand process of marking clips and will be

defined about In and Out requirements and utilizations. With marking, student will learn adjusting

after it is edited in to a sequence which is called trimming. Students will learn to trim clips to

adjust by slip, slide, rolling methods of editing. The students will be introduced to the methods of

timeline trimming for quickly trimming clips in the Timeline and will be introduced to use a

combination of trim tools and keyboard shortcuts. The editing methods which are explained in the

unit will help smoothen and clean editing just like a pro.

The students will also learn to explore the software generated special clips, requirements and will

learn how they can be modified. Students will be also learning through a series of keyboard

shortcuts to fasten the pace in during editing. The technique of arranging clips in a timeline is also

explained in-depth in this unit, the students will explore different techniques to move clips in
timeline, extracting frames, lifting and pasting, split or cut a clip in to two clips, or to cut a cross

clips in several tracks at once or to remove gaps between the clip. The concepts of rendering and

requirements of rendering are covered in a broader aspect. The students will learn the background

workings hidden behind the render. The students will be explained procedure to move a work area

bar, and marking In and Out across the rendering area. Further, they will also learn render options

available in the export panel. To make the students editing techniques effective, the requirements

for rendering and making their interface more efficient and reliable through dedication memory is

also explained at the end of the unit.

OBJECTIVES

After reading this unit the students will be able to:

 The unit introduces video editors to all the skills necessary for editing clips.

 The students will be able to recognize the grammar used for editing.

 The student will learn different methods for adding clips to the timeline which will help

them in managing a clean editing sequence.

 The skills will help increase the pace of the editing.

 The student will learn the fundamentals of rendering and the chemistry hidden in the

background.

 How rendering can be faster and more effective.

 The students will have the knowledge about extended rendering options available while

exporting any project.

 The students will explorer marking and trimming clips and the procedure to do so.
1. ADDING CLIPS TO SEQUENCES

Youcanaddclipstoasequenceinthefollowingways:

 DragtheclipfromtheProjectpanelorSourceMonitortoaTimelinepanelortheProgramMonitor.

 UsetheInsertandOverwritebuttonsintheSourceMonitortoaddclipstoaTimelinepanel.Oruset

hekeyboardshortcutsassociatedwith thosebuttons.

 AutomaticallyassembleasequencefromtheProjectpanel.

 DragtheclipfromtheProjectpanel,Sourcepanel,orMediaBrowserintotheProgrammonitor.

Anoverwriteeditaddsaclipbyreplacinganyframesalreadyinasequencestartingfromtheeditpointand

extendingforthelengthoftheclip.

Overwriteisthedefaultmethodwhendraggingacliptoasequenceorwhenrearrangingclipsinasequenc

e.

Addingaclipbyoverwritingexistingclips

Withaninsertedit,addingacliptothesequenceforcesanyclipslaterintimetoshiftforwardtoaccommod

atethenewclip.Whendraggingaclip,

presstheCtrl(Windows)orCommand(MacOS)keytoshiftintoinsertmode.
 Addingaclipbyinsertingitbetweenclips

Openasequence

InaProjectpanel,double-clickasequence. ThesequenceopensinaTimelinepanel.

Targetingtracks

Asequencemaycontainseveralvideoandaudiotracks.Whenyouaddacliptoasequence,itisimportantt

oassignwhichtrackortracksitisto

beeditedto.Youcantargetoneormoretracks,forbothaudioandvideo.Targettracksdependingontheedi

tingmethodyouuse:editingfromthe SourceMonitor,dragging,orcopy/pastingtothetimeline.

 Inadvanceofmakinganinsertoroverwriteedit,youcanmapthetracksofacliploadedintheSourc

eMonitortooneormoretracksofa

sequencebydraggingthesourcetrackindicatorrepresentingeachofthesourceclip’stracksinto

oneormoreselectedtracksofthe
 sequence.Audiosourcetrackindicatorscanbeplacedonlyinaudiotracksmatchingthesourcecli

p’schannelconfiguration.Forexample,

theaudiotrackindicatorforastereoclipcanbeplacedonlyinastereotrackinasequence.Afterthet

racksaretargeted,edittheclipby pressingtheInsertorOverwritebuttons(orusetheshortcuts).

Highlightedsourcetrackindicatorsofvideoandaudiotracks

 Whenyoudragacliptoasequenceasaninsertoroverwriteeditbydragging,youtargetthetrackau

tomaticallybydroppingtheclipintothe

track.Youdonotneedtospecifytracksinadvance.Adrageditisanoverwriteeditbydefault.Ifyo

uareperforminganinserteditwiththe

clip,pressCtrl(Windows)orCommand(MacOS)asyoudrag.Asyoumaketheedit,trianglesapp

earshowingtheaffectedtracks.
 Targetingatrackwhiledraggingacliptoasequence

 Whenyouaddclipstoasequencebypasting,(orkeyboardshortcuts),youmustspecifytargettrac

ksinadvance.Youcantargetmorethan

onevideotrackormorethanoneaudiotrackatatime.Also,youcanchoosetotargetavideotracko

nlyoranaudiotrackonly.Clickthe

trackortracksyouwanttotargetinthetrackheaderareaofaTimelinepanel.Thetrackheaderareaf

oratargetedtrackappears highlighted.
 Highlightedtrackheaderoftargetedvideoandaudiotracks

Ifyouoverwriteaclip,onlytheclipsintargetedtracksareaffected,whetheryoudragthecliporuseaSourc

eMonitor’sOverwritebutton.

Ifyouinsertaclip,theclipgoesintothetargetedtracks,andclipsinanyunlockedtrackswherethesourcecl

iplandsshifttoaccommodatethe

insertion.YoucanspecifyothertrackstoalsoshiftbyenablingSyncLockonthem.

Youcandragvideoclipstoanyvideotrack;however,youcandragaudioclipsonlytoacompatibleaudiotr

ack.Audioclipscan’tbeaddedtothe

masteraudiotrackorsubmixtracks,andtheycanbeplacedonlyonaudiotracksofthematchingchannelty

pe:mono,stereo,or5.1.

Clipswithlinkedvideoandaudiocanbedraggedtoeitheravideooranaudiotrack,buttheclip’svideoand

audiocomponentsappearseparately, intheappropriatecorrespondingtracks.

OER:

library.creativecow.net/devis_andrew/sync-lock-target-tracks/1

www.adobe.com/designcenter/premierpro/articles/Irvid4072_pr.html
Dragvideoandaudio to asequence

Bydefault,whendroppedintoasequence,thevideoandaudiocomponentsoflinkedclipsappearincorres

pondingtracks(forexample,Video1

andAudio1),unlesstheaudiochanneltypeoftheclipisincompatiblewiththetargettrack.Inthiscase,thel

inkedaudioappearsinthenext compatibletrack,oracompatibletrackiscreatedautomatically.

Anaudioclipdraggedtoanincompatibletrackautomaticallyshiftstothenextcompatibletrack,evenifth

etrackisoccupiedbyanother audioclip.Therefore,takecarenottodisturbclipsalreadyinthesequence.

However,youcanalterthisbehaviorbyholdingtheShiftkeywhileyoudrag.

TheProgramMonitorcanhelpyoudeterminewheretopositionaclipyou’readdingtoasequence.During

anoverwriteedit,itdisplaystheframes

inthesequenceadjacenttothenewclip’sheadandtail.Duringaninsertedit,itdisplaystheframesadjacent

totheinsertionpoint.

1. OpenaclipintheSourceMonitor,andmarkitsInandOutpoints.

2. Tomakeclipedgesalignwhenyoudragthem,makesurethattheSnapbutton

isactiveinaTimelinepanel.

3. Dooneofthefollowing:

 Todragthevideoandaudioportionsofacliptospecifictracks,dragtheclipfromtheSourceMonit

ororProjectpanelintoaTimeline.

Whenthevideoportionoftheclipliesabovethedesiredvideotrack,pressandholdShift.Continu

eholdingshift,anddragdownward

pastthebarseparatingvideoandaudiotracks.Whentheaudioportionoftheclipliesabovethedes
 iredaudiotrack,releasethemouse andreleaseShift.

 To

dragthevideoportionofacliptotheVideo1trackandtheaudiotoanyaudiotrack,dragtheclipfro

mtheSourceMonitororProject

panelpastthelinethatseparatesthevideotracksfromtheaudiotracks.Droptheclipabovetheaudi

otrackwhereyouwanttheaudio

portiontoland.ThevideoportionoftheclipwillremainintheVideo1track,andtheaudioportionl

andsinthedesiredaudiotrack.

 Toperformanoverwriteedit,dragtheclipfromtheSourceMonitororProjectpaneltoanappropri

atetrackinaTimelinepanelatthe

pointyouwantthecliptostart.Thedestinationareaishighlighted,andthepointerappearswiththe

Overwriteicon .

 Toperformaninsertedit,Ctrl-drag(Windows)orCommand-

drag(MacOS)theclipfromtheSourceMonitororProjectpaneltoan

appropriatetrackinaTimelinepanelatthepointyouwantthecliptostart.Thedestinationareaishi

ghlighted,andthepointerappears withtheInserticon

.Arrowsappearattheinsertionpointinalltracks.

 Toperformaninserteditandshiftonlytargettracks,Ctrl+Alt-

drag(Windows)orCommand+Option-drag(MacOS)theclipfromthe

SourceMonitororProjectpaneltoanappropriatetrackinaTimelinepanelatthepointyouwantth

ecliptostart.Thedestinationareais highlighted,andthepointerappearswiththeInserticon

.Arrowsappearattheinsertionpointonlyinthetrackstowhichtheclipis added.

 TozoomintooroutofaclipasyoudropitintoaTimelinepanel,dragandpresstheequalsignkey(=)
 to increasethezoomfactororpresstheminussignkey(–

)todecreaseit.Donotusethekeysonthenumberpad.

TheclipwilllandinaTimelinepanel,andaTimelinepanelwillbecomeactive,makingiteasytoplaybackt

heclipjustaddedtothe sequence.

Dragvideoonlyor audio onlyto asequence

Youcanaddthevideotrack,theaudiotracks,orbothtypesoftracksofacliptoasequence.Whenyoudraga

clipfromtheProjectpanelorfrom

themainviewingareaoftheSourceMonitor,youautomaticallyaddbothtypesoftracks.Ifyouwanttoadd

onlyonetypeoftrack,additfromthe SourceMonitor.

1. Double-clickaclipinaProjectpanelorTimelinepaneltoopenitintheSourceMonitor.

2. IntheSourceMonitor,dooneofthefollowing:

 Todragallaudioandvideotracksoftheclip,dragfromanywhereinsidethemainviewingarea.

Todragonlythevideotrackoftheclip,dragfromtheDragVideoOnlyicon .

 Todragonlytheaudiotracks,firsttargetintheTimelinepanelthetracksyouwanttoreceivethecli

paudiotracks.Thenmaptheaudio

tracksyouwanttousetothetargetaudiotracks.Then,dragfromtheDragAudioOnlyicon .

DragVideoOnlyandDragAudioOnlyarenotbuttons.Theyareiconsthatprovideaplacetoclickwhensta

rtingtherespectivedrag operations.

Insertaclipinto asequence

1. Double-clickaclipinaProjectpanelorsequencetoopenitintheSourceMonitor.

2. Placetheplayheadatthepointinthesequencewhereyouwanttoinserttheclip.

3. IntheTimelinepanel,clicktheheadersofthetrackswhereyouwanttoinsertthesourceclip’scompon
 entstotargetthem.

4. Dragthesourcecliptrackindicatorstotheheadersofthetrackswhereyouwanttoinsertthesourceclip

’scomponents.

5. ClicktheSyncLockboxintheheaderofanytrackyouwanttoshiftasaresultoftheinsertion.

6. IntheSourceMonitor,clicktheInsertbutton .

Theaudioandvideocomponentsoftheclipwillbeinsertedintothetracksselectedattheplayhead.Clipsto

therightofitslocationonitsown

trackandtrackswithSyncLockenabledwillshifttotherightbythelengthoftheinsertedclip.

OER:

www.youtube.com/user/lyndapodcast#p/search/11/g_bXEKr9vUA

Overwriteaclipinto asequence

1. Double-clickaclipinaProjectpanelorsequencetoopenitintheSourceMonitor.

2. Placetheplayheadatthepointinthesequencewhereyouwanttooverwritetheclip.

3. Clicktheheadersofthetrackswhereyouwanttooverwritethesourceclipcomponentstotargetthem.

4. Dragthesourcecliptrackindicatorstotheheadersofthetrackswhereyouwanttooverwritethesource

clipcomponents.

5. IntheSourceMonitor,clicktheOverlaybutton .

Theaudioandvideocomponentsoftheclipwillbeoverlaidontothetracksselectedattheplayhead.

Insertor Overwritebydragging aclipto the Programpanel

YoucanselectanddragaclipfromtheProjectpanel,Sourcepanel,orMediaBrowserintotheProgram

monitor.Whendoingso,anoverlayappearsinmonitortoprovideavisualdepictionofOverwriteversusI

nsertedits.Atooltipappearstodescribe

themodifierkeyusedtotogglebetweenthesedifferenttypesofedits.ToperformanInsertorOverwriteed

itbydraggingacliptotheProgram panel,dothefollowing:

 Drag-and-droptooverwriteedit(default).

 Drag-and-droptoInsertedit(holddownCommand/Ctrlkeymodifier).

Theclip,orclipsthatcanbedraggedtotheProgrampanelcaneitherbefromtheProjectpanel,ortheMedia

Browser.TheycanbeAV,video only,oraudioonlyclips.

WhenaclipisdraggedfromtheProjectpanelortheMediaBrowserintotheProgrammonitor'svideodispl

ayarea,theOverwriteoverlayappears

bydefaultwhennomodifierkeyishelddown.Atooltipisdisplayedunderneaththeclip'sthumbnailimag

e,todrop(mouserelease)tocreatean

overwriteedit,andthatholdingdowntheCommand/Ctrlkeycreatesaninserteditinstead.

MultipleclipsdraggedtotheProgrammonitordonotdisplayamultipleclipstackicon.Thefilestackclipi

condoesnottrulydepictthenumberof clipsbeingdragged.

Whenthemodifierkeyishelddown,theoverlayupdatestodisplaytheInserteditoverlay.Youcantoggle

backandforthbetweenthe Overwrite/Insertmodesinthemiddleofthedrag-and-

dropaction.Holddownthemodifierkeyandtheoverlaydisplaysupdate.
Relinkanoffline clip

Youcanlinkanofflinecliptoasourcefile,eventoasourcefiledifferentfromtheonefromwhichtheoffline

clipwasmade.Thelinkedsourcefile

appearsanywheretheofflineclipisusedinaproject.Itispossible,forexample,toeditanonlineclipinaseq

uence,makeitssourceoffline,and

linktheofflinecliptoanothersourcefile.Thenewsourceappearsinthesequencewherevertheoriginalon

edid. Youcanlinkofflineclipstovideofiles,audiofiles,andstill-

imagefiles.However,youcannotlinkanofflinecliptoastill-imagesequencedifferent

fromitsoriginalsourcefile.Instead,importnewstill-

imagesequences,andplacethemintotimelinesmanually.

Youcanlinkanofflineclipcontainingaudiotoasourcefilecontainingnoaudio.

Tolinktheaudioofanewsourcefile,thesourcefilemusthavethesametypeofaudiotrackastheofflineclip

.Forexample,iftheoffline

cliphasastereoaudiotrack,youcannotlinkittoasourcefilewithamonauralaudiotrack.

1. IntheProjectpanel,selectoneormoreofflineclips.

2. ChooseProject>LinkMedia.

3. Selectthesourcefile,andclickSelect.

4. Ifyouselectedasourcefilecontainingnoaudiotolinktoanofflineclipcontainingaudio,theMedia

Mismatchdialogboxappears.

Dooneofthefollowing:

 TodeletetheaudiotrackfromallinstancesoftheofflineclipfromtheprojectclickOK.

 Tocancellinkingtothesourcefile,andretaintheaudiotrackinallinstancesoftheofflineclip,clic

kCancel.
IntheProjectpanel,youcanchooseClip>MakeOfflineforanymergedclip.Whenmakinganymergedcli

offline,allcomponentclipswillalsobebecomeoffline.However,youcanusetheRelinkcommandtolin

ktothedesiredtracks,whileleaving othersoffline.

2. THREE-POINT AND FOUR-POINT EDITS

TheSourceandProgramMonitorsprovidecontrolstoperformthree-pointandfour-pointedits—

standardtechniquesintraditionalvideoediting.

Inathree-

pointedit,youmarkeithertwoInpointsandoneOutpoint,ortwoOutpointsandoneInpoint.Youdon’tha

vetoactivelysetthefourth point;it’sinferredbytheotherthree.Forexample,inatypicalthree-

pointedityouwouldspecifythestartingandendingframesofthesourceclip

(thesourceInandOutpoints),andwhenyouwantthecliptobegininthesequence(thesequenceInpoint).

Wheretheclipendsinthesequence—theunspecifiedsequenceOutpoint—

isautomaticallydeterminedbythethreepointsyoudefined.However,anycombinationofthreepoints

accomplishesanedit.Forexample,sometimesthepointwhereaclipendsinasequenceismorecriticaltha

nwhereitbegins.Inthiscase,the

threepointsincludesourceInandOutpoints,andasequenceOutpoint.Ontheotherhand,ifyouneedthecl

iptobeginandendatparticular pointsinthesequence—say,perfectlyoveralineofvoice-

overnarration—youcouldsettwopointsinthesequence,andonlyonepointinthe source.

Inafour-pointedit,youmarksourceInandOutpointsandsequenceInandOutpoints.Afour-

pointeditisusefulwhenthestartingandending
framesinboththesourceclipandsequencearecritical.Ifthemarkedsourceandsequencedurationsaredif

ferent,the software alertsyoutothe discrepancyandprovidesalternativestoresolveit.

Makeathree-pointedit

1. InaProjectpanel,double-clickacliptoopenitintheSourceMonitor.

2. ClicktheheadersofthetracksinaTimelinepanelintowhichyouwanttoaddthecliptotargetthem.

3. IntheTimeline,dragthesourcetrackindicatorstotheheadersofthetracksintowhichyouwanttheclip

componentstofall.

4. IntheSourceandProgramMonitors,markanycombinationofthreeInandOutpoints.

5. IntheSourceMonitor,dooneofthefollowing:

 Toperformaninsertedit,clicktheInsertbutton .

 Toperformanoverwriteedit,clicktheOverwritebutton .

Makeafour-pointedit

1. InaProjectpanel,double-clickacliptoopenitintheSourceMonitor.

2. ClicktheheadersofthetracksinaTimelinepanelintowhichyouwanttoaddthecliptotargetthe

m.

3. IntheTimeline,dragthesourcetrackindicatorstotheheadersofthetracksintowhichyouwantt

heclipcomponentstofall.

4. UsingtheSourceMonitor,markanInpointandanOutpointforthesourceclip.

5. IntheProgramMonitor,markanInpointandanOutpointinthesequence.

6. IntheSourceMonitor,dooneofthefollowing:

 Toperformaninsertedit,clicktheInsertbutton

 Toperformaninserteditandshiftclipsintargettracksonly,Alt-click(Windows)orOption-

click(MacOS)theInsertbutton .Toperformanoverwriteedit,clicktheOverwritebutton.
7. Ifthemarkedsourceandprogramdurationsdiffer,selectanoptionwhenprompted:

 ChangeClipSpeed(FittoFill)

Maintainsthesourceclip’sInandOutpoints,butchangestheclip’sspeedsothatitsdurationmatc

hesthe durationdeterminedbythesequenceInandOutpoints.

 TrimClip’sHead(LeftSide)

Automaticallychangesthesourceclip’sInpointsothatitsdurationmatchesthedurationdetermi

nedbythe sequenceInandOutpoints.

 TrimClip’sTail(RightSide)

Automaticallychangesthesourceclip’sOutpointsothatitsdurationmatchesthedurationdeter

minedbythe sequenceInandOutpoints.

 IgnoreSequenceInPoint

DisregardsthesequenceInpointyouset,andperformsathree-pointedit.

 IgnoreSequenceOutPoint

DisregardsthesequenceOutpointyouset,andperformsathree-pointedit.

 Replaceoneclipwith anotherin aTimeline

YoucanreplaceoneclipinaTimelinepanelwithanotherfromtheSourceMonitororabin,retaini

nganyeffectsthatwereappliedtotheoriginal clipinaTimeline.

Usingoneofthefollowingkeyboardmodifiers,dragaclipfromtheProjectpanelorSourceMonitorontoa

clipinaTimelinepanel:

 TousetheInpointofthenewclip,Alt-drag(Windows)orOption-

drag(MacOS).YoumayusetheInpointofthenewclip,forexample,if

youhavealreadytrimmedittostartatthedesiredpointoftheaction.

 ToapplytheInpointoftheoriginalcliptothenewclip,Shift-Alt-drag(Windows)orShift-
 Option-drag(MacOS).YoumayapplytheInpoint oftheoriginalcliptothenewclip.

InaTimeline,clippositionandeffectsarepreserved,andanyeffectsthatwereappliedtotheoriginalclipa

reappliedtothereplacementclip.

3. SET ORREMOVE SEQUENCE In ANDOut POINTS

YoucanuseInandOutpointsinasequencetohelpyouplaceandrearrangeclips.SequenceInandOutpoin

tsareautomaticallyremovedwhenyouperformaliftorextracteditfromtheProgramMonitor.

SetsequenceInandOutpoints

1. NavigatetotheInpointinaTimelinepanelandclicktheSetInPointbutton

intheProgramMonitor.

2. NavigatetotheOutpointinaTimelinepanelandclicktheSetOutPointbutton .

SetsequenceInandOutpointsaroundaselection

1. InaTimelinepanel,selectoneormoreclips,oragap,inthesequence.

2. ChooseMarker>SetSequenceMarker>InAndOutAroundSelection.ThissetssequenceInand

Outpointsthatmatchtheselection’sIn andOutpoints.

RemovesequenceInandOutpoints

1. MakesurethatthesequenceisopenintheProgramMonitor.

2. ChooseMarker>ClearSequenceMarker,andthenchooseanoptiontocleartheInpoint,theOutpo

int,orboth.

4. TRIMMING CLIPS

Settingaclip’sInandOutpointsisaprocesscalledmarking.Youdefinethefirstframeyouwanttoinclude

inasequencebymarkingthatframe
astheclip’sInpoint.ThenyoudefinethelastframeyouwanttoincludebymarkingitastheOutpoint.Inaty

picalworkflow,youmarkInandOut pointsforaclipintheSourceMonitor.

Adjustingaclip'sInandOutpointsafteritisalreadyeditedintoasequenceiscalledtrimming.Typically,y

outrimclipstoadjusthowtheyplay

backinasequence.Forexample,asyouviewtheedit,youwanttocuttotheincomingclipalittlesoonertha

nyouoriginallyplannedwhile markingclips.Tofixthatproblem,trimtheclipusingtrimmingtools.

Youcantrimclipsbydraggingtheedgeofaclip.Aclip's"edge"isaclip’sInorOutpoint,oreditpoint.Sever

alspecializedtoolsandtechniques

allowyoutotrimaneditpoint.Thesetoolsandtechniquesallowyoutotrimmoreeasilyandaccurately,red

ucingthenumberofstepsinvolvedand maintainingtheintegrityofthesequence.

Youcanperformtrimmingtaskstoselectededitpointsofaclip,orselectededitpointsfrommultipleclips.

Therearenew

iconsforthetools,andwhenselectingeditswithtrimtools,theeditpointishighlightedwithacolorrelated

tothetrimyouperform.

Working with clipsin the SourceMonitor

TheSourceMonitorpanelholdsversatiletools,andmethodsforworkingwithclips.Youcanusetoolsand

techniquestoset,move,orremoveIn

andOutpoints,cuetheplayheadtoanyofthesepoints,orpreviewtheframesattheirlocations.

OpenaclipintheSourceMonitor

ToopenaclipintheSourceMonitor,dooneofthefollowing:

 Double-clicktheclipintheProjectpanel.

 Double-clicktheclipinaTimelinepanel.
OpenandviewrecentclipsfromtheSourceMonitor

YoucanloadmorethanoneclipatatimeintheSourceMonitor.However,youcanviewonlyoneclipatati

me.Recentlyloadedclipsare availablefromamenuatthetopoftheSourceMonitor.

1. IntheSourceMonitortab,clickthedownward-pointingtriangletoopenthetabmenu.

2. Selectthenameoftheclipyouwanttoview.

SetInpointsandOutpointsintheSourceMonitor

 TosetanInPointorOutpointintheSourceMonitor,doanyofthefollowing:

 TomarkanInpoint,dragtheplayheadtotheframeyouwant.ThenclicktheMarkInPointbutton

,orpresstheIkey.

 TomarkanOutpoint,dragtheplayheadtotheframeyouwant.ThenclicktheMarkOutPointbutto

n ,orpresstheOkey.

AfteryoumarkInandOutpoints,youcanalwayschangeyourmindbeforeyouedittheclipintothesequen

ce.DragtheInorOutpointstoa

newpositioninthetimeruler.YoucanalsodragtheplayheadtoanewframeandusetheMarkInorMarkOu

tbuttonstosetnewInorOut points.

MoveInpointandOutpointtogether

Dooneofthefollowing:

 Foravideooraudioclip,intheSourceMonitortimeruler,dragtheIn/OutGrip(texturedareaatthe

centeroftheshadedspanbetween

theInandOutpoints).Makesurethatyoudragthetexturedarea;otherwise,yousimplycuethepla

yhead.
 DraggingtheIn/OutGripforavideocliportrack

 Foranaudioclip,youcanalsodragtheIn/OutGrip,orthegreyareabetweentheInpointandOutpo

intabovethewaveformtotheleft orright.

DraggingtheaudioIn/OutGripforanaudiocliportrack

TheInandOutpointsmovetogether,keepingthedurationbetweenthemconstant.

AdjustingeditpointsintheSourceMonitor

Sometimes,adjustingInandOutpointsafteraclipisintheTimelineisnecessary.Ifyouopenaclipfromth

eTimelineintotheSourceMonitor,

youcandragtheIn/OutGripintheSourceMonitortosetnewlocationsfortheInandOutpoints.Thistechn

iqueisusefulforusingadifferent

sectionofaclipintheTimeline.Infact,itisonewaytoperformaSlipedit.Viewinginandoutframesthiswa

yworksonlywithclipsthatyou’veopenedintheSourceMonitorfromasequence.

1. SettheInandOutpointsintheSourceMonitor.

2. EdittheclipintotheTimeline.

3. DoubleclickthecliptoloaditintotheSourceMonitor.
 4. DragtheIn/OutGrip(texturedareaatthecenteroftheshadedspanbetweentheInandOutpoints),a

syoudidinthesection,MoveInpoint andOutpointtogether.

Timelinetrimming

Forquicklytrimmingclips,dosointheTimeline.Youcanuseacombinationoftrimtoolsandkeyboardsh

ortcutstoselectandadjusteditpoints.

Timelinetrimminghasbeenenhancedwiththeabilitytoselecteditpointsandadjustthemusingthemous

e,keyboard shortcuts,orthenumerickeypad.

OER:

www.video2brain.com/en/videos-13061.htm

www.video2brain.com/en/lessons/triming-on-the-timeline

Selectingeditpoints

Beforeyoucanusetimelinetrimmingtechniques,itisimportanttoselecteditpointsforclipsintheTimeli

nefirst.Youcan selecteditpointswiththemouse,orbyusingkeyboardshortcuts.

Selectingeditpointswiththemouse

ClickingwiththemousetoselectaneditpointintheTimelineusesthelocationofthemousecursor,theacti

vetrimtool,andthemodifierkeys.

Dragging,asopposedtoclickingandreleasingthemousetoselectaneditpoint,bothselectsaneditpointa

ndperformsthetrim.

 Selectiontool:

ClickingtheeditpointwiththeSelectiontoolchoosesaTrimInorTrimOuteditpointselection,de

pendingonwhichsideof theeditpointyouclick.IfyouCtrl-click(Windows)orCommand-

click(MacOS)ontheeditpointwiththeSelectiontool,thecursordisplaysa

RippleEditorRollingEdittool.MovingtheTrimInorTrimOutpointsiscalledaregularedit.
 RippleEdittool:

ClickingtheeditpointwiththeRippleEdittoolchoosesaRippleInorRippleOuteditpointselecti

on,dependingonthe sideoftheeditpointyouclick.IfyouuseCtrl-

click(Windows)orCommand-click(MacOS)ontheeditpointwiththeRippleEdittool,the

cursorshowstheRippleEditorRollingEdittoolandchoosesTrimOut,Rolling,orTrimIndepen

dingonwhichsideoftheeditpointyou click.

 RollingEdittool:

ClickingtheeditpointwiththeRollingEdittoolselectsbothsidesoftheeditpoint.IftheCtrl-

click(Windows)or Command-

click(MacOS)modifierisheldwiththeRollingEdittool,thecursorshowstheRippleEditorRolli

ngEdittoolandchoosesRipple

Out,Rolling,orRippleIn,dependingonwhichsideoftheeditpointyouclick.
 Editcursorsforthevariousedittypes

A.RegularEditcursorB.RegularEditcursorC.RippleEditcursor
D.RippleEditCursorE.RollingEditCursor

Makingrippleandrolling editsin the Timeline

YoucanperformarippleorrollingediteitherdirectlyonthetracksintheTimeline.

Aboutrippleandrollingedits

Whenyouwanttoadjustthecut,oreditpoint,betweentwoclips,usevariationsofsimpletrimmingknown

asrippleeditsandrollingedits.Byusingspecializedtools,makeadjustmentsinasingleactionthatwould

otherwiserequiremultiplestepstoaccomplish.Whenyouperformrippleandrollingeditswithtrimtools

,theaffectedframesappearintheProgramMonitorsidebyside.

Furthermore,theeditpointisselectedwhenyouclickitwithaRippleEditorRollingEdittool.

ProgramMonitorandTimelineduringarollingedit
Rollingedit

ArollingedittrimsanadjacentOutpointandInpointsimultaneouslyandbythesamenumberofframes.T

hisactioneffectivelymovestheedit

pointbetweenclips,preservingotherclips’positionsintimeandmaintainingthetotaldurationoftheseq

uence.PressingAlt(Windows)orOption

(MacOS)whenyoubegintoperformarollingeditoverridesvideoandaudiolinking,allowingyoutocrea

teasplitedit(L-cutorJ-cut).

Inthisrollingedit,theeditpointismovedearlierintime—

shorteningthepreviousclip,lengtheningthenextclip,andmaintainingtheprogram duration.

Rippleedit

Arippleedittrimsaclipandshiftssubsequentclipsinthetrackbytheamountyoutrim.Shorteningaclipby

rippleeditingshiftsallclipsafterthe

cutbackintime;conversely,extendingaclipshiftstheclipsthatfollowthecutforwardintime.Whenyou’

remakingarippleedit,emptyspaceon

onesideofthecutistreatedasaclipandshiftsintimejustasaclipwouldbe.PressingAlt(Windows)orOpti

on(MacOS)whenyoubeginto performarippleeditignoresthelinkbetweenvideoandaudio.
MakearollingeditusingtheRollingEdittool

1. SelecttheRollingEdittool .

2. InaTimelinepanel,dragleftorrightfromtheedgeoftheclipyouwanttochange.Thesamenumberoff

ramesaddedtotheclipare trimmedfromtheadjacentclip.Alt-drag(Windows)orOption-

drag(MacOS)toaffectonlythevideooraudioportionofalinkedclip.

Timelinepanelduring(above)andafter(below)arolledit

MakearippleeditusingtheRippleEdittool

1. SelecttheRippleEdittool .

2. InaTimelinepanel,positionthepointerovertheInorOutpointoftheclipyouwanttochangeuntilthe

Ripple-inicon ortheRipple-out icon

appears,anddragleftorright.Subsequentclipsinthetrackshiftintimetocompensatefortheedit,butt

heirdurationsremain unchanged.Alt-drag(Windows)orOption-

drag(MacOS)toaffectonlythevideooraudioportionofalinkedclip.
 Timelinepanelduring(above)andafter(below)arippleedit

Makeslipandslideedits

Justasrippleandrollingeditsallowyoutoadjustacutbetweentwoclips,slipandslideeditsareusefulwhe

nyouwanttoadjusttwocutsina

sequenceofthreeclips.WhenyouusetheSliporSlidetool,theProgramMonitordisplaysthefourframesi

nvolvedintheeditsidebyside,except wheneditingaudioonly.

ProgramMonitorandTimelineduringaslideedit
ThoughSlipandSlidetoolsaretypicallyemployedonthecenterofthreeadjacentclips,eachtoolfunction

snormallyeveniftheclipisadjacentto aclipononesideandblankspaceontheother.

Makeaslipedit

Aslipeditshiftsaclip’sInandOutpointsforwardorbackwardbythesamenumberofframesinasingleacti

on.BydraggingwiththeSliptool,

youcanchangeaclip’sstartingandendingframeswithoutchangingitsdurationoraffectingadjacentclip

s.
 Inthisslipedit,aclipisdraggedleft,movingitssourceInandOutpointslaterintime.

1. SelecttheSliptool .

2. Positionthepointerontheclipyouwanttoadjust,anddraglefttomovetheInandOutpointslaterinthe

clip,ordragrighttomovetheIn andOutpointsearlierintheclip.

Slipaclipwithkeyboardshortcuts

YoucanusekeyboardshortcutstoslipaclipinaTimeline.Toslipaclipusingkeyboardshortcuts,selectac

lip(ormultipleclips),andthendothe following:

Toslipclipselectionleftfiveframes:

 PressCtrl+Alt+Shift+Left(Windows).

 PressOption+Shift+Command+Left(MacOS).

Toslipclipselectionleftoneframe:

 PressAlt+Shift+Left(Windows).

 PressOption+Command+Left(MacOS).

Toslipclipselectionrightfiveframes:

 PressCtrl+Alt+Shift+Right(Windows).

 PressOption+Shift+Command+Right(MacOS).
Toslipclipselectionrightoneframe:

 PressAlt+Shift+Right(Windows).

 PressOption+Command+Right(MacOS).

Makeaslideedit

Aslideeditshiftsaclipintimewhiletrimmingadjacentclipstocompensateforthemove.Asyoudragacli

pleftorrightwiththeSlidetool,theOut

pointoftheprecedingclipandtheInpointofthefollowingcliparetrimmedbythenumberofframesyoum

ovetheclip.Theclip’sInandOut points(andhence,itsduration)remainunchanged.

Inthisslideedit,aclipisdraggedleftsothatitstartsearlierinthesequence,shorteningtheprecedingcli

pandlengtheningthefollowingclip.

1. SelecttheSlidetool .

2.

Positionthepointerontheclipyouwanttoadjust,anddraglefttomovetheOutpointoftheprecedingclipa

ndtheInpointofthefollowing

clipearlierintime,ordragrighttomovetheOutpointoftheprecedingclipandtheInpointofthefollowingc

liplaterintime.
Whenyoureleasethemouse,itupdatestheInandOutpointsfortheadjacentclips,displayingtheresultint

heProgramMonitor

andmaintainingtheclipandsequenceduration.Theonlychangetotheclipyoumovedisitspositioninthe

sequence.

Slideaclipwithkeyboardshortcuts

YoucanusekeyboardshortcutstoslideaclipinaTimeline.Toslideaclipusingkeyboardshortcuts,select

aclip(ormultipleclips),andthendo thefollowing:

Toslideclipselectionleftfiveframes:

 PressAlt+Shift+,(Windows).

 PressOption+Shift+,(MacOS).

Toslideclipselectionleftoneframe:

 PressAlt+,(Windows).

 PressOption+,(MacOS).

Toslideclipselectionrightfiveframes:

 PressAlt+Shift+.(Windows).

 PressOption+Shift+.(MacOS).

Toslideclipselectionrightoneframe:

 PressAlt+.(Windows)

 PressOption+.(MacOS).
5. CREATING SPECIAL CLIPS

Createacounting leader(Windows only)

Ifyouplantocreatefilmoutputfromasequence,youmaywanttoaddacountingleader.Acountingleader

helpsaprojectionistverifythataudio

andvideoareworkingproperlyandaresynchronized.Youcancreateandcustomizeauniversalcounting

leadertoaddtothebeginningofa project.Theleaderis11secondslong.

1. IntheProjectpanel,clicktheNewItembutton

atthebottomoftheProjectpanelandchooseUniversalCountingLeader.

2. IntheNewUniversalCountingLeaderdialogbox,setWidth,Height,Timebase,PixelAspectRat

io,andSampleRatetomatchthesesame

settingsforthesequenceinwhichyouwillusethecountingleader.ClickOK.

3. IntheUniversalCountingLeaderSetupdialogbox,specifythefollowingoptionsasneeded:

 WipeColor Specifiesacolorforthecircularone-secondwipearea.

 BackgroundColor Specifiesacolorfortheareabehindthewipecolor.

 LineColor Specifiesacolorforthehorizontalandverticallines.

 TargetColor Specifiesacolorforthedoublecirclesaroundthenumeral.

 NumeralColor Specifiesacolorforthecountdownnumeral.

 CueBlipOnOut Displaysacuecircleinthelastframeoftheleader.

 CueBlipOn2 Playsabeepatthetwo-secondmark.

 CueBlipAtAllSecondStarts Playsabeepatthebeginningofeverysecondduringtheleader.

4. ClickOK.

Createcolorbarsanda 1-kHztone
Youcancreateaone-secondclipcontainingcolorbarsanda1-

kHztone,asareferenceforcalibratingvideoandaudioequipment.

1. IntheProjectpanel,clicktheNewItembutton

atthebottomoftheProjectpanelandchooseBarsAndTone.

2. IntheNewSyntheticdialogbox,setWidth,Height,Timebase,PixelAspectRatio,andSampleRatet

omatchthesesamesettingsforthe sequenceinwhichyouwillusethebarsandtone.ClickOK.

Someaudioworkflowsmustbecalibratedataspecifictonelevel.Thedefaultlevelofthe1-kHztoneis-

12dBreferencedto0dBFS.You

cancustomizethetoneleveltomatchyouraudioworkflowbychoosingClip>AudioOptions>AudioGai

nwithaclipselected.Ifyouselectthe

barsandtoneclipintheProjectpanel,yousetthedefaultgainlevelfornewclipinstances.Ifyouselectaclip

inaTimelinepanel,youchangethe levelforthatclipinstanceonly.

CreateHD colorbarsanda 1-kHztone

HDcolorbarswhichcomplywithARIBSTD-

B28standardforcalibratingvideooutput.Thesyntheticalsoincludea1- kHztone.

ForHDbarsandtone,dothefollowing:

1. ChooseFile>New>HDBarsandTone.

2. Adialoglauncheswithsettingsbasedontheexistingsequence.Changesettings,orclickOKtoaccept

thesettings.

Createblackvideo

Emptyareasofatrackappearblackifnoothervisibleclipareasarepresentonunderlyingvideotracks.Ifne

cessary,youcanalsocreateclipsof

opaqueblackvideoforuseanywhereinasequence.Ablackvideoclipbehavesasastillimage.Tocreateac

lipofadifferentcolor,useacolor matte.
1. IntheProjectpanel,clicktheNewItembutton

atthebottomoftheProjectpanelandchooseBlackVideo.

2. Ifnecessary,intheNewBlackVideodialogbox,setWidth,Height,Timebase,andPixelAspectRati

otomatchthesesettingsforthe

sequenceinwhichyouwillusetheblackvideoclip.Bydefault,thedurationofthenewclipissettofives

econds.ClickOK.

YoucanchangethedefaultdurationofblackvideoclipsandotherstillimageclipsintheGeneralpaneofth

ePreferencesdialogbox.

Createacolormatte

1. IntheProjectpanel,clicktheNewItembutton

atthebottomoftheProjectpanelandchooseColorMatte.

2. IntheNewSyntheticdialogbox,setWidth,Height,Timebase,andPixelAspectRatiotomatchtheses

ettingsforthesequenceinwhichyou willusethecolormatte.ClickOK.

3. IntheColorPicker,selectacolorforthecolormatte,andclickOK.

Createatransparentvideoclip

TransparentVideoisasyntheticclipjustlikeBlackVideo,BarsandTone,andColorMatte.Itcomesinha

ndywhenyouwanttoapplyaneffect

thatgeneratesitsownimageandpreservestransparency,suchastheTimecodeeffectortheLightningeff

ect.ThinkofTransparentVideoas “ClearMatte.”

OER: www.sternfx.com/tutorials/89

YoucannotapplyjustanyeffecttoTransparentVideo—onlythosethatmanipulatethealphachannel.

1. IntheProjectpanel,clicktheNewItembutton
 atthebottomoftheProjectpanelandchooseTransparentVideo.

2. IntheNewSyntheticdialogbox,setWidth,Height,Timebase,andPixelAspectRatiotomatchtheses

ettingsforthesequenceinwhichyou willusethetransparentvideo.ClickOK.

3. FromtheProjectpanel,dragthetransparentvideocliptothehighesttrackinasequence,stretchitasfar

asyouwant,andapplyaneffect toit.

6. REARRANGING CLIPS IN A SEQUENCE

Moveclips

YoucanplaceclipsinplaybackordertocreateasequenceinaTimelinepanel.Youcanalsochangetheord

erofclipsoncetheyarethere, replacethem,removethem,orinsertadditionalclips.

MoveclipsinaTimelinepanel

Youcandragaclipandplaceitinanemptyspotorsnapittoanotherclip.Youcanalsoinsertandoverwritecl

ipsthatyoumove.Watchthe

translucentrectanglethatrepresentstheclip’sdurationasyoudragit.Tomovemultipleclips,selectarang

eofclips,ormoveagroupofclips.A

tooltipdisplaystheamountoftimemovedasyoudrag.Thewindowdisplaysanegativenumberifyoudra

gthecliptowardthebeginningofthe sequence,andapositivenumberiftowardtheend.

OverwriteisthedefaultmodeandisindicatedbytheOverwriteicon

whendraggingclips.PressingCtrl(Windows)orCommand(MacOS)asyoudropaclipperformsaninse

rtedit.TheInserticon

appearswhenyoudragclipswhilepressingCtrl(Windows)orCommand(MacOS).

Bydefault,youcanchangethetracklocationofeitherportionofaclip,audioorvideo,bydraggingthatport

ion.Theotherportionwillremaininits
originaltrack.Youcanchangethisbehavior,however,eitherbypressingShiftwhileyoudrag,orbydragg

ingverticallyacrossthebarthat

separatesthevideotracksfromtheaudiotracks.Whenyoudragapartofaclipverticallyintoanewtrack,it

willsnaptoitsoriginaltimelocation inthenewtrack,ifSnapisturnedon.

Dooneofthefollowing:

 Tomovetheaudioportionofacliptoadifferenttrack,dragtheaudioportionoftheclipverticallyt

othedestinationaudiotrack.

 Tomovethevideoportionofacliptoadifferenttrack,dragthevideoportionoftheclipverticallyt

othedestinationvideotrack.

 TomovethevideoportionofacliptoVideo1andmovetheaudioportiontoadifferentaudiotrack,

dragthevideoportiondownwardpast

thebarseparatingvideoandaudiotracks.ThevideoportionwillremaininVideo1whiletheaudi

oportionwilllandintheaudiotrackwhere youdropit.

 TomovetheaudioportionofacliptoAudio1andmovethevideoportiontoadifferentvideotrack,

dragtheaudioportionupwardpastthe

barseparatingvideoandaudiotracks.TheaudioportionwillremaininAudio1whilethevideopo

rtionwilllandinthevideotrackwhereyou dropit.

 Toplacethevideoandaudioportionsofaclipintotracksyouspecify,dragthevideoportiontothe

destinationvideotrack.Pressandhold

Shift.Thiswillpinthevideoportiontothespecifiedvideotrack.ContinueholdingShiftanddrag

downwardpastthebarseparatingvideoand
 audiotracks.ReleasethemouseandreleaseShiftwhentheaudioportionoftheclipliesoverthede

stinationaudiotrack.

 Tooverwriteotherclips,dragoneormoreclipsanddropthemonthetrackwheretheotherclipsar

elocated.

 Tomoveonlyonetrackofalinkedclip,pressAlt(Windows)orOption(MacOS)anddragthepart

oftheclip,audioorvideo,youwantto

move.YoudonotneedtoholdtheAlt(Windows)orOption(MacOS)keyafteryouinitiatetheedi

t.Thevideoandaudiowilllosesync.

 Toinsert,dragoneormoreclips,andpressCtrl(Windows)orCommand(MacOS)asyourelease

themousebuttonanddroptheclipor

clipsintoanewlocation.Clipsinalltrackstotherightofthedroppointshifttotherightoftheinsert

edclips.Agapremainsinthetrackfrom whichyoumovetheinsertedclips.

Moveclipsusingthekeypad

Youcanchangethepositionofaclipinasequencebytypingthenumberofframesthatyouwanttomove.

1. Selecttheclipinthesequence.

2. UsingyournumerickeypadwithNumLockon,type+(plus)andthenumberofframesthatyouwantto

movethecliptotheright,ortype-

(minus)andthenumberofframesyouwanttomovethecliptotheleft.Then,pressEnter(Windows)or

Return(MacOS).
Ifanygapsexistbetweenclips,thosegapsarefilledfirst.Then,theselectedclipoverwritesadjacentclipsb

ytheremainingnumberof frames.

Moveclipstoadifferenttrack

Dragtheaudioportionorvideoportionofaclipupordownintothetrackyouwant.Onlytheportionofthecl

ipyoudragwillmoveintoanew track.

Whendraggingaudio,youcandropitintothenextcompatibletrack,orifonedoesn’texist(forexample,if

youaredraggingstereoaudio andonlyamonotrackexists),anewoneiscreated.

RearrangeclipsinaTimelinepanel

AusefulvariationofinsertandoverwriteeditsinaTimelinepanelisknownastherearrangeedit.Arearran

geeditextractsaclipandinsertsitinto

itsnewlocation.However,onlyclipsinthedestinationtrackareshifted;clipsinothertracksarenotaffecte

d.Thistechniqueletsyouquickly

changetheorderofclipsinasequence,ataskthatwouldotherwiserequireadditionalsteps.Whenyouperf

ormarearrangeedit,theRearrange icon appears.

 Dragaclip;thenpressCtrl+Alt(Windows)orCommand+Option(MacOS)asyoudropittoanew

location.

AsyoupressCtrl+Alt(Windows)orCommand+Option(MacOS),theRearrangeicon

appears.Releasingtheclipperformsaninserteditthat shiftsclipsinthedestinationtracksonly.
Split or cut oneor moreclipswith the Razortool

YoucanusetheRazortooltocutaclipintotwoclips,ortocutacrossclipsinseveraltracksatonce.Splitting

aclipcreatesanewandseparate

instanceoftheoriginalclip,andanylinkedclips.Theresultingclipsarefullversionsoftheoriginalclip,bu

twithdifferentInandOutpoints.

Doanyofthefollowing:

 Tosplitasinglecliporlinkedclip,selecttheRazortool

,andclickthepointinthesequencewhereyouwanttosplittheclip.

 Tosplitonlytheaudioorvideoportionoflinkedclips,Alt-click(Windows)orOption-

click(MacOS)withtheRazortool.

 Tosplitclipsontargetedtracks,clicktheheadersofthedesiredtrackstotargetthem.Positionthep

layheadwhereyouwanttosplittheclip

orclips,andchooseSequence>RazorTracks.Alternatively,pressCtrl+K(Windows),orCom

mand+K(MacOS).

 Tosplitclipsonallexceptlockedtracks,lockanytrackcontainingaclipthatyoudon’twanttosplit

.ChooseSequence>RazorAllTracks.PressCtrl+Shift+K(Windows),orCommand+Shift+K

(MacOS).YoucanalsoShift-click

withtheRazortooltosplitalltracksatthesamepointinaTimelinepanel.
Removeclipsfrom asequence

Toremoveentireclips,selectoneormoreclipsinthesequenceandpressDelete.

Lift andpasteframes

Youcanremoveorliftframesfromaspecifiedareaofoneormoretracksinasequence,leavingagapinth

eirplace.Youspecifytheareawith

sequenceInandOutpoints.IfonlyapartofaclipappearsbetweenthesequenceInandOutpoints,thatpar

twillbeliftedfromthesequence

whiletherestoftheclipwillremain.Youcanthenpastetheliftedframesanywhereinasequence.

1. UsethecontrolsintheProgramMonitortospecifysequenceInandOutpoints.

2. IntheTimeline,clicktheheadersofthetracksfromwhichyouwanttoliftframestotargetthem.

3. IntheProgramMonitor,clicktheLiftbutton .

4. Theframesthatareliftedareplacedonthesystemclipboard.

5. Clicktheheaderofthetrackintowhichyouwanttopastetheliftedframestotargetit.

6. Movetheplayheadtothelocationwhereyouwanttopastetheliftedframes.

7. SelectEdit>Paste.

Extractandpasteframes

Youcanextractframesfromaspecifiedareaofoneormoretracksinasequence,leavingnogapintheirpl

ace.Youspecifytheareawitha

sequenceInPointandOutpoint.IfonlypartofaclipappearsbetweenthesequenceInpointandOutpoint

,PremiereProwillextractonlythat

partoftheclipfromthesequence,lettingtherestoftheclipremain.Afterextracting,youcanpastetheext

ractedframesanywhereinasequence.
1. UsethecontrolsintheProgramMonitortospecifysequenceInandOutpoints.

2. IntheTimeline,clicktheheadersofthetracksfromwhichyouwanttoextractframestotargetthem.

3. ClicktheSyncLockboxesintheheadersofalltracksyouwanttoshiftwhenthegapisclosed.Thecli

psintrackswhereSyncLockis disabledwillnotshift.

4. IntheProgramMonitor,clicktheExtractbutton .

5. Clicktheheaderofthetrackintowhichyouwanttopastetheextractedframestotargetit.

6. Movetheplayheadtothelocationwhereyouwanttopastetheextractedframes.

7. SelectEdit>Paste.

Deleteclipsandclosegapssimultaneously

Whenyoudeleteaclip,youcanclosethegapitleavesbehindatthesametime.Thisiscalledarippledelet

e.

1. Inthesequence,selectthecliporclipsyouwanttodelete.Toselectmorethanoneclip,Shift-

clicktheclipsordragamarqueeoverthem.

2. SelectEdit>RippleDelete.

Deletegapsbetweenclips

WhenyoudeletespacebetweenclipsinaTimeline,allclipsinallunlockedtracksshiftaccordingtothed

urationofthegap.Topreventatrack

fromshiftingduringarippledelete(oranyinsertorextractedit),lockthetrack.Alternatively,turnoffSy

ncLockonthosetracksthatyoudon'twant toshift.

InaTimeline,dooneofthefollowing:

 Right-click(Windows)orCtrl-

click(MacOS)thegapbetweentwoclips,andchooseRippleDelete.
 Selectthegapbetweentwoclips,andchooseEdit>RippleDelete.

 Selectthegapbetweentwoclips,andpressDelete.

Iftherippledeletecommandfails,youmayneedtolocktracksthatcontainconflictingclipsalongtheedi

tpoint.

Deleteallclipson onetrack

1. SelecttheTrackSelecttool .

2. Dooneofthefollowing:

 Todeleteboththeaudioandvideooflinkedclips,clickthefirstclipinthetrack.

 Todeleteonlyonetrack’sclipsandnotthelinkedcounterparts,Alt-

click(Windows)orOption-click(MacOS)thetrack’sclips.

3. PressDelete.

Youcanalsodeleteatrackalongwitheverythingitcontains.

7. RENDERING SEQUENCES

Real-time,fullframe-rateplaybackisnotalways

possibleforcomplexsectionswithoutpreviewfiles:unrenderedsections.

Toplaybackcomplexsectionsinrealtimeandatfullframerate,youmayhavetofirstrenderpreviewfile

sforthosesections.The softwaremarks

unrenderedsectionsofasequencewithcoloredrenderbars.Aredrenderbarappearinginthetimerulero

fasequenceindicatesanunrenderedsectionthatprobablymustberenderedinordertoplaybackinrealt

imeandatfullframerate.Ayellowrenderbarindicatesanunrenderedsectionthatprobablydoesnotne

edtoberenderedinordertoplaybackinrealtimeandatfullframerate.Regardlessoftheirpreviewqualit

y,
sectionsundereitherredoryellowrenderbarsshouldberenderedbeforeyouexportthemtotape.Agree

nrenderbarindicatesasectionthat alreadyhasrenderedpreviewfilesassociatedwithit.

Sequencesrefertopreviewfilesinmuchthesamewayassourcemedia.Ifyoumoveordeletepreviewfil

esintheWindowsorMacfilebrowser

ratherthantheProjectpanel,you’llbepromptedtofindorskipthepreviewfilesthenexttimeyouopenth

eproject.

Workareafor rendering

Doanyofthefollowing:

 Dragtheworkareabaroverthesectionyouwanttopreview.Makesurethatyoudragtheworkar

eabarfromitstexturedcenter;otherwise youcuetheplayheadinstead.

Grabbingtheworkareabar(above)anddraggingitoverthesectiontopreview(below)

 Dragtheworkareamarkers(ateitherendoftheworkareabar)tospecifythebeginningandendo

ftheworkarea.
 Draggingtheworkareamarkerstoexpandtheworkarea

 Positiontheplayhead,andpressAlt+[(Windows)orOption+[(MacOS)tosetthebeginningof

theworkarea.

 Positiontheplayhead,andpressAlt+](Windows)orOption+](MacOS)tosettheendofthewo

rkarea.

 Double-

clicktheworkareabartoresizeittoeitherthewidthofthetimeruler,orthelengthoftheentireseq

uence,whicheverisshorter.To

definethewholesequenceastheworkarea,thewholesequencemustbevisibleintheTimelinep

anel.

When

settingtheworkareabartodefineanareaforrendering,correspondingoptionsappearintheSequence

menu:
RenderEffectsinWorkArea,andRenderEntireWorkArea.AcommandforDeleteWorkAreaRender

Filesisalsoavailable.Theseoptions

willnotappearintheSequencemenuiftheworkareabarisnotenabled.

Definethe areafor renderingusing In andOut points

YoucanmarkInandOutpointstodefineanareaforrendering:

 MarkInandOutpointsfortheareaofthesequencethatyouplantorender.

WhenmarkingInandOutpointstodefineanareaforrendering,correspondingoptionsappearintheSe

quencemenu:RenderEffectsInto

Out,andRenderIntoOut.AcommandforDeleteRenderFilesIntoOutisalsoavailable.Theseoptions

willnotappearintheSequence menuiftheworkareabarisenabled.

Renderapreviewfilefor asectionof asequence

Youcanrenderanypartofasequencethatfallsunderaredrenderbar.Theworkareabartosetthe

sectionofthesequenceyouwanttorender.Youcanalsodefineasectionofthesequenceyouwanttorend

erbysettingIn andOutpoints.

RenderapreviewfileforasectionofasequencesettingInandOutpoints:

1. SetInandOutpointstomarktheareayouwanttopreview.

2. ChooseSequence,andselectoneofthefollowing:

 RenderEffectsIntoOutRendersthesectionsofthevideotrackslyingwithintheInandOutpoi

ntscontainingaredrenderbar. Alternatively,pressEnter.

 RenderIntoOutRendersthesectionsofthevideotrackslyingwithintheInandOutpointscont

ainingeitheraredrenderbarorayellow renderbar.

 RenderAudioRendersapreviewfileforthesectionsoftheaudiotrackslyingwithintheworka
 rea.

Therenderingtimedependsonyoursystemresourcesandthecomplexityofthesegment.

Theseoptionsarenotavailableiftheworkareaisenabled.

Renderaudio whenrenderingvideo

Bydefault,the

audiotracksdoesnotrenderwhenyouselecteitherSequence>RenderEffectsInWorkArea,orSequen

ce>Render

EntireWorkArea.However,playbackmaysufferwhenthedatathroughputofyourdiskdrivecannots

ustaintheflowwhenmixingmultiple

channelsofaudioandaudioinacomplexsequence.Youcanchangethisdefaultsothatinterface

automaticallyrendersaudiopreviews wheneveritrendersvideopreviews.

1. SelectEdit>Preferences>General(Windows)orPremierePro>Preferences>General(MacOS).

2. SelectordeselectRenderAudioWhenRenderingVideo.

3. ClickOK.

8. UNDERSTANDING RENDER OPTIONS IN ADOBE PREMIERE PRO

Adobe Premiere Pro's export dialog features several rendering options that are not widely

understood. All of them are switched off by default because they either degrade quality or

increase rendering times, however they can all be useful in particular situations.
Render at Maximum Depth

This renders content at 32-bit color depth. Very few output formats actually support 32-bit

color but processing at this depth can produce better quality for compositing and effects

operations before being scaled back to the output format's bit depth. It can reduce or eliminate

artifacts and banding in your video but that benefit comes at the cost of an increase in

processing time, so only use it when completely necessary.

You may benefit from this option in the following situations:

 Your source media has a higher bit depth than the format you are outputting to.

 Your sequence contains heavy compositing or lots of layered effects (particularly 32-

bit color effects).

 Your sequence contains very high contrast or very low contrast images.

OER: https://blogs.adobe.com/videoroad/2010/06/understanding_color_processing.htm
Maximum Render Quality

This is a high-quality resize operation that should be used when outputting to a different frame

size from your sequence. It can reduce aliasing (jagged edges) when resizing images but is of

no use when outputting to the same frame size. This operation significantly increases render

times so only use it when resizing.

Frame Blending

This option smooth out juddery motion when exporting to a different frame rate than your

sequence. While it may improve motion quality compared to not having it switched on, it's not

considered a high quality option. You will probably get better results from exporting with the

sequence frame rate and then converting in Adobe Media Encoder, Apple Compressor.

9. MEMORY SETTINGS

In the Preferences dialog for Premiere Pro there is a section called Memory that allows you to

specify how Premiere Pro and other Adobe applications will use your RAM.

Premiere will allow itself a certain percentage of memory by default and you can decrease this

by increasing the RAM reserved for other applications and the operating system. This is a

maximum limit and the memory is only used up if it is actually needed.

Premiere, After Effects, Encore, Prelude, Media Encoder and Photoshop all use the same

memory pool so the RAM is assigned between them. Premiere and After Effects are assigned

the highest priority within the pool so closing these applications can improve performance in

the other apps.

Adobe applications are designed to share data in real-time through dynamic linking so it is

common for users to run multiple apps at once. It is therefore recommended to set these

settings as high as possible. The default is around 70-75% of total RAM. Note that it's

possible for third-party plugins and importers to exceed the memory limit.
If you install additional memory in your system and it is not reflected in the Memory dialog,

close all Adobe apps and delete the file:

~/Library/Preferences/Adobe/dynamiclinkmanager/6.0/memorybalancercs6v2.xml

On Windows 7 the file is located at:

C:\Users\username\AppData\Roaming\Adobe\dynamiclinkmanager\6.0.

In the Memory pane you can also optimize rendering for performance or memory. In

performance mode Premiere runs several tasks in parallel and uses all of your processor cores

(up to 16). In memory mode it runs fewer tasks simultaneously so these settings will lower

both CPU and memory usage.

 SELF ASSESMENT QUESTIONS

1. Define different procedures to drag video and audio to a sequence?

2. Explain, why rendering is important?

3. Define selecting a work area for rendering?

4. How to split or cut one or more clips with the razor tool, explain?

5. Define actions to move clips in a timeline?

6. Define the difference between trimming and marking?

7. Briefly explain the use of Selection tool, ripple Edit tool, rolling Edit tool?
 References

 https://www.youtube.com/watch?v=XcnBC9JCHPc

 https://www.youtube.com/watch?v=gTswZx5mksY

 https://library.creativecow.net/devis_andrew/Premiere-Pro-CS6-Basics_26/1

 http://www.digitaltutors.com/tutorial/1624-Advanced-Editing-Theories-and-Techniques-

in-Premiere-Pro

 https://www.youtube.com/watch?v=jNy9JUMnICw

 https://www.youtube.com/watch?v=Xfhhns9vHes

 https://www.youtube.com/watch?v=hp9fr7brq2k

 https://www.youtube.com/watch?v=ELNFldbYOMg

 https://helpx.adobe.com/premiere-pro/how-to/premiere-pro-source-patch-cc.html
 Unit : 5

Working with audio

Written by: Umer Mehmood

Reviewer: Mukhtiar Hussain Talpur

 CONTENT

Introduction

Learning Outcomes

1. Overview of Audio

2. Overview of Audio Mixer

3. Audio Meters

4. Working with clips, channels, and tracks

5. Linking multiple audio clips

6. Editing audio in a Timeline panel

7. Adjusting volume levels

8. Panning and balancing

Self Assessment Questions

References
INTRODUCTION

Dear students creating engaging audio is essential in video production because it produces an

emotional context through music and sound design and moves the story forward through

dialogue and natural audio. The sound you use has a big impact on your videos. Adobe Premier

Pro provides you with the tools to narrate clips while previewing them in real time; create, add,

and modify sound tracks; and control the volume levels within clips. This unit helps you explore

the basics of working with audio. Clips in higher-numbered video track covers what is below

them but clips in audio tracks all play together in the timeline. If you have 10 layered audio

tracks loaded up with a variety of audio clips and do nothing to them in terms of adjusting

volume levels and stereo panning, they will all play as one grand symphony. Students it is much

easier to use the Audio Mixer to adjust volume levels and other characteristics for multiple audio

tracks. You can edit audio, add effects to it, and mix as many tracks of audio in a sequence as

your computer system can handle.

Dear student the tracks can contain mono or 5.1 surround channels. In addition, there are

standard tracks and adaptive tracks. The standard audio track can cope with both mono and

stereo in the same track. That is, if you set your audio track to standard, you can use footage with

different types of audio tracks on the same audio track. You can choose different kinds of tracks

for different kinds of media. For example, you could choose for mono clips to be edited only

onto mono tracks. You can choose for multichannel mono audio be directed to an adaptive track

by default.

Dear students whether it’s an audio-only file or the audio channel of a video clip, learn how to

enable sub-frame audio scrubbing and trimming. Dear student in this unit you will learn to

interpret clips to combine or separate stereo channels.

Objectives:

In this lesson, students will take their skills a step further and learn how to

 Knowledge of working with an Audio Mixer

 Understand the difference between audio clip and audio track editing.

 Keyframe the relative volume of an audio clip in timeline.

 Learn how to work with clips and channels.

 Knowledge of adding tracks according to audio channels.

 Link or unlink audio and edit tracks of linked clips individually

 Learn how to create split edits

 Know how to adjusting volume levels from Timeline, or Program Monitor.

 Know how to monitor audio level by using the Audio Meters panel.

 Learn different methods of normalizing audio for one or multiple clips

1. OVERVIEW OF AUDIO

Inediting

software,youcaneditaudio,addeffectstoit,andmixasmanytracksofaudioinasequenceasyourcompute

rsystemcanhandle.Tracks cancontainmono,stereo,or5.1surroundchannels. Inthe editing software,

itisimportanttoaddtheproperkindofaudiotrackforeditingyourmedia to the Timeline.

Toworkwithaudio,firstimportitintoaprojectorrecorditdirectlytoatrack.Youcanimportaudioclipsorvi

deoclipsthatcontainaudio.

Aftertheaudioclipsareinaproject,youcanaddthemtoasequenceandeditthemjustlikevideoclips.Youca

nalsoviewthewaveformsof

audioclipsandtrimthemintheSourceMonitorbeforeaddingtheaudiotoasequence.Youcanadjustvolu

meandpan/balancesettingsofaudio

tracksdirectlyintheTimelineorEffectControlspanels.YoucanusetheAudioMixertomakemixingchan

gesinrealtime.Youcanalsoadd

effectstoaudioclipsinasequence.Ifyouarepreparingacomplexmixwithmanytracks,considerorganizi

ngthemintosub-mixesandnested sequences.

Types of Audio tracksin asequence

Audiotrackshavechangedsignificantlytoallowforanykindofaudioformat.Inadditiontomono,and5.1s

urroundaudio tracks,therearenowstandardtracks,andadaptivetracks.

Asequencecancontainanycombinationofthefollowingaudiotracks:

Standard

Thestandardtrackreplacesthepreviousstereotracktype.Itcanaccommodatebothmonoandstereoaudio

clips.Standardtrackscan containbothmonoandstereoclips,butnotadaptiveor5.1clips.
Mono(monophonic)

Containsoneaudiochannel.Ifastereotrackisaddedtoamonotrack,thestereotrackisconvertedtoamonot

rack.

Adaptive The adaptive track can contain both mono and stereo tracks.

Withadaptivetracks,youcanmapsourceaudiotooutputaudiochannels in

thewaythatworksbestforyourworkflow.Thistracktypeisusefulforworkingwithaudiofromcamerasth

atrecordmultipleaudiotracks.

Adaptivetrackscanalsobeusedwhenworkingwithmergedclips,ormulticamsequences.

5.1 Containsthefollowing:

i. Threefrontaudiochannels(left,center,andright)

ii. Tworearorsurroundaudiochannels(leftandright)

iii. Alow-frequencyeffects(LFE)audiochannelroutedtoasubwooferspeaker.

Channels in an audio clip

Clipscancontainoneaudiochannel(mono),twoaudiochannels—

leftandright(stereo),orfiveaudiosurroundchannelswithalow-frequency

effectsaudiochannel(5.1surround).Asequencecanaccommodateanycombinationofclips.However,a

lltheaudioismixedtothetrackformat (mono,stereo,or5.1surround)ofthemastertrack.
View audio data

Youcanviewand

editvolumeoreffectvaluesforeithertracksorclipsintheAudioMixerorinaTimelinepanel.Makesuretha

tthetrackdisplayissettoShow TrackKeyframesorShowTrackVolume.

Inaddition,audiotracksinaTimelinepanelcontainwaveforms,whicharevisualrepresentationsofaclip’

saudioovertime.Theheightofthe waveformshowstheamplitude(loudnessorquietness)oftheaudio—

thelargerthewaveform,theloudertheaudio.Viewingthewaveformsinan

audiotrackishelpfulforlocatingspecificaudioinaclip.

Toviewawaveform,expandtheaudiotrackbyclickingthetrianglenexttotheaudiotrackname.

Clicktriangletoexpandaudiotracktoviewaudiowaveform,trackname,andrubberband.

Viewaudioclips

Youcanviewanaudioclip’sVolume,Mute,orPantimegraphsandits

waveforminaTimelinepanel.Youcanalsoviewanaudioclipinthe

SourceMonitor,whichisusefulforsettingpreciseInandOutpoints.Youcanalsoviewsequencetimeinau

diounitsinsteadofframes.This settingisusefulforeditingaudioatsmallerincrementsthanframes.

Doanyofthefollowing:

 ToviewtheaudiowaveformofaclipinaTimelinepanel,clickthetriangletotheleftoftheaudiotrac

knameandclicktheSetDisplay
  Styleicon undertheToggleTrackOutputicon .ThenchooseShowWaveform.

 ToviewanaudioclipintheSourceMonitorwhentheclipisinaTimelinepanel,double-

clicktheclip.

 ToviewanaudioclipintheSourceMonitorwhentheclipisintheProjectpanel,double-

clicktheclip,ordragthecliptotheSource

Monitor.Ifaclipcontainsvideoandaudio,youcanviewitsaudiointheSourceMonitorbyclicking

theSettingsbuttonandselecting AudioWaveform.

Makingquickaudio adjustments

Although t he prem i er softwareincludesafull-

featuredaudiomixer,therearetimeswhenmanyoftheseoptionsarenotrequired.Forexample,when

creatingaroughcutfromvideoandaudiocapturedtogetherfromDVfootage,outputtostereotracks,follo

wtheseguidelines:

i. StartwiththeMastermetersandvolumefaderintheAudioMixer.

ii. Iftheaudioistoofarbelow0dBortoohigh(theredclippingindicator

appears),adjustthelevelofclipsortracksasneeded.

iii. Totemporarilysilenceatrack,usetheMuteTrackbutton intheAudioMixerorthe

ToggleTrackOutputiconinaTimelinepanel.

iv. To temporarilysilenceallothertracks,usetheSolobuttonintheAudioMixer.

Whenmakingaudioadjustmentsofanykind,determinewhetherthechangeisappliedto

theentiretrackorto the individualclips.Audiotracks andclipsareeditedindifferentways.

i. UsetheShow/HideTrackscommandintheAudioMixermenutodisplayonlythe

informationyouwanttoseeandsavescreenspace.
 ii. Ifyou

aren’tusingEffectsandSends,youcanhidethembyclickingthetriangleattheleftedgeoftheAudi

oMixer.

2. AUDIO MIXER OVERVIEW

IntheAudioMixer,youcanadjustsettingswhilelisteningtoaudiotracksandviewingvideotracks.EachA

udioMixertrackcorrespondstoatrack

inthetimelineoftheactivesequenceanddisplaystheTimelineaudiotracksinanaudioconsolelayout.Yo

ucanrenameatrackbydouble-

clickingitsname.YoucanalsousetheAudioMixertorecordaudiodirectlyintoasequence’stracks.

AudioMixer

A.Pan/balancecontrol
B.AutomationmodeC.MuteTrack/SoloTrack/EnableTrackForRecordingbuttons
D.VUmetersandfaders E. Track nameF.Clippingindicator
 G.MasterVUmeterandfader

Bydefault,theAudioMixerdisplaysallaudiotracksandthemasterfader,andtheVUmetersmonitoroutp

utsignallevels.TheAudioMixer representsthetracksintheactivesequenceonly,notallproject-

widetracks.Ifyouwanttocreateamasterprojectmixfrommultiplesequences,

setupamastersequenceandnestothersequenceswithinit.

Audiomixerplaybackcontrols

A.GoToInPointB.GoToOutPointC.Play/StopToggle
D.PlayInToOutE.LoopF.Record

TheAudioMeterspanelduplicatestheaudiodisplayoftheAudioMixerMasterMeters.Youcanopenase

parateAudioMeterspanelanddockit

anywhereinyourworkspace.TheAudioMeterspanelallowsyoutomonitoraudioevenwhenthefullAudi

oMixerortheMasterFadersectionis notvisible.
 AudioMixer
A.Show/HideEffectsandSendsB.Effects C.Sends
D.TrackOutputAssignmentE.AutomationMode
ModifytheAudioMixer

1. ChooseanyofthefollowingfromtheAudioMixermenu:

 Todisplayorhidespecifictracks,chooseShow/HideTracks,usetheoptionstomarkthetracksyou

wanttoseeandclickOK.

 TodisplayhardwareinputlevelsontheVUmeters,chooseMeterInput(s)Only.Ifthisoptionis

chosen,youcanstillmonitoraudioinPremiereProforalltracksthataren’tbeingrecorded.

 Todisplaytimeinaudiounitsinsteadofvideoframes,chooseShowAudioTimeUnits.Youcansp

ecifywhethertoviewsamplesor

millisecondsbychangingtheAudioDisplayFormatoptionintheGeneraltaboftheProjectSettingsdialog

box.TheShowAudioTime

UnitsoptionaffectsthetimedisplaysintheAudioMixer,Sourcepanel,Programpanel,andTimelinepane
l.

 TodisplaytheEffectsAndSendspanel,clicktheShow/HideEffectsAndSendstrianglealongthel

eftsideoftheAudioMixer.

 Toaddaneffectorsend,clicktheEffectSelectionorSendAssignmentSelectiontriangleintheEff

ectsAndSendspanel.Thenchoose aneffectorsendfromthemenu.

2. Right-

clickthepanelandusethemenutosetthevisualmeteringmode,peakdisplay,valleyindicatordisplay,and

decibelrange.

MonitorspecifictracksintheAudioMixer

ClicktheSoloTrackbuttonforthecorrespondingtracks.

OnlythetrackswiththeSoloTrackbuttonenabledaremonitoredduringplayback.

YoucanalsosilenceatrackusingtheMuteTrackbutton.

3. AUDIO METERS
 AudioMeterpanel
A.LEDMeter(gradientsinthemeterpanel) B.SolochannelsC.Clippingindicator
D.PeakindicatorE.Valleyindicator

1. SelectWindow>AudioMeters.

2. Right-clickthepanelandusetheoptionstodothefollowing:

 Viewpeaksasstaticpeaksordynamicpeaks.Fordynamicpeaks,thepeakindicatorisupdatedcon

stantlywithathree-second

threshold.Forstaticpeaks,thepeakindicatordisplaystheloudestpeakuntiltheindicatorisresetor

playbackisrestarted.

 Viewvalleyindicatorsatlowamplitudepoints.

 ViewLEDMeters(meterappearswith colorsegments)

Setadecibelrangefromtheavailableoptions

Note: TheaudiometersprovideinformationaboutboththeSourceandProgrammonitors.

SetmonitoringoptionsfortheAudioMeterspanel

Right-clicktheAudioMeterspanel,andchooseadesiredoptionfromthemenu.

SoloinPlace

Solooneormorechannelswithoutchangingtheirspeakerassignment.Forexample,soloingtheright-

surroundin5.1,youhear onlythischanneloutoftheright-

surroundspeaker.ThisoptionisavailableforallclipsplayedintheSourcemonitorandforallsequencespl

ayed intheTimelinepanel.
MonitorMonoChannels

Allowsyoutolistentoonespecificchanneloutofbothyourstereomonitoringspeakers,regardlessofitsas

signment.

MonitorStereoPairs

Onlyavailableforsequenceswithmulti-channelmastersplayedintheTimeline.Forexample,foran8-

channelmulti-

channelmastersequence,youcanmonitorjustchannels3and4outoftheleftandrightspeakers.

4. WORKING WITH CLIPS, CHANNELS AND TRACKS

Audio channelicons

TheseiconsappearontheAudioChannelstaboftheModifyClipdialogbox,andintheAudioOutputMapp

ingdialogbox. Thefollowingiconsindicatechannelmappingforstereomixes:

Leftstereochannel

Rightstereochannel

Thefollowingiconsindicatechannelmappingfor5.1surroundmixes:

Leftfrontchannel

Rightfrontchannel

Leftsurroundchannel

Rightsurroundchannel
 Centerfrontchannel

Lowfrequencyeffectschannel

Extractaudio from clips

Youcanextractaudiofromclipsandgeneratenewaudiomasterclipsinaproject.Theoriginalmasterclips

arepreserved.Anysourcechannel

mappings,gain,speed,duration,andinterpretfootageadjustmentsintheoriginalmasterclipsareappliedt

othenew,extractedaudioclips.

1. IntheProjectpanel,selectoneormoreclipscontainingaudio.

2. ChooseClip>AudioOptions>ExtractAudio.

PremiereProgeneratesnewaudiofilescontainingtheextractedaudio,withtheword“Extracted”addedto

theendofthefilenames.

Render and replace audio

Youcanselectanaudioclipinasequenceandgenerateanewaudioclipthatreplacestheoneyouselected.T

henewaudioclipcontainsany

editingandeffectsyouappliedtotheoriginalsequenceclip.Ifyoutrimmedtheoriginalsequenceclip,then

ewclipcontainsonlythetrimmed audioinsteadoftheentireaudiooftheoriginalmasterclip.

1. Selectanaudioclipinasequence.

2. ChooseClip>AudioOptions>RenderAndReplace.

Anewaudioclipiscreatedandreplacestheselectedaudioclip.Themasterclip(eitheraudiocliporvideocli

pcontainingaudio)inthe Projectpanelisuntouched.
Breakallstereotracksintomonotracks

PremiereProcanautomaticallybreakoutindividualstereoandsurroundchannelstodiscretemonauralcli

psaseachclipiscapturedorimported.

1. ChooseEdit>Preferences>Audio(Windows)

2. IntheSourceChannelMappingarea,chooseMonofromtheDefaultTrackFormatmenu.

3. ClickOK.

Use a mono clip as stereo

Youmaysometimesfinditusefultouseamonoaudioclipasastereoclip.UsingtheModifyClipdialogbox,

youcanapplyamonocliptoapair ofleftandrightstereochannels.

1. IntheProjectpanel,selectamonoclip.

2. ChooseClip>Modify>AudioChannels.

3. IntheModifyClipdialogbox,selectMonoAsStereo,andthenclickOK.

Placingsound from onechannelof astereoclipinto both channels

Ifyouhaveastereoclipwithsoundrecordedinonlyonechannel,orifyouhaveastereoclipthathassoundin

onechannelthatyouwantto

replacewiththesoundfromtheotherchannel,youcanusesourceclipchannelmapping,theFillLeftaudiof

ilter,ortheFillRightaudiofilter.

5. LINKING MULTIPLE AUDIO CLIPS

Youcanlinkonevideocliptomultipleaudioclipsandyoucanlinkmultipleaudioclipstogether.Whenyou

linkaudioclipsinasequence,youlink

onlytheinstancesofthemasterclips.TheoriginalmasteraudioclipsintheProjectpanelareuntouched.

LinkedclipsremainsynchronizedasyoumovethemortrimtheminaTimelinepanel.Youcanapplyaudio

effects,includingVolumeandPanning
effects,toallchannelsinthelinkedclips.Ifyoumakeaneditthatmovesoneofthelinkedclipswithoutmovi

ngtheothers,out-of-syncindicators appear.

Indicatorsappearwhenlinkedclipsarenolongersynchronized.

Youcandisplayandtrimamulti-cliplinkintheSourceMonitor.Toviewatrackinthemulti-

cliplink,choosefromtheTrackmenu.Youcanview

andplayonlyonechannelatatimeintheSourceMonitor.Ifthelinkedclipscontainmarkers,theSourceMo

nitortimelinedisplaysmarkersonly forthedisplayedtrack.IftheSourceMonitordisplaysamulti-

cliplinkfromtheProjectpanel,youcanusetheOverlayorInsertbuttonstoaddthelinkedclipstoseparatetr

acksinaTimelinepanel.

Choosingtrackofmulti-cliplinkinSourceMonitor

TheEffectControlspaneldisplaysallthevideoandaudiotracksinamulti-

cliplinkwiththeappliedeffectsgroupedtogetherbytrack.Youcan

applyeffectsfromtheEffectspaneltoaspecificgroupintheEffectControlspanel.
 Effectsappliedtoaudiotracksinmulti-cliplinkdisplayedinEffectControlspanel

Linkaudio clips

Theaudioclipsmusthavethesamechanneltypeandeachclipmustbeonadifferenttrack.Ifclipsarealread

ylinked,suchasanaudioclip linkedtoavideoclip,theymustbeunlinkedbeforeyoucancreateamulti-

cliplink.

1.

Ifnecessary,selecteachlinkedvideoandaudioclip,andchooseClip>Unlink.InAdobePremiereProCS5

.5andlater,youmayselect multipleclips,andchooseClip>Unlink.

2. Dooneofthefollowing:

 Shift-clicktoselecteachaudiocliponseparatetracksinaTimelinepanel.Youmayalsoshift-

clicktoselectavideoclip.

 Shift-clicktoselectmorethanoneaudiocliponseparatetracksinaTimelinepanel.

Allaudioclipsmusthavethesametrackformat(mono,stereo,or5.1surround).

3. ChooseClip>Link.
6. EDITING AUDIO IN A TIMELINE PANEL

Setsample-basedaudio In andOut points

InandOutpointsaresetattime-basedivisions—thatis,betweenvideoframes.Althoughframe-

basededitsareusuallyadequateforaudioas

well,someaudioeditsrequiregreaterprecision.Forexample,youmaywanttoplaceanInpointbetweentw

owordsinasentence,butthetiny

divisionbetweenwordsdoesn’tconvenientlyfallbetweenframes.Fortunately,digitalaudioisn’tdivide

dintoframes,butintoaudiosamples,which

occurfarmorefrequently.ByswitchingtheSourceMonitor’sorsequence’stimerulertoaudiosamples,y

oucansetmorepreciseaudioInand Outpoints.

SourceMonitorsettodisplayaudiounitsformorepreciseeditingofanaudioclip
 SwitchatimerulertoaudiounitsintheSourceorProgramMonitor

IntheSourceorProgramMonitorpanelmenu,chooseShowAudioTimeUnits.

Navigateaudioinsampleview

1. SwitchthetimerulerintheSourceMonitororTimelinepaneltoaudiounits.

2. Tonavigate,dooneofthefollowing:

Dragthecurrent-timeindicator inthetimerulertonavigatesmoothlythroughtheclip.

ClicktheStepForwardorStepBackbuttonstomovethecurrent-timeindicator oneaudiosampleatatime.

3.

Tozoominorout,drageitherendoftheviewingareabarinthetimeruleroftheSourceMonitororTimelinep

anel.

TrimaudioinsampleviewinaTimelinepanel

1.

InaTimelinepanelmenu,chooseShowAudioTimeUnits.ThetimerulersinaTimelinepanelandProgra

mMonitorswitchtoasample- basedscale.

2. Ifnecessary,expandtheaudiotrackcontainingtheclipyouwanttoedit,clicktheSetDisplayStylebutton

,andchooseShowWaveform.

3.

ViewtheaudioInpointorOutpointoftheclipyouwanttoeditindetailbydraggingthezoomslidertotherig

ht.

4. Trimtheclipbydoingoneofthefollowing:
 ToadjusttheInpoint,positionthepointerovertheleftedgeoftheclip’saudiosothatthetrimheadtool

appears,anddragleftorright.

 ToadjusttheOutpoint,positionthepointerovertherightedgeoftheclip’saudiosothatthetrimtailicon

appears,anddragleftor right.

5. UsethewaveformdisplayorplaytheaudiotomakesurethatyouadjustedtheInandOutpointsproperly.

Linkandunlink videoandaudio clips

IntheProjectpanel,clipsthatcontainbothvideoandaudioappearasasingleitem,representedby

.Whenyouaddthecliptothesequence,

however,thevideoandaudioappearastwoobjects,eachinitsappropriatetrack.

ThevideoandaudioportionsofthecliparelinkedsothatwhenyoudragthevideoportioninaTimelinepane

l,thelinkedaudiomoveswithit,and

viceversa.Forthisreason,theaudio/videopairiscalledalinkedclip.InaTimelinepanel,eachpartofthelin

kedclipislabeledwiththesameclip

name,whichisunderlined.Thevideoismarked[V]andtheaudioismarked[A].

Ordinarily,alleditingfunctionsactonbothpartsofalinkedclip.Whenyouwanttoworkwiththeaudioand

videoindividually,youcanunlinkthem.

Whenyoudo,youcanusethevideoandaudioasthoughtheywerenotlinked;eventheclipnamesnolongera

ppearunderlinedorbearthe[V] and[A]labels.Evenso,PremiereProkeepstrackofthelink.Ifyoure-

linktheclips,theyindicatewhethertheyhavebeenmovedoutofsync,and

byhowmuch.YoucanhavePremiereProautomaticallyresynchronizetheclips.

Youcanalsocreatealinkbetweenpreviouslyunlinkedclips.Thisisparticularlyusefulifyouneedtosynch

ronizevideoandaudiothatwere recordedseparately.
 Linkorunlinkvideoandaudio

1. DothefollowinginaTimeline:

 Tolinkvideoandaudio,Shift-

clickavideoandaudioclip,oraseriesofaudioclipstoselectthem,andthenchooseClip>Link.

 Tounlinkvideoandaudio,selectalinkedclipandchooseClip>Unlink.

 Tounlinkvideoandaudiofrommultipleclips,selecttheclipsandchooseClip>Unlink.

2.

(Optional)Touseasetoflinkedclipsmultipletimes,createanestedsequencefromthesetofsynchronized

clips,andplacethenested sequenceinothersequencesasdesired.

Edittracksoflinkedclipsindividually

InaTimeline,Alt-click/Option-

clickeitherpartofalinkedclip,andthenuseanyeditingtool.Whenyouhavefinishededitingtheclip,youca

n reselect(click)thecliptoedititasalinkedclipagain.Alt/Option-

draggingaudioorvideoworkswellforadjustingasplitedit.

Automaticallysynchronizeclipsthatweremovedoutofsync

1. Right-click/Control-clickthenumberthatappearsattheInpointinaTimelinepaneloftheout-of-

syncvideooraudioclip.(Thenumber

indicatestheamountoftimetheclipisoutofsyncwithitsaccompanyingvideooraudioclip.)

2. Chooseoneofthefollowingoptions:

MoveIntoSync

Shiftstheselectedvideooraudiopartoftheclipintimetorestoresync.MoveIntoSyncmovestheclipwitho

utregardto adjacentclipsandoverwritesanyclipstoregainsync.
SlipIntoSync Performsaslipedittorestoresyncwithoutmovingtheclip’spositionintime.

Createsplitedits

Ordinarily,yousetoneInpointandoneOutpointforasourceclip.Evenifit’salinkedclip(aclipcontaining

videoandaudiotracks),InandOut

pointsapplytobothtracksoftheclip.Setinasequence,theaudioandvideoofthestandardclipappearatthes

ametime.Sometimesyou want

tosetthevideoandaudioInorOutpointsindependently,however,inordertocreatesplitedits(alsoknowna

sL-cutsandJ-cuts).Whenplacedin

asequence,acliptrimmedforaspliteditwillhaveitsaudioappearbeforeitsvideo,oritsvideobeforeitsaud

io.

A.CliptrimmedforJ-cutB.CliptrimmedforL-cut

Createasplitedit

1.

Ifnecessary,clickthetriangletotheleftofeachtracknameinaTimelinepaneltoexpandtheaudiotracksyo

uwanttoadjust.

2. Selectoneoftheclipsinvolvedinthesplitedit,andchooseClip>Unlink.Repeatfortheotherclip.
3. SelecttheRollingEdittool fromtheToolspanel.

4. Startingattheaudioeditpointbetweenthetwoclips,dragleftorright.

Ifnothinghappens,makesurethatbeforeyoustartdragging,youpositionthepointeroverthevisibleaudio

editpoint,notoveran appliedaudiotransition.

AcommoneditingtechniqueistoAlt/Option-

dragaclip’saudioorvideotoquicklyadjustasplitedit.It’salotfasterthangoingtoamenuto unlinkaclip.

7. ADJUSTING VOLUME LEVELS

YoucanmonitoraudiolevelsforclipsinaTimelinepanel.

1.

IftheAudioMasterMeterspanelisnotopen,selectWindow>AudioMasterMeters.InPremiereProCS6,

chooseWindow>AudioMeters.

2. SelecttheProgramMonitororaTimelinepanel.

3. Do one of the following: Press Space, In the Program Monitor, click the Play Stop Toggle

(Space) button .

TheAudioMeterspaneldisplaystheaudiolevelfortheTimeline.

Monitor volumelevelwhilecapturing

YoucanmonitoraudiolevelswhilecapturingDVorHDVfootage.

1. IftheAudioMeterspanelisnotopen,selectWindow>AudioMasterMeters.

InPremiereProCS6,chooseWindow>AudioMeters.

2. CapturevideofromaDVorHDVsource.
TheAudioMeterspaneldisplaystheaudiolevelforthecapturedfootage.

Adjusting gainandvolume

Gaingenerallyreferstotheinputlevelorvolumeinclips.Volumegenerallyreferstotheoutputlevelorthev

olumeinsequenceclipsortracks.You

cansetgainorvolumelevelstomakelevelsmoreconsistentamongtracksorclips,ortochangethevolumeo

fatrackorclip.Keepinmind,

however,thatifthelevelofanaudioclipwassettoolowwhenitwasdigitized,increasingthegainorvolume

mightsimplyamplifynoise.Forbest

results,followthestandardpracticeofrecordingordigitizingsourceaudioattheoptimumlevel;thispracti

ceallowsyoutoconcentrateon adjustingtracklevels.

YouusetheAudioGaincommandtoadjustthegainlevelforoneormoreselectedclips.TheAudioGainco

mmandisindependentoftheoutput

levelsettingsintheAudioMixerandTimelinepanels,butitsvalueiscombinedwiththetracklevelforthefi

nalmix.

YoucanadjustthevolumeforasequenceclipintheEffectControlsorTimelinepanels.IntheEffectContro

lspanel,youusethesamemethods

toadjustthevolumethatyouusetosetothereffectoptions.It’softensimplertoadjusttheVolumeeffectina

Timelinepanel.

YoucontroltrackoutputlevelsintheAudioMixeroraTimelinepanel.Althoughyoucontroltracklevelspr

imarilythroughtheAudioMixer,youcan alsodosousingaudiotrackkey

framesinaTimelinepanel.Becausetrackkey

framesrepresentmixerautomationsettings,theyaffectoutputonly

ifautomationissettoRead,Touch,orLatch.
YoucanadjustthegainforanentiresequencewiththeNormalizeMasterTrackcommand.

Normalizeoneor moreclips

1. Dooneofthefollowing:

 YoucanadjustthegainofamasterclipsothatallinstancesoftheclipaddedtoaTimelinepanelhave

thesamegainlevel.Selectthe masterclipintheProjectpanel.

 Toadjustthegainofjustoneinstanceofamasterclipalreadyinasequence,selecttheclipinaTimeli

nepanel.

 Toadjustthegainofmorethanonemastercliporclipinstance,selecttheclipsinaProjectpanelorse

quence.Inasequence,Shift- clicktheclipstoselectthem.InaProjectpanel,Shift-

clicktoselectcontiguousclips,orCtrl-click(Windows)orCommand-click(Mac

OS)toselectnon-contiguousclips.

2. ChooseClip>AudioOptions>AudioGain.

TheAudioGaindialogboxopensandPremiereProautomaticallycalculatesthepeakamplitudeofthesele

ctedclips,reportingthe

calculatedvalueinthePeakAmplitudefield.Oncecalculated,thisvalueisstoredfortheselection.Youca

nusethisvalueasaguideforthe amounttoadjustgain.

3. Selectoneofthefollowing,setitsvalue,andthenclickOK.
SetGainTo

Thedefaultvalueis0.0dB.Thisoptionallowstheusertosetgaintoaspecificvalue.Thisvalueisalwaysupd

atedtothe

currentgain,evenwhentheoptionisnotselectedandthevalueappearsdimmed.Forexample,whenthesec

ondoption,AdjustGainBy,is usedtoadjustthegainby-

1dB,theSetGainTovaluewouldalsoupdatetoshowtheresultinggainlevel.WhentheAudioGaindialogi

openedforselectedclipsthathavealreadyhadtheirgainadjusted,thecurrentgainvalueisdisplayedinthis

field.

AdjustGainBy

Thedefaultvalueis0.0dB.Thisoptionallowstheusertoadjustgainby+or-

dB.Enteringavalueotherthanzerointhis

fieldautomaticallyupdatestheSetGainTodBvaluetoreflecttheactualgainvalueappliedtotheclip.

NormalizeMaxPeakTo

Thedefaultvalueis0.0dB.Userscansetthistoanyvaluebelow0.0dB.Forexample,ausermaywanttoallo

w forheadroomandsetthisto-

3dB.Thisnormalizationoptionadjuststhemaximumpeakamplitudeintheselectedclipstotheuser-

specified value.Forexample,aclipwithapeakamplitudeof-

6dBwillhaveitsgainadjustedby+6dBifNormalizeMaxPeakToissetto0.0dB.For amultiple-

clipselection,theclipwiththemaximumpeakwillbeadjustedtotheuser-

specifiedvalue,whiletheotherclipswillbeadjustedby

thesameamount,preservingtheirrelativegaindifferences.Forexample,assumecliponehasapeakof-

6dB,andcliptwohasapeakof-
3dB.Sincecliptwohasthegreaterpeakvalue,itwillbeadjustedby+3dBtoboostittotheuser-

specifiedgainof0.0dB,whileclipone alsowillbeadjustedby+3dB,boostingitto-

3dB,andpreservingthegainoffsetbetweenthetwoclipsintheselection.

NormalizeAllPeaksTo

Thedefaultvalueis0.0dB.Userscansetthistoanyvaluebelow0.0dB.Forexample,ausermaywanttoallo

w forheadroomandsetthisto-

3dB.Thisnormalizationoptionadjuststhepeakamplitudeintheselectedclipstotheuser-specifiedvalue.

Forexample,asingleclipwithapeakamplitudeof-

6dBwillhaveitsgainadjustedby+6dBifNormalizeAllPeaksToissetto0.0dB.For amultiple-

clipselection,eachclipintheselectionwouldhaveitsgainadjustedbyamountsnecessarytoboostthemall

to0.0dB.
Normalizethe Mastertrack

Youcansetthepeakvolumelevelforthemastertrackofasequence.PremiereProautomaticallyadjuststh

efaderforthewholemastertrack

upwardordownward.Theloudestsoundinthetrackachievesthevaluespecified.PremiereProscalesany

keyframesonthemastertrackupward

ordownward,inproportiontotheadjustmentmadeinoverallvolume.

1. Selectthesequenceyouwanttonormalize.

2. SelectSequence>NormalizeMasterTrack.

3. IntheNormalizeTrackdialogbox,typeanamplitudevalueinthedBfield.

4. ClickOK.

Adjust trackvolumewith keyframes

Youcanadjustthevolumelevelofawholecliportrack,orhavethevolumechangeovertimeusingtherubbe

rbandinanaudiotrackofaTimelinepanel.

1. Expandtheaudiotrackviewbyclickingthetrianglenexttotheaudiotrackname.

2. Intheaudiotrackheader,clicktheShowKeyframesbutton

,andchooseoneofthefollowingfromthemenu:

ShowClipKeyframesLetsyouanimateaudioeffectsforaclip,includingVolumeLevel.

ShowClipVolumeLetsyouchangeonlyaclip’sVolumeLevel.
ShowTrackKeyframesLetsyouanimatemanyaudiotrackeffects,includingVolume,Mute,andBalan

ce.

ShowTrackVolumeLetsyouchangeonlyatrack’svolumelevel.

3. IfoneoftheKeyframessettingsisselected,dooneofthefollowing:

 IfShowClipKeyframesisselected,chooseVolume>Levelfromthedrop-

downmenuattheheadoftheclipintheaudiotrack.

 IfShowTrackKeyframesisselected,chooseTrack>Volumefromthedrop-

downmenuattheheadoftheclipintheaudiotrack. Volumeadjustmentisenabledbydefault.

4.

UseeithertheSelectiontoolorthePentooltomovetheVolumelevelrubberbandup(increasevolume)ord

own(decreasevolume).

IfyouwanttheVolumeeffecttochangeovertime,placethecurrent-timeindicator

atthelocationforeachchange,clickthe Add/RemoveKeyframebutton

intheaudiotrackheader,anddragthekeyframeup(louder)ordown(quieter).

Applyavolumelevelto severalclips

1. IntheTimeline,adjustthevolumeofasinglecliptothedesiredlevel.

2. ChooseEdit>Copy.
3. Dragamarqueeovertheotherclipsyouwanttochange.

4. ChooseEdit>PasteAttributes.

Thisprocedurepastesalleffectsandattributesofthefirstclipselected,notjustitsvolumesettings.

8. PANNING AND BALANCING

Bydefault,allaudiotracksoutputtothesequencemasteraudiotrack.However,youcanalsocreatesubmix

tracks.Youcanoutputaudiofrom

anytracktoasubmixtrack.YoucanthenoutputaudiofromasubmixtracktoaMasterTrack.Youcanusean

audiotrackasaninputfora

submixtrackorfortheMasterTrack.Youcanuseasubmixtrackasanoutputforanaudiotrackandasaninpu

tforaMasterTrack.Different

tracksinthesamesequencecanhavedifferentnumbersofchannels.Forexample,youcansendtheoutputfr

omamonauralaudiotracktoa

stereosubmixtrack,andthensendtheoutputfromthestereosubmixtracktoa5.1-channelMasterTrack.

Ifthenumberofchannelsdiffersbetweenaninputtrackanditsoutputtrack,youdeterminehowmucheach

ofthechannelsintheinputtrack

feedseachofthechannelsinitsoutputtrack.Forexample,youcansend80percentofthesignalfromamona

uralaudiotracktotheleftchannel

ofastereosubmixtrack,and20percenttotherightchannel.Thisisbalancing.Youbalancetheaudiotoaster

eooutputtrackwithLeft/RightPan

dialsintheAudioMixer.Youbalancetheaudiotoa5.1outputtrackwith5.1PannercontrolsintheAudioMi

xer.
IntheAudioMixer,aLeft/RightPandialappearsinatrackonlywhenyouselectastereotrackastheoutputf

orthetrack.A5.1Pannercontrol appearsinatrackonlywhenyouselecta5.1-

channeltrackastheoutputforthetrack.Therelationbetweenthenumberofchannelsinanaudio

trackandthenumberofchannelsintheoutputtrack(oftenthemastertrack)determineswhetherthepanand

balanceoptionsareavailableforan audiotrack.

Panningisthemovingofaudiofromoneoutputchanneltoanother,overtime.Forexample,ifacardrivesfro

mtherightsideofavideoframeto

theleft,youcanpanthechannelcontainingthecaraudiosothatitbeginsontherightsideofthescreenandend

sontheleft.

IntheAudioMixer,thenumberoflevelmetersinatrackindicatesthenumberofchannelsforthattrack.The

outputtrackisdisplayedintheTrack OutputAssignmentmenuatthebottomofeachtrack.

Thefollowingrulesdeterminewhetheratrack’saudiocanbepannedorbalancedinits outputtrack:

 Whenyououtputamonotracktoastereoor5.1surroundtrack,youcanpanit.

 Whenyououtputastereotracktoastereoor5.1surroundtrack,youcanbalanceit.

 Whentheoutputtrackcontainsfewerchannelsthanintheotheraudiotracks,PremiereProdown-

mixestheaudiotothenumberofchannels intheoutputtrack.

Whenanaudiotrackandtheoutputtrackaremonoorwhenbothtracksare5.1surround,panningandbalanc

ingaren’tavailable.The channelsofbothtrackscorresponddirectly.

Whilethemasteraudiotrackisthedefaultoutputtrack,asequencecanalsoincludesub-mixtracks.Sub-

mixtrackscanbebothanoutput

destinationofotheraudiotracksandanaudiosourcetothemastertrack(orothersub-

mixtracks).Therefore,thenumberofchannelsina sub-
mixtrackaffectsthepanorbalancecontrolsavailableintracksthatoutputtoit,andthenumberofchannelsi

nthesub-mixoutputtrack affectwhetherpanningorbalancingisavailableforthatsub-mixtrack.

Panning andbalancingin the Audio Mixer

TheAudioMixerprovidescontrolsforpanningandbalancing.Aroundknobappearswhenamonoorstere

otrackoutputstoastereotrack.You

rotatetheknobtopanorbalanceaudiobetweentheleftandrightoutputtrackchannels.Asquaretrayappear

swhenamonoorstereotrack outputstoa5.1surroundtrack.Thetraydepictsthetwo-

dimensionalaudiofieldcreatedby5.1surroundaudio.Youslideapuckwithinthetrayto

panorbalanceaudioamongthefivespeakers,whicharerepresentedbypocketsaroundtheedgeofthetray.

Thetrayalsoincludescontrolsfor

adjustinga5.1surroundaudiotrack’scenterchannelpercentageandsubwoofervolume.Nopancontrolap

pearsifatrackoutputstoasubmixor

mastertrackthatcontainsthesamenumberofchannelsorfewer;therefore,apanorbalancecontrolisnever

availablefora5.1surroundtrack.A

mastertrackdoesn’tcontainapanorbalancecontrolbecauseit’sneverroutedtoanothertrack.However,p

anningorbalancinganentire

sequenceispossiblewhenyouusethesequenceasatrackinanothersequence.

YoucanvarythepansettingovertimeintheAudioMixer,orinaTimelinepanelbyapplyingkeyframestoat

rack’sPanoptions.
 Panningandbalancingcontrols

A.Stereopan/balanceknob B.5.1surroundpan/balancetray C.Centerpercentage

Panor balanceastereotrack

IntheAudioMixer,dooneofthefollowing:

 Dragthepancontrolknoborthevaluebelowtheknob.

 Clickthevaluebelowthepancontrolknob,typeanewvalue,andpressEnter(Windows)orReturn(Mac

OS).

Panor balancea16-channeltrack

Whenyouselectasequencecontaininga16-

channelmasteraudiotrack,DirectOutputAssignmentbuttonsappearabovetheslidersforeach

trackintheAudioMixer.Clickeachofthesebuttonstoassigneachtrackchanneltoadestinationchannelint

hemastertrack.
 Selectingchannel12fortheoutputfromtheleft-frontchannelofa5.1audiotrack

A.DirectOutputAssignmentbuttonsforastereotrack

B.DirectOutputAssignmentbuttonsforamonauraltrack C.DirectOutputAssignment

buttonsfora5.1surroundtrack

1. IftheAudioMixerisnotopen,selectWindow>AudioMixer,andselectthedesired16-

channelsequence.

DirectOutputAssignmentbuttonsshowtowhichMastertrackchannelPremiereProautomaticallyassig

nedthechannelsoftheinitialtracks.

Asyoucreateadditionaltracks,PremiereProautomaticallyassignstheirchannelstochannel1,1-2,or1-

6inthe16-channelMastertrack, dependingonthenumberofchannelswithinthenewtrack.

2.

IntheAudioMixer,foreachchannelinatrack,clicktheDirectOutputAssignmentbutton,andselectoneof

the16channelsintheMaster trackasthedestinationforthatchannel.
Panor balanceatrackin aTimelinepanel

1. InaTimelinepanel,ifnecessary,expandatrack’sviewbyclickingthetrianglenexttothetrackname.

2. ClicktheShowKeyframesbutton ,andchooseShowTrackKeyframesfromthemenu.

3.

ClickTrack:VolumeatthetopleftofthetrackandthenchoosePanner>BalanceorPanner>Panfromthem

enu.(For5.1surroundaudio, choosethedimensionyouwanttoeditfromthePannermenu.)

4. (Optional)Ifyouwanttoadjustthepanorbalanceeffectovertime,movethecurrent-

timeindicatorandclicktheAdd/RemoveKeyframeicon .

5. UsetheSelectiontoolorthePentooltoadjustthelevel.

6. (Optional)Ifyou’readjustingthepanorbalanceeffectovertime,repeatsteps4and5asnecessary.
 SELF ASSESSMENT QUESTIONS

1. Explain audio mixer and how to modify audio mixer?

2. Define different types of audio tracks in a sequence?

3. Elaborate how can you quickly make audio adjustments?

4. Define editing audio in a sequence?

5. Explain different ways to adjust the volume of a clip?

6. Explain panning and balancing? Define the procedure to pan and balance audio of a

clip?

7. Elaborate the procedure of normalizing audio for a clip?

8. Explain the process of normalize the audio in one or more clips?

 References

 https://helpx.adobe.com/premiere-pro/using/clips-sequence.html

 https://helpx.adobe.com/premiere-pro/using/editing-audio-timeline-panel.html

 https://www.youtube.com/watch?v=PKij4YgtbRk

 https://www.youtube.com/watch?v=_YuMKP2DPfw

 http://www.mediacollege.com/adobe/premiere/pro/audio/linking.html

 https://vimeo.com/47200343

 http://desktopvideo.about.com/video/Adobe-Premiere-Pro--How-to-Edit-Audio-Tracks.htm
 Unit 6

Transitions and Effects

Writer : Muzzamil Dani

Reviewer: Umer Mehmood Qureshi
 CONTENTS

Introduction

Objectives

1. Fixed and standard effects

2. Applying, removing, finding, and organizing effects

3. Working with audio transitions

4. Effects Presets

5. Stabilize motion effect

6. Color correction and adjustment

7. Creating commonly used results

8. Keying Effect

9. Transition effect

10.Modifying, customizing and applying transitions

Self Assessment Questions

References
INTRODUCTION

Dear students editing software includes a variety of audio and video effects that you can apply to

clips in your project. An effect can add a special visual or audio characteristic or provide an

unusual feature attribute. For example, an effect can alter the exposure or color of footage,

manipulate sound, distort images, or add artistic effects.

Students you can also use effects to rotate and animate a clip or adjust its size and position within

the frame. In this unit students will learn to create and apply presets for all effects. Standard

effects are listed in the Effects panel and are organized into two main bins, Video Effects and

Audio Effects. Dear students within each bin Premiere Pro lists effects by type in nested bins. For

example, the Blur and Sharpen bin contains effects that defocus an image, such as Gaussian Blur

and Directional Blur. The Effect Controls panel lists all the effects that are applied to the

currently selected clip. Students fixed effects are included with every clip: the Motion, Opacity,

and Time Remapping effects are listed in the Video Effects section and the Volume effect is

listed in the Audio Effects section. The Volume effect is included only for audio clips or video

clips with linked audio. In the Effects panel, the Presets bin contains presets for popular effects.

Students can save time by using a preset made for a specific purpose, rather than configuring an

effect yourself.

In this unit students will learn to stabilize motion with the Warp Stabilizer effect. It removes jitter

caused by camera movement, making it possible to transform shaky, handheld footage into

steady, smooth shots. Dear students in video, the color correction encompass adjusting both the

hue and luminance in an image. Students by adjusting the color and luminance in video clips you

can create a mood, eliminate a color cast in a clip, correct video that’s too dark or too light, or set

the levels to meet broadcast requirements or to match color from scene to scene. A transition
moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to

shot, but in some cases you might want to transition between shots by phasing out one and

phasing in another. Premiere Pro provides many transitions that you can apply to your sequence.

A transition can be a subtle crossfade or a stylized effect, such as a page turn or spinning

pinwheel. While you usually place a transition on a cut line between shots, you can also apply a

transition to only the beginning or end of a clip.

Objectives:

 Learn about fixed and standard effects.

 Knowledge of using effects.

 Will be able to learn with audio transitions and effects

 Adjusting the keyframes

 Learn to save effects to the new preset.

 Stabilize motion with the Warp Stabilizer

 Learn how to do Color correction and adjustment

 Learning how to create most commonly used effects and transitions

 Learning how to work with transitions

1. FIXED AND STANDARD EFFECTS

Fixed effects

Every clip you add to a Timeline panel have Fixed effects pre-applied, or built in. Fixed effects

control the inherent properties of a clip and appear in the Effect Controls panel whenever the clip

is selected. You can adjust all of the Fixed effects in the Effect Controls panel. However, the

Program Monitor, Timeline panel, and Audio Mixer also provide controls that are often easier to

use.

The Fixed effects include the following:

Motion Includes properties that allow you to animate, rotate, and scale your clips, adjust their

anti-flicker property, or composite them with other clips. Opacity lets you reduce the opacity of a

clip for use in such effects as overlays, fades, and dissolves.

Time Remapping

It lets you play with the speeds of the clip like slow down, speed up, or reverse playback, or

freeze a frame, for any part. Provides fine control for the acceleration or deceleration of these

changes. Volume Controls the volume for any clip that contains audio. Because fixed effects are

already built in to each clip, you need only adjust their properties to activate them.

Standard effects

Standard effects are additional effects that you must first apply to a clip to create a desired result.

You can apply any number or combination of Standard effects to any clip in a sequence. Use

Standard effects to add special characteristics or to edit your video, such as adjusting tone or
trimming pixels. Premiere Pro includes many video and audio effects, which are located in the

Effects panel. Standard effects must be applied to a clip and then adjusted in the Effect Controls

panel. Certain video effects allow direct manipulation using handles in the Program Monitor. All

Standard effect properties can be animated over time using key framing and changing the shape

of the graphs in the Effect Controls panel. The smoothness or speed of the effect animation can

be fine-tuned by adjusting the shape of Bezier curves in the Effect Controls panel.

Clip-based and track-based effects

All video effects-both Fixed and Standard effects are clip-based. They alter individual clips. You

can apply a clip-based effect to more than one clip at a time by creating a nested sequence. Audio

effects can be applied to either clips or to tracks. To apply track-based effects, use the Audio

Mixer. If you add keyframes to the effect, you can then adjust the effect either in the Audio

Mixer or a Timeline panel.

2. APPLYING, REMOVING, FINDING AND ORGANIZING EFFECTS

Find the required effect in the respective bins as there are three main bins available.

 Find audio effects in bins named for the type of audio clips they support: mono, stereo, or 5.1.

 You can also locate an effect by typing the effect name in the Contains box.

 To open the Effects panel, choose Window > Effects, or click the Effects tab.

Create bins of favorite effects

 In the Effects panel, click the New Custom Bin button, or choose New Custom Bin from the

Effects panel menu. A new Custom bin appears in the Effects panel. You can rename it.
 Drag effects to the Custom bin. A copy of the effect is listed in the Custom bin. You can create

additional Custom bins, which are numbered.

 To rename the custom bin, click the existing name to select the folder, click it again to select

the name field, and type the new name.

Remove a Custom bin

1. In the Effects panel, select a Custom bin and do one of the following:

a. Click the Delete Custom Items button.

b. Choose Delete Custom Items from the Effects panel menu.

c. Press Delete.

d. Press Backspace.

2. Click OK.

Apply effects to clips

You can apply one or more Standard effects to a clip by dragging effect icons from the Effects

panel to a clip in a Timeline panel. Alternatively, select the clip and drag the effect icon to the

Effect Controls panel. Select the clip and double click an effect in the Effects panel to apply it.

You can apply the same effect multiple times, using different settings each time. You can apply

Standard effects to more than one clip at a time by first selecting all the clips you want to affect.

You can also temporarily disable any effect, which suppresses the effect without removing it, or

you can remove the effect completely. To view and adjust effects for a selected clip, use the

Effect Controls panel. Alternatively, you can view and adjust effects for a clip in a Timeline
 panel by expanding its track and selecting the proper viewing options. By default, when you

apply an effect to a clip, the effect is active for the duration of the clip. However, you can make

an effect start and stop at specific times or make the effect more or less intense by using

keyframes.

Do one of the following:

a. To apply one or more effects to a single clip, select and drag the effects to the clip in the

Timeline.

b. To apply one or more effects to more than one clip, first select the clips. Control-click

(Windows) or Command-click (Mac OS) each of the desired clips in the Timeline. Then,

drag one effect or a selected group of effects to any of the selected clips.

c. Select a clip, and then double click the effect.

To apply an audio effect, drag the effect to an audio clip or the audio portion of a video clip. You

cannot apply audio effects to a clip when Show Track Volume or Show Track keyframes is enabled for

the Audio track.

 In the Effect Controls panel, click the triangle to show options for any effect, and then

specify the option values.

Copy and paste clip effects

You can easily copy and paste effects from one clip to one or more other clips. For example, you can

apply identical color correction to a series of clips shot in similar lighting conditions. You can copy

effects from a clip in one track of a sequence and paste them onto clips in another track. You do not

have to target the destination track.

You can copy and paste individual effects in the Effect Controls panel. You can also copy all effect

values from a clip in any sequence. You can paste these values to another clip in any sequence using

the Paste Attributes command. With Paste Attributes, effects intrinsic to the source clip—Motion,

Opacity, Time Remapping, and Volume—replace those effects in the destination clips. All other effects

(including keyframes) are added to the list of effects already applied to the destination clips.

1. In a Timeline panel, select the clip that contains the effect or effects you want to copy.

2. To select one or more effects to copy, in the Effect Controls panel, select the effect you want to

copy. Shift-click to select multiple effects. To select all effects, skip this step.

3. Choose Edit > Copy.

4. In a Timeline panel, select the clip to which you want to paste the effect and choose one of the

following:

 To paste one or more effects, choose Edit > Paste.

 To paste all effects, choose Edit > Paste Attributes.

Remove selected effects from a clip

1. Select the clip in a Timeline panel. To make sure that only one clip is selected, click an empty

space in the Timeline, then click the clip. Click a spot in the time ruler above the selected clip to

move the current-time indicator to that location.

2. In the Effect Controls panel, select the effect or effects you want to remove. To select more than

one, Ctrl-click (Windows), or Command-click (Mac OS) the effects.

3. Do one of the following:

 Press Delete or Backspace.

 Choose Remove Selected Effect from the Effect Controls panel menu.
Disable or enable effects in a clip

Select one or more effects in the Effect Controls panel, and do one of the following:

 Click the Effect button to disable effects.

 Click an empty Effect button box to enable effects.

 Deselect or select the Effect Enabled command in the Effect Controls panel menu.

3. WORKING WITH AUDIO TRANSITIONS

You can apply crossfades for audio transitions between clips. An audio fade is analogous to a video

transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same

track. To fade in or fade out, you add a crossfade transition to either end of a single clip.

Premiere Pro includes three types of crossfade: Constant Gain, Constant Power, and Exponential Fade.

Specify the default audio transition

1. Right-click (Windows) or Control-click (Mac OS) either Constant Gain or Constant Power in

the Effects panel.

2. Choose Set Selected As Default Transition from the context menu.

3. Set the default duration for audio transitions

4. Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac

OS).

5. In the Preferences dialog box, enter a value for the Audio Transition Default Duration.

Crossfade between audio clips.

 6. If necessary, click the triangle to the left of each track name in a Timeline panel to expand the

audio tracks that you want to crossfade.

7. Make sure that the two audio clips are adjacent, and that both clips are trimmed.

8. Do one of the following:

 To add the default audio transition, move the current-time indicator to the edit point

between the clips, and choose Sequence > Apply Audio Transition.

 To add an audio transition other than the default, expand the Audio Transitions bin in the

Effects panel and drag the audio transition to a Timeline panel, on the edit point between

the two clips you want to crossfade.

Fade in or fade out clip audio

1. Make sure that the audio track is expanded in a Timeline panel. If necessary, click the triangle

to the left of the track name to expand the audio tracks that you want to crossfade.

2. Do any of the following:

 To fade in a clip’s audio, drag an audio transition from the Effects panel to a Timeline

panel so that it snaps to the In point of the audio clip. You can also select the applied

transition in a Timeline panel. Then, in the Effect Controls panel choose Start At Cut

from the Alignment menu.

 To fade out a clip’s audio, drag an audio transition from the Effects panel to a Timeline

panel so that it snaps to the Out point of the audio clip. You can also select the applied

transition in a Timeline. Then, in the Effect Controls panel, choose End At Cut from the

Alignment menu.

3. Use any of the three types of audio crossfade transitions to fade in or fade out.
Adjust or customize an audio transition

Do any of the following:

 To edit an audio transition, double-click the transition in a Timeline panel and adjust the

transition in the Effect Controls panel.

 To customize the rate of an audio fade or crossfade, adjust the clip’s audio volume keyframe

graph instead of applying a transition.

4. EFFECT PRESETS

Create and save an effect preset

1. In a Timeline, select the clip that uses one or more effects with the settings that you want to

save as a preset.

2. In the Effect Controls panel, select one or more effects which you want to save. Ctrl-click

(Windows), or Command-click (Mac OS) effects to select more than one.

3. Click the panel menu icon to the upper right of the Effect Controls panel to open the panel

menu.

4. Choose Save Preset.

5. In the Save Preset dialog box, specify a name for your preset. If desired, enter a description.

6. Select one of the following preset types.

7. Scale scales the source keyframes proportionally to the length of the target clip. This action

deletes any existing keyframes on the target clip.

8. Anchor To In Point Retains the original distance from the clip In point to the first effect

keyframe. If the first keyframe is 1 sec. from the In point of the source clip, this option
 adds the keyframe at 1 sec. from the In point of the target clip. This option also adds all

other keyframes relative to that position, without any scaling.

9. Anchor To Out Point Retains the original distance from the clip Out point to the last effect

keyframe. If the last keyframe is 1 sec. from the Out point of the source clip, this option

adds the keyframe at 1 sec. from the Out point of the target clip. This option also adds all

other keyframes relative to that position, without any scaling.

10. Click OK.

Performing this action saves the selected effects, including their keyframes, to the new preset.

Apply an effect preset

You can apply an effect preset containing settings for one or more effects to any clip in a sequence.

In the Effects panel, expand the Presets bin, and do one of the following:

 Drag the effect preset onto the clip in a Timeline panel.

 Select the clip in a Timeline panel, and then drag the effect preset into the Effect Controls panel.

If you dragged the preset onto the clip in a Timeline panel the drop destination is determined as

follows:

 If the Timeline has no clips selected, then 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 part of that selection,

then the selected clips are deselected. The targeted clip and any linked track items become

selected. The preset is applied to the targeted clip and linked track items.

 If the Timeline has clips selected, and the clip targeted by the drop is part of that selection, then

the preset is applied to all selected clips. The preset does not affect linked clips that are not

selected.
 5. STABILIZE MOTION EFFECT

To stabilize motion using the Warp Stabilizer effect, do the following:

1. Select the clip you want to stabilize.

2. In the Effects panel, choose Distort > Warp Stabilizer, and then apply the effect by double-

clicking, or by dragging the effect to the clip in the Timeline or the Effect Controls panel.

After the effect is added, analysis of the clip begins immediately in the background. As analysis

begins, the first of two banners displays in the Project panel indicating that analysis is occurring.

When analysis is complete, the second banner displays a message that stabilization is occurring.

Warp Stabilizer settings

Analyze

There is no need to press this button when you first apply Warp Stabilizer, it is pressed for you

automatically. The Analyze button remains dimmed until some change takes place. For example, if you

adjust a layer’s In or Out points, or there is an upstream change to the layer source. Click the button to

reanalyze the footage.

Cancel

Cancels an analysis in progress. During analysis, status information appears next to the Cancel button.

Result

Controls the intended result for the footage (Smooth or No Motion).

  Smooth motion (default): Retains the original camera movement but makes it smoother.

When selected, Smoothness is enabled to control how smooth the camera movement

becomes.

 No Motion: Attempts to remove all camera motion from the shot. When selected, the Crop

Less Smooth More function is disabled in the Advanced section. This setting is used for

footage where at least a portion of the main subject remains within the frame for the entire

range being analyzed.

Smoothness

Chooses how much the camera’s original motion is stabilized. Lower values are closer to the camera’s

original motion while higher values are smoother. Values above 100 require more cropping of the

image. Enabled when the Result is set to Smooth Motion.

Method

Specifies the most complex operation the Warp Stabilizer performs on the footage to stabilize it:

 Position: Stabilization is based on position data only and is the most basic way footage can

be stabilized.

 Position, Scale And Rotation: Stabilization is based upon position, scale, and rotation data.

If there are not enough areas to track, Warp Stabilizer chooses the previous type (Position).

 Perspective: Uses a type of stabilization in which the entire frame is effectively corner-

pinned. If there are not enough areas to track, Warp Stabilizer chooses the previous type

(Position, Scale, Rotation).

 Subspace Warp (default): Attempts to warp various parts of the frame differently to

stabilize the entire frame. If there are not enough areas to track, Warp Stabilizer choose the
 previous type (Perspective). The method in use on any given frame can change across the

course of the clip based on the tracking accuracy.

Borders

Borders settings adjust how borders (the moving edges) are treated for footage that is stabilized.

Warp Stabilizer workflow

1. Apply the Warp Stabilizer.

2. While Warp Stabilizer is analyzing your footage, you can adjust settings or work on a different

part of your project.

3. Choose Stabilization > Result > No Motion if you want to completely remove all camera

0motion. Choose Stabilization > Result > Smooth Motion if you want to include some of the

original camera movement in the shot.

4. If the result is good, you’re done with stabilization. If not, do one or more of the following:

 If the footage is too warped, or distorted, switch the Method to Position, Scale, Rotation.

 If there are occasional rippled distortions, and footage was shot with a rolling shutter

camera, set Advanced > Rolling Shutter Ripple to Enhanced Reduction.

 Try checking Advanced > Detailed Analysis.

5. If the result is too cropped, reduce either Smoothness or Crop Less Smooth More. Crop Less

Smooth More is much more responsive, as it doesn’t require a re-stabilize phase.

6. If you want to get a feel for how much work the stabilizer is actually doing, set the Framing to

Stabilize Only.
 6. COLOR CORRECTION AND ADJUSTMENT

Apply the Color Correction effects

The following procedure is a general overview of applying the Color Correction effects.

1. Set up your workspace for color correction. If possible, make sure a calibrated PAL monitor is

connected to your computer.

2. Apply one of the Color Correction effects to the clip in a Timeline panel.

3. In the Effect Controls panel, expand the Color Correction effect.

 Move the current-time indicator to a frame that provides the best example of colors that

need to be adjusted.

 To view only the luminance values in a clip, choose Luma from the Output menu. This

option only affects the preview in the Program Monitor, it doesn’t remove the color from

the video.

 To display a before and after view of the clip in one monitor, select the Show Split View

option. You can specify whether the split view is horizontal or vertical by choosing from

the Layout menu. You can also adjust the relative proportion of the before and after views.

(Optional) Use the Tonal Range Definition control to define the shadow, midtone, and

highlight areas in the clip.

Auto Color, Auto Contrast, and Auto Levels effects

The Auto Color, Auto Contrast, and Auto Levels effects make quick global adjustments to a clip. Auto

Color adjusts contrast and color by neutralizing the mid tones and clipping the white and black pixels.

Auto Contrast adjusts the overall contrast and mixture of colors, without introducing or removing color
casts. Auto Levels automatically corrects the highlights and shadows. Because Auto Levels adjusts

each color channel individually, it may remove or introduce color casts.

Each effect has one or more of the following settings:

Temporal Smoothing The range of adjacent frames, in seconds, analyzed to determine the amount of

correction needed for each frame, relative to its surrounding frames. If Temporal Smoothing is 0, each

frame is analyzed independently, without regard for surrounding frames. Temporal Smoothing can

result in smoother looking corrections over time.

Scene Detect If this option is selected, frames beyond a scene change are ignored when the effect

analyzes surrounding frames for temporal smoothing.

Snap Neutral Midtones (Auto Color only) Identifies an average nearly neutral color in the frame and

then adjusts the gamma values to make the color neutral.

Black Clip, White Clip How much of the shadows and highlights are clipped to the new extreme

shadow and highlight colors in the image. Be careful of setting the clipping values too large, as doing

so reduces detail in the shadows or highlights. A value between 0.0% and 1% is recommended. By

default, shadow and highlight pixels are clipped by 0.1% - that is, the first 0.1% of either extreme is

ignored when the darkest and lightest pixels in the image are identified; those pixels are then mapped to

output black and output white. This clipping ensures that input black and input white values are based

on representative rather than extreme pixel values.

Blend with Original Determines the effect’s transparency. The result of the effect is blended with the

original image, with the effect result composited on top. The higher you set this value, the less the

effect affects the clip.

Three-way Color Corrector

The three-way color corrector has been designed to improve accessibility to the most commonly

used features, and to simplify existing workflows.

Figure:Three-way color corrector

Output menu The Output menu has two options, Video and Luma. The Composite option has been

relabeled to Video.

Split view The Split view is collapsed by default.

Master color wheel The Master option replaces the Master color wheel. When this option is

selected, all the three color wheels behave as the Master color wheel. A change in one wheel is

reflected in the others.

Shadows, Midtones, and Highlights color wheels The Shadows, Midtones, and Highlights color

wheels have color pickers associated with them. To set properties as numerical values, scroll down

for the options. You can expand all the three options to set or view their properties.

Input Level, Output Level, and Secondary Color Correction The Input Level and Output Level,

and the Secondary Color Correction options have been moved above for better accessibility.

Secondary Color Correction The option has been moved above for better accessibility.

 The Mask option, previously present in the Output menu, is now available as Show Mask

under Secondary Color Corrector.

 The Invert menu replaces the Invert Limit Color option in Secondary Color Corrector. The

available options in the menu are None, Invert Limit Color, and Invert Mask.

 All changes made to controls under secondary color correction also apply to other effects

that use secondary color correction. These effects include Luma Curve, Luma Corrector, and

RGB Curve.
 7. CREATING COMMONLY USED RESULTS

Fade in video

1. To fade a video clip in, or fade up from black, select a clip in a Timeline panel.

2. Do one of the following:

 Apply a dissolve transition to the beginning of the clip,

 Keyframe the opacity of the clip to start at zero and increase to 100%.

Picture-in-picture (PIP) and split screen

You can use the Position and Scale controls of the Motion effect to create a picture-in-picture (PIP).

Zoom and pan still image

The technique of zooming and panning can be used on still images whichcan bring life to still images.

Duration and speed

View the total duration of selected clips

1. Make sure that the Info panel is visible. If it is not, choose Window > Info.

2. In either the Project panel or Timeline panel, select the clips for which you want to know the

total duration. The Info panel displays the number of items selected and the total duration of

those items. This information is useful if you want to paste clips into a specific area and need to

know the exact duration of the target area or of the source clips.

Change the default duration for still images

1. Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac

OS).
 2. For Still Image Default Duration, specify the number of frames you want as a default duration

for a still image.

Change clip speed and duration with the Rate Stretch tool

You can change a clip’s speed to fit a duration.

 Select the Rate Stretch tool , and drag either edge of a clip in a Timeline panel.

Changing clip speed using the Rate Stretch tool

Change clip speed and duration with Time Remapping

You can change the speed of the video portion of a whole clip. You can use Time Remapping to create

slow motion and fast motion effects in which the rate of speed varies.

1. In the track header of the video track containing the desired clip, click the Show Keyframes

button. If it is not selected, select Show Keyframes.

2. Click the Clip Effect menu triangle, and choose Time Remapping > Speed.

A horizontal rubber band that controls the speed of the clip appears across the center of the clip.

 Drag the rubber band upward or downward to increase or decrease the speed of the clip. A tool

tip appears showing the change in speed as a percentage of the original speed.
The playback speed of the video portion of the clip changes and its duration expands or contracts

depending on whether its speed is increased or decreased. The audio portion of the clip remains

unchanged by Time Remapping, although it remains linked to the video portion.

8. KEYING EFFECTS

Alpha Adjust effect

Use the Alpha Adjust effect in place of the Opacity effect when you need to change the default render

order of Fixed effects. Change the opacity percentage to create levels of transparency.

The following Alpha Adjust effect settings let you interpret the alpha channel in the clip:

 Ignore Alpha Ignores the alpha channel of the clip.

 Invert Alpha Reverses the transparency and opaque areas of the clip.

 Mask Only Applies the effect only to a masked area.

 Blue Screen Key effect (Windows only)The Blue Screen Key effect creates transparency from

true chroma blue. Use this key to key out well-lit blue screens when creating composites.

The following Blue Screen Key effect settings are adjusted in the Effect Controls panel:

Threshold Sets the levels of blue that determines transparent areas in a clip. Dragging the slider to the

left increases the amount of transparency. Use the Mask Only option to view black (transparent) areas

as you drag the Threshold slider.

Cutoff Sets the opacity of nontransparent areas specified by the Threshold setting. Dragging the Cutoff

slider to the right increases the opacity. Use the Mask Only option to view white (opaque) areas as you

drag the Cutoff slider.

Smoothing Specifies the amount of anti-aliasing (softening) applied to the boundary between

transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This

option is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to

produce different amounts of smoothing.

Mask Only Displays only the clip’s alpha channel. Black represents transparent areas, white represents

opaque areas, and gray represents partially transparent areas.

Figure:Subject is photographed against blue background (left).

Blue Screen Key effect is applied (right) to superimpose subject over underlying track.

Chroma Key effect (Windows only)

The Chroma Key effect keys out all image pixels that are similar to a specified key color. When you

key out a color value in a clip, that color or range of colors becomes transparent for the entire clip.

Control the range of transparent colors by adjusting the tolerance level. You can also feather the edges

of the transparent area to create a smooth transition between the transparent and opaque areas.
Chroma Key effect

A. Original image B. Blue color keyed out C. Image on second track D. Final composite image

The following Chroma Key effect settings are adjusted in the Effect Controls panel:

Similarity Broadens or reduces the range of the target color that will be made transparent. Higher

values increase the range.

Blend Blends the clip you are keying out with the underlying clip. Higher values blend more of the clip.

Threshold Controls the amount of shadows in the range of color you keyed out. Higher values retain

more shadows.

Cutoff Darkens or lightens shadows. Drag to the right to darken shadows, but do not drag beyond the

Threshold slider; doing so inverts gray and transparent pixels.

Smoothing Specifies the amount of anti-aliasing that Premiere Pro applies to the boundary between

transparent and opaque regions. Anti-aliasing blends pixels to produce softer, smoother edges. Choose

None to produce sharp edges, with no anti-aliasing. This option is useful when you want to preserve

sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing.
Mask Only Displays only the clip’s alpha channel. Black represents transparent areas, white represents

opaque areas, and gray represents partially transparent areas.

Color Key effect

The Color Key effect keys out all image pixels that are similar to a specified key color. This effect

modifies only the alpha channel of a clip.

Figure: Nonstandard blue screen (left) and background (center) are combined with Color Key effect (right).

When you key out a color value in a clip, that color or range of colors becomes transparent for the

entire clip. Control the range of transparent colors by adjusting the tolerance level. You can also feather

the edges of the transparent area to create a smooth transition between the transparent and opaque areas.

Difference Matte effect

The Difference Matte effect creates transparency by comparing a source clip with a difference clip, and

then keying out pixels in the source image that match both the position and color in the difference

image. Typically, it’s used to key out a static background behind a moving object, which is then placed

on a different background. Often the difference clip is simply a frame of background footage (before
the moving object has entered the scene). For this reason, the Difference Matte effect is best used for

scenes that have been shot with a stationary camera and an unmoving background.

Figure: Difference Matte effect

A. Original image B. Background image C. Image on second track D. Final composite image

Replace a static background with Difference Matte

The Difference Matte creates transparency by comparing a specified still image with a specified clip

and then eliminating areas in the clip that match those in the image. This key can be used to create

special effects. Depending on the clip, it’s possible to use Difference Matte to key out a static

background and replace it with another still or moving image.

You can create the matte by saving a frame from a clip that shows the static background before the

moving object enters the scene. For best results, neither the camera nor anything in the background

should move.

The following Difference Matte settings are adjusted in the Effect Controls panel:

 View Specifies whether the Program Monitor shows the Final Output, Source Only, or Matte

Only.

 Difference Layer Specifies the track to be used as the matte.

  If Layer Sizes Differ Specifies whether to center the foreground image or stretch it to fit.

 Matching Tolerance Specifies the degree to which the matte must match the foreground in

order to be keyed.

 Matching Softness Specifies the degree of softness at the edges of the matte.

 Blur Before Difference Specifies the degree of blur added to the matte.

Work Flow

1. Find a frame of your foreground clip that consists only of the static background. You will use

this frame as a matte. Save this frame as an image file. It will appear in the Project panel.

2. Drag the matte frame from the Project panel to a video track in a Timeline panel.

3. Drag the clip you want to use as the background to a track in a Timeline panel above the matte

frame.

4. Place the video clip you wish to use in the foreground on a track in a Timeline panel above the

background clip.

5. In the Effects panel, expand the Video Effects bin and then the Keying bin.

6. Drag the Difference Matte effect onto the foreground video clip.

7. In the Effect Controls panel, click the triangle next to Difference Matte to expose its controls.

8. From the Difference Layer drop-down menu, select the track that contains the matte frame.

9. Adjust the other settings as needed to achieve the desired effect.

A new keyframe appears in the Effect Controls timeline when you change the settings. You can also

adjust the interpolation between keyframes by editing the keyframe graph. Repeat this step as

needed.
Dust & Scratches effect

The Dust & Scratches effect reduces noise and defects by changing dissimilar pixels within a specified

radius to be more like their neighboring pixels. To achieve a balance between sharpness of the image

and hiding defects, try various combinations of radius and threshold settings.

Original image with scratches (left), enlarged view of scratches (center),

and scratches removed with loss of clarity (right)

Radius is how far the effect searches for differences among pixels. High values make the image blurry.

Use the smallest value that eliminates the defects.

Threshold How different pixels can be from their neighbors without being changed by the effect. Use

the highest value that eliminates the defects.

Median effectThe Median effect replaces each pixel with a pixel that has the median color value of

neighboring pixels with the specified Radius. At low Radius values, this effect is useful for reducing

some types of noise. At higher Radius values, this effect gives an image a painterly appearance.

Noise effectThe Noise effect randomly changes pixel values throughout the image.
Amount of Noise The amount of noise to add. Noise Type use Color Noise to add random values to the

red, green, and blue channels individually. Otherwise, the same random value is added to all channels

for each pixel. Clipping Clips color channel values. Deselecting this option causes more apparent noise.

9. TRANSITION EFFECTS

Transition effects can be used in place of transitions for added controls. For the appearance of a

transition effect, overlap clips on different video tracks, adding the effect to the overlapping clip.

Keyframe the Animation Completion parameter to ramp the effect as a transition effect.

Block Dissolve effect

The Block Dissolve effect makes a clip disappear in random blocks. The width and height of the blocks,

in pixels, can be set independently.

Original image (left), and with effect applied (center and right)

Gradient Wipe effect

The Gradient Wipe effect causes pixels in the clip to become transparent based on the luminance values

of corresponding pixels in another video track, called the gradient layer. Dark pixels in the gradient

layer cause the corresponding pixels to become transparent at a lower Transition Completion value. For
example, a simple grayscale gradient layer that goes from black on the left to white on the right causes

the underlying clip to be revealed from left to right as Transition Completion increases.

Original image (left), and with effect applied (center and right)

The gradient layer can be a still image or a moving image. The gradient layer must be in the same

sequence as the clip to which you apply Gradient Wipe.

Transition Softness The degree to which the transition is gradual for each pixel. If this value is 0%,

pixels in the clip to which the effect is applied are either completely opaque or completely transparent.

If this value is greater than 0%, pixels are semitransparent at the intermediate stages of the transition.

Gradient Placement How the gradient layer’s pixels are mapped to the pixels of the clip to which the

effect is applied:

 Tile Gradient Uses multiple tiled copies of the gradient layer.

 Center Gradient Uses a single instance of the gradient layer in the center of the clip.

 Stretch Gradient To Fit Resizes the gradient layer horizontally and vertically to fit the

entire area of the clip.

 Invert Gradient Inverts the gradient layer’s influence; lighter pixels in the gradient layer

create transparency at a lower Transition Completion value than do darker pixels.

Customize a Gradient Wipe transition

You can use a grayscale image as a gradient wipe. In a gradient wipe, image B fills the black area of the

grayscale image and then shows through each level of gray as the transition progresses until the white

area becomes transparent.

Gradient wipe source image (far left) and resulting transition

1. In the Effects panel, expand the Video Transitions bin and the Wipe bin inside it.

2. Drag the Gradient Wipe transition from the Wipe bin to an edit point between clips in a

Timeline panel.

3. Click Select Image, and then double-click the file you want to use as the gradient wipe. The

image appears in the Gradient Wipe Settings dialog box.

4. Adjust the softness of the transition’s edges by dragging the Softness slider. As you drag the

slider to the right, image A increasingly shows through image B. Click OK.

To preview the transition, drag the current-time indicator through the transition in a Timeline panel.
Linear Wipe effect

The Linear Wipe effect performs a simple linear wipe of a clip in a specified direction.

Wipe Angle The direction that the wipe travels. For example, at 90° the wipe travels from left to right.

Original image (left), and with effect applied (center and right)

Radial Wipe effect

The Radial Wipe effect reveals an underlying clip using a wipe that circles around a specified point.

Start Angle The angle at which the transition starts. With a start angle of 0°, the transition starts at the

top.

Wipe Specifies whether the transition moves clockwise or counterclockwise, or alternates between the

two.
 Original image (left), and with effect applied (center and right)

10.MODIFYING, CUSTOMIZING AND APPLYING TRANSITIONS

Display transitions in the Effect Controls panel

You can use the Effect Controls panel to change settings for a transition you placed in a sequence.

Settings vary from transition to transition. In the Effect Controls panel, the adjoining clips and

transition are displayed in A-roll/B-roll format.

 Transition in Effect Controls panel

A. Play The Transition button B. Transition preview C. Edge selector D. Clip previews E. Start and

End sliders F. Clip A (first clip) G. Transition H. Clip B (second clip) I. Current-time indicator

 To open the transition in the Effects control panel, click the transition in a Timeline panel.

 To show or hide the time ruler in the Effect Controls panel, click the Show/Hide Timeline

View button . If necessary, widen the panel to make this button visible and active.

 To play back the transition in the Effect Controls panel, click the Play the Transition button.

This doesn’t affect the Program Monitor. To view frames from the actual clip or clips in the

Effect Controls panel, select Show Actual Sources.

  To see a specific frame of the transition in the small preview, click the Play the Transition

button. Then drag the current-time indicator in the Effect Controls panel’s time ruler to the

desired frame.

Adjust transition alignment

You can change the alignment of a transition placed between two clips in either a Timeline panel or the

Effect Controls panel. A transition need not be centered or strictly aligned to the cut. You can drag the

transition to reposition it over the cut as desired.

Align a transition in a Timeline panel

1. In a Timeline panel, zoom in so that you can clearly see the transition.

2. Drag the transition over the cut to reposition it.

Dragging the transition in a Timeline panel to reposition it

Align a transition using the Effect Controls panel

1. Double-click the transition in a Timeline panel to open the Effect Controls panel.

2. If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in

the Effect Controls panel. If necessary, widen the panel to make this button visible and active.
3. In the Effect Controls time ruler, position the pointer over the center of the transition until the

Slide Transition icon appears; then drag the transition as desired. For finer control,

magnify the time ruler.

 To center the transition on the cut line, in the Effect Controls panel, double-click the

transition, and select Center At Cut.

 To place all of the transition in the clip preceding the edit point, drag the transition to the

left to align its end to the edit point. Alternatively, in the Effect Controls panel, double-

click the transition, and select End At Cut.

 To place all of the transition in the clip following the edit point, drag the transition to the

right to align its beginning to the edit point. Alternatively, in the Effect Controls panel,

double-click the transition, and select Start At Cut.

 To place unequal portions of the transition in each clip, drag the transition slightly left or

right. For finer control, zoom in on the time ruler.

 Dragging the transition in the Effect Controls time ruler

Move a cut and transition together

You can adjust the location of the cut in the Effect Controls panel. Moving the cut line changes the In

and Out points of the clips, but does not affect the length of the movie. As you move the cut, the

transition moves with it.

1. Double-click the transition in a Timeline panel to open the Effect Controls panel.

2. If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in

the Effect Controls panel. If necessary, widen the panel to make this button visible and active.

3. In the Effect Controls time ruler, position the pointer over the transition, placing it on the thin

vertical line that marks the cut. The pointer changes from the Slide Transition icon to the

Ripple Edit icon .

4. Drag the cut as desired.

Change transition duration

You can edit a transition’s duration in either a Timeline panel or the Effect Controls panel. The default

duration for transitions is initially set to 1 second.Lengthening a transition’s duration requires that one

or both clips have enough trimmed frames to accommodate a longer transition

Change transition duration in a Timeline panel

In a Timeline panel, position the pointer over the end of the transition until the Trim-In icon or the

Trim-Out icon appears, then drag.

 Change transition duration in the Effect Controls panel

1. Double-click the transition in a Timeline panel to open the Effect Controls panel.

2. Do one of the following:

 In the Effect Controls time ruler, position the pointer over the transition until the Trim-In

icon drag.

 Drag the Duration value, or select it and type a new value. How the transition changes

length depends on the alignment option currently selected:

Center At Cut or Custom Start The transition’s start and end points move equally in opposite

directions.

Start At Cut Only the end of the transition moves.

End At Cut Only the beginning of the transition moves.

Set the default duration for transitions

If you change the default, the new setting has no affect on transitions already placed.

1. Choose Edit > Preferences > General.

2. Change the value for the Video Transition Default Duration or Audio Transition Default

Duration; then click OK.

Reposition the center of a transition

Some transitions, such as Iris Round, are positioned around a center. When a transition has a center that

can be repositioned, you can drag a small circle in the A preview area in the Effects Control panel.
 1. Click the transition in a Timeline panel to open the Effect Controls panel.

2. In the A preview area in the Effect Controls panel, drag the small circle to reposition the

transition center.

Default center (left) and repositioned center (right)

Change transition settings

1. In a Timeline panel, click a transition to select it.

2. In the Effect Controls panel, adjust settings:

Edge selectors Change the orientation or direction of the transition. Click an Edge selector arrow on

the transition’s thumbnail. For example, the Barn Doors transition can be oriented vertically or

horizontally. A transition doesn’t have Edge selectors if it has one orientation or if orientation isn’t

applicable.

Start and End sliders Set the percentage of the transition that is complete at the start and end of the

transition. Hold down the Shift key to move the start and end sliders together.

Show Actual Sources Displays the starting and ending frames of the clips.

Border Width Adjusts the width of the optional border on the transition. The default Border is None.

Some transitions do not have borders.

Border Color Specifies the color of the transition’s border. Double-click the color swatch or use the

eyedropper to choose the color. Reverse Plays the transition backward. For example, the Clock Wipe

transition plays counterclockwise.

Anti-Aliasing Quality Adjusts the smoothness of the transition’s edges.

Custom Changes settings specific to the transition. Most transitions don’t have custom settings.

Clip handles and transitions

In most cases, you don’t want a transition to occur during the essential action in a scene. For this reason,

transitions work best with handles-the extra frames beyond the In and Out points set for the clip.

The handle between a clip’s Media Start time and In point is sometimes called head material, and the

handle between a clip’s Out point and Media End time is sometimes called tail material.
 A clip with handles

A. Media Start B. Handle C. In point D. Out point E. Handle F. Media End

In some cases, the source media may not contain enough frames for clip handles. If you apply a

transition, and the handle duration is too short to cover the transition duration, an alert appears to warn

you that frames will be repeated to cover the duration. If you decide to proceed, the transition appears

in a Timeline panel with diagonal warning bars through it.

 Transition using duplicate frames

Single- and double-sided transitions

Transitions are typically double-sided—they combine the last video or audio material from the clip

before the cut with the first material from the clip right after the cut. You can, however, apply a

transition to an individual clip so that it affects only the beginning or end of the clip. A transition

applied to a single clip is called single-sided. The clip can be immediately adjacent to another clip or

sitting by itself on a track. You can apply double-sided transitions only when the clip before the cut has

a handle at its tail, and the clip after the cut has a handle at its head.

Using single-sided transitions, you have more control over how clips transition. For example, you can

create the effect of one clip departing using the Cube Spin transition, and the next clip fading in using

Dither Dissolve.

Single-sided transitions fade to and from a transparent state, not to and from black. Whatever is below

the transition in a Timeline panel appears in the transparent portion of the transition. If the clip is on

Video 1 or has no clips beneath it, the transparent portions display black. If the clip is on a track above

another clip, the lower clip is shown through the transition, making it look like a double-sided transition.
 Single-sided transition with clip beneath it (left) compared
to single-sided transition with nothing beneath it (right)

In a Timeline panel or the Effect Controls panel, a double-sided transition has a dark diagonal line

through it, while a single-sided transition is split diagonally with one half dark and one half light.

Types of transitions
A. Double-sided transition using duplicate frames B. Double-sided transition
C. Single-sided transition

Applying transitions
To place a transition between two clips, the clips must be on the same track, with no space between

them. As you drag the transition to a Timeline panel, you can adjust the alignment interactively.

Whether or not the clips have trimmed frames determines how you can align the transition as you place

it between the clips. The pointer changes to indicate the alignment options as you move it over the cut:

 If both clips contain trimmed frames at the cut, you can center the transition over the cut or

you can align it on either side of the cut so that it either starts or ends at the cut.

 If neither clip contains trimmed frames, the transition automatically centers over the cut

and repeats frames from the first clip, or from the second clip, or from both clips, as

needed to fill the transition duration. Diagonal bars appear on transitions that use repeated

frames.

 If only the first clip contains trimmed frames, the transition automatically snaps to the In

point of the next clip. The transition uses the first clip’s trimmed frames for the transition

and does not repeat frames from the second clip.

 If only the second clip contains trimmed frames, then the transition snaps to the Out point

of the first clip. The transition uses the second clip’s trimmed frames for the transition and

does not repeat frames from the first clip.

 The default duration of a transition, for either audio or video, is set to 1 second. If a

transition contains trimmed frames, but not enough to fill the transition duration. You can

adjust the duration and alignment of a transition after you place it.

Apply a transition between two clips

1. In the Effects panel, find the transition you want to apply. You’ll need to expand the Video

Transitions bin, and then expand the bin containing the transition you want to use.
 2. To place a transition between two clips, drag the transition to the cut line between two clips,

and release the mouse when you see the Center At Cut icon .
3. If a dialog box appears containing transition settings, specify options and click OK.

To preview the transition, play the sequence or drag the current-time indicator through the transition.

Apply a single-sided transition

1. In the Effects panel, find the transition you want to apply. You’ll need to expand the Video

Transitions bin, and then expand the bin containing the transition you want to use.

2. To place a transition on a single cut, Ctrl-drag (Windows) or Command-drag (Mac OS) the

transition into a Timeline panel. Release the mouse when you see either the End At Cut or Start

At Cut icon.

End At Cut icon Aligns the end of the transition to the end of the first clip.

Start At Cut icon Aligns the beginning of the transition to the beginning of the second clip.

To preview the transition, play the sequence or drag the current-time indicator through the transition.

Specify and apply default transitions

You can specify a video transition and an audio transition as default transitions and quickly apply them

between clips in a sequence. A red outline marks default transition icons in the Effects panel. Cross

Dissolve and Constant Power Crossfade are preset as the video and audio default transitions.If you use

another transition more frequently, you can set it as the default. When you change the default transition

setting, you change the default for all projects. Changing the default transition doesn’t affect transitions

already applied to sequences.

Specify a default transition

1. Choose Window > Effects and expand the Video Transitions or Audio Transitions bin.

2. Select the transition that you want to make the default.

3. Click the Menu button for the Effects panel, or right-click the transition.

4. Choose Set Selected As Default Transition.

Set the duration of the default transition

1. Do one of the following:

 Choose Edit > Preferences > General (Windows), or Premiere Pro > Preferences >

General (Mac OS).

 Click the Effects panel menu button. Choose Default Transition Duration.

2. Change the value for the Video Transition Default Duration or Audio Transition Default

Duration, and then click OK.

Add the default transition between two clips

You can apply the default transition to adjoining pairs of clips on one or more tracks

1. Click one or more track headers to target the tracks where you want to add the transition.

2. Position the current-time indicator at the edit point where the pair or pairs of clips meet. To

navigate to an edit point, you can click the Go To Next Edit Point and Go To Previous Edit

Point buttons in the Program Monitor.

3. Choose Sequence > Apply Video Transition or Sequence > Apply Audio Transition, depending

on the target tracks.

 You can add the default video transition between clips in a video track by pressing Ctrl+D

(Windows) or Command+D (Mac OS). You can add the default audio transition between two clips

in an audio track by pressing Ctrl+Shift+D (Windows) or Command+Shift+D (Mac OS).

Apply default transitions between selected clips

You can apply the default video and audio transitions to any selection of two or more clips. The default

transitions are applied to every edit point where two selected clips touch. The placement does not

depend upon the position of the current-time indicator or on whether the clips lie on targeted tracks.

The default transitions are not applied where a selected clip touches a non-selected clip or no clip at all.

1. In the Timeline, select two or more clips. Shift-click clips, or draw a marquee over them, to

select them.

2. Select Sequence > Apply Default Transitions To Selection.

Copy and paste a transition

You can copy any transition in a sequence, and paste it to any other cut line on a track of the same type:

video transitions to video tracks, and audio transitions to audio tracks.

1. Select a transition in a sequence.

2. Select Edit > Copy.

3. Move the current-time indicator to the cut line where you want to paste the transition.

4. Select Edit > Paste.

 When you paste a double-sided transition to a double-sided location, the transition remains

double-sided.
  When you paste a double-sided transition to a single-sided location, the transition becomes

single-sided.

 When you paste a single-sided transition to a double-sided location, the transition becomes

double-sided.

SELF ASSESSMENT QUESTIONS

1. Explain fixed and standard effects?

2. How to apply video effect on a clip?

3. How to specify the default transition on audio?

4. How to create and save a preset?

5. What does warp stabilizer effect do?

6. How to apply color correction effect?

7. For what purpose Chroma key effect is used for?

8. How can you change static background with difference matte?

9. How to use remove dust and scratches from the image?

10. Explain the work flow of gradient wipe transition?

11. Briefly explain the process of applying transition between two clips?

12.How to apply transition between single clip?

13. What is a default transition and how can you specify the default transition?
14. Explain the process of copy and pasting a transition?

References

 https://helpx.adobe.com/premiere-pro/using/effects.html

 https://helpx.adobe.com/premiere-pro/using/video-effects-transitions.html

 https://helpx.adobe.com/premiere-pro/using/applying-removing-finding-

organizing-effects.html

 https://helpx.adobe.com/premiere-pro/using/viewing-adjusting-effects-

keyframes.html

 https://www.youtube.com/watch?v=Z2gc04zzH0A

 https://www.youtube.com/watch?v=xaFYOVlGa1M

 https://www.youtube.com/watch?v=lJvCeISGcEk

 https://www.youtube.com/watch?v=2uUHb16PaQA

 https://www.youtube.com/watch?v=sx9Zu5GrSi8
 http://tv.adobe.com/watch/cs6-creative-cloud-feature-tour-for-video/using-warp-

stabilizer-in-premiere-pro-cs6/

 https://helpx.adobe.com/premiere-pro/using/stabilize-motion-warp-stabilizer-

effect.html

 https://www.youtube.com/watch?v=rrJaNHi1c08

 https://www.youtube.com/watch?v=z-7SIzARjto

 https://www.youtube.com/watch?v=4zcffN53c_g

Unit 7

Titling and the Titler

 Written by: Umer Mehmood Qureshi

Review by: Mukhtiar Hussain Talpur

CONTENT

Introduction

Learning Outcomes

1. Create new titles

2. Creating and formatting text in titles

3. Drawing shapes in titles

4. Add images to title

5. Working with text and objects in titles

6. Set fill for text or object

 7. Rolling and crawling titles

8. Titler Text styles

Self Assessment Questions

References

INTRODUCTION

Dear student while you will rely upon audio and video sources as the primary ingredients for building a

sequence, you will often need to incorporate text into your project. Text is really effective when you

need to convey information quickly to your audience. For example, you can identify a speaker in your

video by super-imposing his name and title during the interview (often called a lower third). You may

also use text to identify sections of a longer video or to acknowledge the cast and crew (with credits).

Dear students your video can look incomplete without a Title. In this unit students will learn to create

title using built-in Titler in Premier Pro. The Titler is a versatile tool enabling you to create, not just

titles and credits, but animated composites as well.

Dear students the Titler is a collection of related panels. You can close the panels within the Titler

without closing the Titler. You can dock the panels to each other or to other parts of the interface.

When the panels are not docked to the main workspace, they appear over the other panels, or float.
The proper use of allows you to succinctly deliver information . It is clearer than the use of a narrator

and allows for information to be presented in middle of dialogue segments. Additionally, text can be

used as a re-enforcement of key information to the end-viewer. Dear students you can load more than

one title into the Titler. You can choose the title you want to view by choosing its name in the Title tab

menu. You can reopen a title when you want to change it or to duplicate it and base a new version on it.

Students once you enter in the Titler you can position, format, and customize text along a path, in a box,

and in the unit detailed explanation of how to work with text in the Titler.

The Titler is an engaging and powerful tool. Its customizability make it possible to create compeling

titles to use in productions.

Objectives:

 The student will learn to step by step procedure to create a title.

 Students will get a complete exposure to the complete range of options available.

 The students will be familiarized by the different panels and the tools in the titler.

 Learn Titler, selecting color properties and font characteristics and saving them as styles to

enhance your projects and accelerate your workflow.

 Learn about the tools in the Titler to create various shapes, such as rectangles, ellipses, and lines.

 Know to create objects and transforming objects using anchor points and curves.

 Students will learn how to fill and different fill options.

 The students will learn creating rolling and crawling titles and their use.

 Understand how to applying changes to stack order, aligning and distributing text and objects.
 How to create titles in Titler that roll or crawl across the screen, and set timing options to
customize the rolling and crawling titles.

 Learn to utilize title styles panel to quickly format text with presets.
1. CREATE NEW TITLE

Create a title from scratch, or use a copy of an existing title as a starting point.

Create a title

1. Do one of the following:

 Choose File > New > Title.

 Choose Title > New Title and then choose a title type.

 In the Project panel, press the New Item button and choose Title.

2. Specify a name for the title and click OK.

3. Use the text and shape tools to create a file or to customize a template.

4. Close the Titler or save the project to save the title.

Titles are added to the Project panel automatically and are saved as part of the project file.

OER: vimeo.com/26210965

Create a title based on the current title

1. In the Titler, open or select the title on which you want to base a new title.

2. In the Title Quick Properties panel, click New Title Based On Current Title .

3. In the New Title dialog box, enter a name for the new title and click OK.

4. Change the new title as desired.

5. Close the Titler or save the project to save the title.

Open, import, or export

Open a title for editing

Double-click the title in the Project panel or in a Timeline panel.

Import a title file

You can import a title file as you would any other source file.

1. Choose File > Import.

2. Select a title and click Open.

Export a title as an independent file

You can export titles as independent files that use the .prtl filename extension.

1. In the Project panel, select the title you want to save as an independent file.

2. Choose File > Export > Title.

3. Specify a name and location for the title and click Save.

About safe margins

The title-safe and action-safe margins in the drawing area of the Titler designate the safe zones. These

margins are enabled by default.Safe zones are useful when you edit for broadcast and videotape. Most

TVs over-scan the picture. Over-scanning places the outer edges of the picture outside the viewing area.

The amount of over-scanning is not consistent across TVs. To ensure that everything fits within the

area that most TVs display, keep text within the title-safe margins. Keep all other important elements

within the action-safe margins.

Choose, create, and import title templates

The title templates included with Premiere Pro provide numerous themes and preset layouts that make

it quick and easy to design a title. Some templates include graphics pertinent to certain subjects, such as

new-baby or vacation themes. Others include placeholder text that you can replace to create credits for

your movie. Some templates have transparent backgrounds, represented by dark gray and light gray

squares. You can see your video beneath the title. Other templates are opaque.

You can easily change any element in the template by selecting the element and either deleting it or

overwriting it. You can also add elements to the template. After you modify the template, you can save

it as a title file for use in current and future projects. Alternately, you can save any title you create as a

template.

Show video behind the title

You can view a frame of footage in the drawing area as you create the title. Viewing the frame helps

you place elements in your title. The video frame is for your reference only; it is not saved as part of the

title.

Use the timecode controls in the Titler to specify the frame you want to display. The Titler displays the

frame under the current-time indicator in the active sequence. Setting the frame in the Titler also moves

the current-time indicator in the Program Monitor and Timeline panel. Moving the current-time

indicator in the Program Monitor or Timeline panel changes the frame displayed in the Titler.

 In the Titler panel, select Show Video.

To change the frame interactively, drag the time value next to Show Video until the frame is visible in

the drawing area. To display the frame by specifying its timecode, click the time value next to Show

Video and enter the frame’s timecode in the active sequence.

2. CREATING AND FORMATTING TEXT IN TITLE

When adding text to a title, you can use any font on your system, including Type 1 (PostScript), Open

Type, and TrueType fonts.

You can copy and paste formatted text objects between Titler and other applications such as After

Effects, Photoshop, Encore, and Illustrator. Depending on the tool you choose in the Titler, you can

create point text or paragraph text. When you create point text, you specify an insertion point where

you want to begin typing. Typing continues on a single line unless you enable the word wrap feature.

Word wrap continues the text on a new line when it reaches the edge of the title-safe area. When you

create paragraph text, you specify a text box in which the text fits. The text in a text box wraps

automatically within the borders of the box.

Dragging the corner handle of a point-text object scales the text, Dragging the corner of a text box

reflows the text it contains. If a text box is too small to contain the characters you type, you can resize it

to reveal the hidden text. Text boxes that contain hidden characters have a plus sign (+) on the right

side of the box.

You can also create path text. Instead of following a straight baseline, path text follows a curve you

create. Text can be oriented horizontally or vertically along its baseline or path.
Type text without boundaries

1. Open the Title Tools panel.

 To type horizontal text, click the Type tool .

 To type vertical text, click the Vertical Type tool .

2. In the drawing area, click where you want to begin, and then type the text.

3. When you finish typing, choose the Selection tool and click outside the text box area.

Wrap text automatically

You can set the titler to wrap text within the title safe area automatically.

 Select Title > Word Wrap.

Type horizontal or vertical text in a text box

1. Open the Titler Tools panel.

 To type horizontal text, click the Area Type tool .

 To type vertical text, click the Vertical Area Type tool .

2. In the drawing area, drag to create a text box.

3. Type the text. The text wraps when it reaches the boundaries of the text box.

4. When you finish typing, choose the Selection tool and click outside the text box.

Resizing the text box resizes only the visible area of the box. The text remains the same size.

Type text along a path

1. In the Titler, click the Path Type tool or the Vertical Path Type tool . Using the path type

tools is similar to drawing with Pen Tool.

 2. In the drawing area, click where you want the text to begin.

3. Click or drag to create a second point.

4. Continue clicking until you create the path shape you want.

5. Type the text. When you type, the text begins along the top or right edge of the path. If

necessary, adjust the path by dragging the object anchor points.

6. When you finish, choose the Selection tool and click outside the text box.

Edit and select text

Using the Selection tool, double-click the text at the point you want to edit or begin a selection. The

tool changes to the Type tool, and a cursor indicates the insertion point.

 To move the insertion point, click between characters or use the Left Arrow and Right Arrow

keys.

 To select a single character or group of contiguous characters, drag from the insertion point

cursor to highlight the characters.

You can format selected text using controls in the Titler main panel, the Title Properties panel, or menu

commands. To format an entire text or graphic object, click the object and then modify its properties.

Format text in titles

Some object properties—such as fill color and shadow—are common to all objects you create in the

Titler. Other properties are unique to text objects. Controls for font, font style, and type alignment are

in the Titler panel above the drawing area. Other options are available in the Title Properties panel and

the Title menu of the main menu bar.

At any time, you can change the fonts that you use for your titles. The Font Browser displays all of

your installed fonts using a set of default characters, which you can customize.

When you choose a font in the Font Browser, it immediately applies to your title. The Font Browser

remains open so that you can preview another font.

Specify a font

 Select the text and do one of the following:

 Choose Title > Font and choose a font from the menu.

In the Title Properties panel, click the Font Family triangle to open the drop-down menu, and select a

font.

Change the font size

Select the text and do one of the following:

 Choose Title > Size and choose a font size.

 Change the Font Size value in the Title Properties panel.

Change text orientation

1. Select a text object.

2. Choose Title > Orientation and select either Horizontal or Vertical.

Specify text properties

When you select any object in a title, its properties are listed in the Title Properties panel. Adjusting

values in the panel alters the selected object. Text objects possess unique properties, such as leading

and kerning.
1. Select the text object or range of text you want to modify.

2. In the Title Properties panel, click the arrow next to Properties, and set values.

Some of the options include:

 Font Specifies the font applied to the selected text object. To view a font in its typeface, use the

Font Browser.

 Font Size Specifies the font’s size, in scan lines.

 Aspect Specifies the horizontal scale of the selected font. This value is some percentage of the

font’s natural aspect ratio. Values less than100% narrow the text. Values above 100% widen the

text.

 Leading Specifies the amount of space between lines of type. For roman type, leading is

measured from the baseline of one line of type tothe baseline of the next line. For vertical text,

leading is measured from the center of one line of type to the center of the next line. In the Titler,

the baseline is the line underneath the text.

 Kerning Specifies the amount of space you add or subtract between specific character pairs.

The value indicates the percentage ofcharacter width between the character pairs. Place the

cursor at the point where you want to adjust kerning.

 Tracking Specifies the amount of space between a range of letters. The value indicates the

percentage of character width between thespecified range of characters. The direction of the text

tracking is based on the justification of the text.

 Baseline Shift Specifies the distance of the characters from the baseline. Raise or lower the

selected type to create superscripts orsubscripts. Changing the Baseline Shift value affects all

characters.

 Slant Specifies the slant of an object, in degrees.

  Small Caps When selected, specifies that all selected objects appear in uppercase.

 Small Caps Size Specifies the size of the small caps as some percentage of regular height.

Adjusting this value changes the size of allcharacters in the text object except for the leading

character. A Small Caps value of 100% sets the text to all capitals.

 Underline When selected, specifies that the selected text is underlined. This option is not

available for text on a path.

Work with paragraph text

Tools in the Titler make it possible to quickly resize and align paragraph text.

Change paragraph justification

Select a paragraph text object, and at the top of the Titler panel:

1. To justify text to the left of its text box, click Left .

2. To center the text in its text box, click Center .

3. To justify text to the right side of its text box, click Right .

Reflow paragraph text

Select a paragraph text object.

 Drag any handle of the paragraph text’s bounding box to resize the box.

Create tab stops in titles

You can apply tabs in a text box in much the same way as you would in a word-processing program.

Tabs are especially useful in creating professional-looking rolling credits. You can set multiple tabs

within a text box and press the Tab key to move the cursor to the next available tab stop. You can
specify a different justification option at each tab stop.Tabs work exclusively to align the characters

within text objects. To align entire text or graphic objects, use the Align command.

3. DRAWING SHAPES IN TITLER

You can use the drawing tools in the Titler to create various shapes, such as rectangles, ellipses, and

lines. The Titler includes standard pen tools that resemble pen tools used in Illustrator and Photoshop.

Titler tools panel:

A. Pen ToolB. RectangleC. Clipped Corner RectangleD. WedgeE. Ellipse

F. Rounded Corner RectangleG. RoundedRectangleH. Arc I. Line
Select a shape tool.

 Shift-drag to constrain the shape’s aspect ratio.

 Alt-drag (Windows) or Option-drag (Mac OS) to draw from the center of the shape.

 Shift+Alt-drag (Windows) or Shift+Option-drag (Mac OS) to constrain the aspect ratio and

draw from the center.

 Drag diagonally across the corner points to flip the shape diagonally as you draw.

 Drag across, up, or down to flip the shape horizontally or vertically as you draw.

Change the shape of a graphic object or a logo

Select one or more objects or logos in a title.

1. In the Title Properties panel, click the triangle next to Properties to expand its list, and then

choose an option from the Graphic Type menu.

Draw straight segments with Pen Tool

Draw straight lines by clicking Pen Tool in the drawing area. Pen Tool creates object anchor points

connected by straight segments.

1. Select Pen Tool.

2. Position the tip of the pen point where you want the straight segment to begin, and click to

define the first object anchor point. The object anchor point remains selected (solid) until you

add the next point.

3. Click again where you want the segment to end.

4. Continue clicking Pen Tool to create additional straight segments. The last object anchor point

you add appears as a large square, indicating that it is selected.

 5. Complete the path by doing one of the following:

To close a path, click the initial object anchor point. A circle appears underneath the pen pointer when

it is directly over the initial object anchor point.

To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all

objects, or select a different tool in the Tools panel.

Adjust object anchor points and curves

The Titler includes tools for modifying existing paths. You can add or delete object anchor points on a

path. You can also move object anchor points, and manipulate their direction lines to change the curve

of adjacent line segments. You can specify not only the path’s thickness but also the shape of each of

its ending points. You can also specify its caps, and its corners, or joins.

Add an object anchor point to a path

1. Select the path.

2. Select Add Anchor Point Tool .

To add an object anchor point without creating or manually adjusting a curve, click where you want to

add an object anchor point. To add an object anchor point and simultaneously move the new point, drag

a spot on a path.

Delete an object anchor point

1. Select the path containing the object anchor point.

2. Select Delete Anchor Point Tool .

3. Click the point that you want to delete.

Adjust an object anchor point

1. Select the path containing the object anchor point.

2. Select Pen Tool .

3. Position the cursor over the point. When the cursor becomes an arrow with a square next to it,

drag the object anchor point to adjust it.

Convert object anchor points from one type to another

You can change the type of object anchor point you have created for a segment.

1. Select the path you want to modify.

2. Select Convert Anchor Point Tool and position the cursor over the object anchor point that

you want to convert.

 To convert a corner point to a smooth point, drag a direction point out of the corner point. To

convert a smooth point to a corner point without direction lines, click the smooth point.

 To convert a corner point without direction lines to a corner point with independent direction

lines, first drag a direction point out of a corner point. Dragging a direction point makes it a

smooth point with direction lines. Release the mouse button, and then drag either direction point.

 To convert a smooth point to a corner point with independent direction lines, drag either

direction point.

Set options for open and closed Bezier shapes

Select a line or an open or closed Bezier shape, and in the Title Properties panel, specify any of the

following options:
Graphic type Adjusts open and closed Bezier shapes to standard shapes. Graphic type can also change

a closed Bezier shape to an open oneand vice versa. Graphic type must be set to “Filled Bezier” to add

fill to a closed shape. For more about adding fill to a closed shape, see Set a fill for text and objects.

Line Width Specifies the path width, in pixels.

Cap Type Specifies the type of cap placed at the end of the paths. The Butt option caps paths with

square ends. The Round option caps pathswith semicircular ends. The Square option caps paths with

square ends that extend half the line width beyond the end of the line. This option makes the weight of

the line extend equally in all directions around the line.

Join Type Specifies how the ends of adjoining path segments are joined. The Miter option joins path

segments using pointed corners. The Roundoption joins path segments using rounded corners. The

Bevel option joins path segments using squared corners.

Miter Limit Specifies the point at which the join type switches from mitered (pointed) to bevel

(square). The default miter limit is 4. At the default,the join type switches from miter to bevel when the

length of the point is four times the stroke weight. A miter limit of 1 results in a bevel join.

4. ADD IMAGE TO TITLES

Use the Titler to place images in a title, such as adding a logo graphic. You can either add the image as

a graphic element or place it in a text box to become part of the text. The Titler accepts both bitmap

images and vector-based artwork (such as art created with Adobe Illustrator). However, Premiere Pro

rasterizes vector-based art, converting it to a bitmap version in the Titler. By default, an inserted image

appears at its original size.

Place a logo in a title

Choose Title > Logo > Insert Logo.

1. Drag the logo to where you want it. If necessary, you can adjust the size, opacity, rotation, and

scale of the logo.

Place a logo in a text box

1. Using a type tool, click where you want to insert the logo.

2. Choose Title > Logo > Insert Logo Into Text.

Return a logo to its original size or aspect ratio

Select the logo and choose either Title > Logo > Restore Logo Size or Title > Logo > Restore Logo

Aspect Ratio.

5. WORKING WITH TEXT AND OBJECTS IN TITLES

Change the stacking order of objects in titles

An object is any shape or text box you create in the Titler. When you create objects that overlap

each other, you can control their stacking order in the Titler.

1. Select the object you want to move.

2. Choose Title > Arrange and then choose one of the following:

Bring To Front Brings the selected object to the top of the stacking order.

Bring Forward Switches the selected object with the object directly in front of it.

Send To Back Moves the selected object to the bottom of the stacking order.
Send Backward Switches the selected object with the object directly behind it.

Align and distribute objects in titles

The Title Actions panel includes buttons to arrange objects in the drawing area. You can align,

center, and distribute objects along horizontal or vertical axes.

Title Actions Panel:

A. Horizontal alignment buttons B. Vertical centering button C. Horizontal distribution buttons D.

Vertical alignment buttons E. Horizontalcentering button F. Vertical distribution buttons

Center objects in titles

1. In the Titler, select one or more objects.

2. In the Title Actions panel, click the button for the type of centering you want.

You can center objects using the Title > Position command and selecting the option you want.

Additionally, you can choose Title >Position > Lower Third to position the selected object along
the bottom edge of the title-safe margin. To center an object both horizontally and vertically within

the drawing area, click both centering buttons.

Align objects in titles

An alignment option aligns selected objects to the object that most closely represents the new

alignment. For example, for right alignment, all selected objects align to the selected object that is

farthest to the right.

1. In the Titler, select two or more objects.

2. In the Title Actions panel, click the button for the type of alignment you want.

Adjust the position of objects

1. Select an object, or Shift-click to select multiple objects.

2. Do one of the following:

 In the drawing area, drag any of the selected objects to a new position.

 Choose Title > Transform > Position and type new X and Y Position values; then click OK.

 In the Transform section of the Title Properties panel, enter values for X Position and Y

Position.

 Use the arrow keys to nudge the object in 1-pixel increments, or press Shift+arrow key to

nudge the object in 5-pixel increments.

 Choose Title > Position and choose an option to center the selected object or align its

bottom edge with the bottom of the title-safe margin.

Scale objects

Select an object, or Shift-click to select multiple objects.

 To scale the width, drag any object’s left or right handles in the drawing area.

 To scale the height, drag the object’s top or bottom handles in the drawing area.

 To constrain the object proportions, Shift-drag the corner and side handles.

 To scale and constrain the aspect ratio, Shift-drag any object’s corner handles.

 To scale from the center, Alt-drag (Windows) or Option-drag (Mac OS) any object’s corner

handles.

 To set scale values in terms of percentages, choose Title > Transform > Scale,

specify the values you want, and click OK. To set scale values in terms of

pixels, specify values for Width and Height in the Title Properties panel.

Dragging the handles of a text object created with the Horizontal Type or Vertical Type tool

changes its font size. If the scaling is notuniform, the text’s aspect value also changes.

6. SET A FILL FOR TEXT AND OBJECTS

An object’s fill property defines the area within the contours of the object. Fill specifies the space

inside a graphic object, or within the outline of each character of a text object. You can fill an

entire object or individual letters of type.

1. Select the object you want to fill.

2. In the Title Properties panel, click the triangle next to the Fill category and select the box

next to the Fill category to set an option. Some options include:

Fill Type Specifies whether and how color is applied within the contours of text or graphic

object.

Color Determines the color of the fill. Click the color swatch to open a color picker, or click the

eyedropper to sample a color from anywhereon the screen. Color options vary according to the Fill

Type specified.

Opacity Specifies the fill’s opacity, from 0% (transparent) to 100% (opaque). Set the opacity of an

object’s fill color to set the opacity ofindividual objects in a title. To set the opacity of the title as a

whole, add it to a track in the Timeline above another clip. Adjust opacity as you would for any

other clip.
Fill type options

Solid Creates a fill of uniform color. Set options as desired.

Linear Gradient or Radial Gradient Linear Gradient creates a linear, two-color

gradient fill. Radial Gradient creates a circular, two-color gradientfill.

4-Color Gradient Creates a gradient fill composed of four colors, with a color

emanating from each of the object’s corners.

The Color Stop Color option and the Color Stop Opacity option specify the color and

opacity of the lower-right corner. To select a color, do one of the following:

 Click the Color Stop Color palette to open the Color Picker. Then, select a

color.

 Click the Color Stop Color eyedropper, and click any color on the screen.

Bevel Adds a beveled edge to the background. Balance option specifies the

percentage of the bevel that the shadow color occupies.

Eliminate Specifies that no fill or shadow is rendered.

Ghost Specifies that the shadow is rendered, but not the fill.

Add a sheen

Add a sheen to any object’s fill or stroke. A sheen resembles a streak of colored light

across the surface of an object. You can adjust a sheen’s color, size, angle, opacity,

and position.

1. Select the object.

2. Select Sheen in the Title Properties panel.

3. Click the triangle next to Sheen and set its options.

Add a texture for text or object

You can map a texture to any object’s fill or stroke. To add a texture, specify a vector

or bitmap file, or use one of several textures included in Titler.

 Select the object.

 In the Title Properties panel, click the triangle next to Fill or Strokes, then

click the triangle next to Texture to reveal the options.

 Click the Texture box.

Add a stroke to text or object

You can add an outline, or stroke, to your objects. You can add both inner strokes and

outer strokes. Inner strokes are outlines along the inner edge of your objects, and

outer strokes are outlines along the outer edge. You can add up to 12 strokes to each

object. After you add the stroke, you can adjust its color, fill type, opacity, sheen, and

texture. By default, strokes are listed and rendered in the order you create them;

however, you can easily change that order.

1. Select the object.

2. In the Properties section of the Title Properties panel, expand the Strokes

category.

3. Click Add next to either Inner Stroke or Outer Stroke.

4. Set any of the following options:

Type Specifies the type of stroke you apply. Depth creates a stroke that makes the

object appear to extrude.

Size Specifies the size of the stroke, in scan lines. This option is

not available for the Drop Face stroke type.

Angle Specifies the offset angle of the stroke, in degrees. This

option is not available for the Edge stroke type.

Magnitude Specifies the height of the stroke. This option is

available only for the Drop Face stroke type.

Fill Type Specifies the type of fill for the stroke. All the fill types, including Sheen

and Texture, work exactly like the Fill options.

Delete strokes from an object or text

1. Select an object containing one or more strokes.

2. In the Titler, do one of the following:

 To delete strokes from an object, select the object.

 To delete strokes from text, click the Type Tool , and then drag to select the

text.

3. In the Title Properties panel, click the triangle next to Strokes to expand the

category.

4. Expand Inner Strokes, Outer Strokes, or both.\

5. Select either Inner Stroke or Outer Stroke.

6. Click Delete.

Create a drop shadow

Add drop shadows to any object you create in the Titler. The various shadow options

give you full control over color, opacity, angle, distance, size, and spread.

1. Select an object.
 2. In the Title Properties panel, select Shadow.

3. Click the arrow next to the Shadow option to set any of the values including:

Distance Specifies the number of pixels that the shadow is offset from the

object. SizeSpecifies the size of the shadow.

Spread Specifies how far the alpha channel boundaries of the object are extended

before blurring. Spread is useful on small, thin features such as cursive descenders

or ascenders on typeface, which tend to disappear if you apply a significant blur.

7. Rolling and crawling titles

Though static titles, graphics, and logos suffice for some projects, many others

require titles that move across the screen. Titles that move vertically over the

footage are called rolls. Titles that move horizontally are called crawls.The length

of the title clip in a Timeline panel determines the speed of the roll or crawl. The

more you increase the title clip length, theslower the movement.

Create a rolling or crawling title

1. Do one of the following:

 To create a rolling title, choose Title>New Title>Default Roll.

 To create a crawling title, choose Title>New Title>Default Crawl.

2. Create the text and graphic objects for the rolling or crawling title. Use the Titler

panel scroll bar to view off screen areas of the title. When the title is added to the

sequence, the off screen areas roll or crawl into view.

3. In the Titler panel, click the Roll/Crawl Options button .

4. Specify the appropriate Direction and Timing options, and then click OK.

Roll/Crawl Timing options

Start Off Screen Specifies that the roll begins out of view and scrolls into view.

End Off Screen Specifies that the roll continues until the objects are out of view.

Pre-roll Specifies the number of frames that play before the roll begins.

Ease-In Specifies the number of frames through which the title rolls at a slowly

increasing speed until the title reaches the playback speed.

Ease-Out Specifies the number of frames through which the title scrolls at a slowly

decreasing speed until the roll completes.

Post-roll Specifies the number of frames that play after the roll completes.

Crawl Left, Crawl Right Specifies the direction in which the crawl moves.

Convert a title to another type

1. In the Titler Panel, select the text box you want to convert, and click the

Roll/Crawl options button.

2. For Title Type, specify the type of title you want, and if necessary, specify Timing

options.

3. Click OK.

8. TITLER TEXT STYLES

You can save a combination of color properties and font characteristics as a style, for

later use. You can save any number of styles. Thumbnails of all saved styles appear in

the Title Styles panel, so you can quickly apply them.

Modify the style swatch display

The Title Styles panel displays the default style library as well as style swatches you

create or load. The display defaults to show large swatches of sample text with the

loaded style applied. However, you can choose to view your styles in small swatches

or by the style name only.

In the Title Styles panel menu, choose one of the following:

Text Only Displays only the style name.

Small Thumbnails Displays only small swatches of sample text objects with the

styles applied to them.

Large Thumbnails Displays only large swatches of sample text objects with the

styles applied to them.

Create a style

1. Select an object that has the properties you want to save as a style.

2. Do one of the following:

 From the Title Styles panel menu, choose New Style.

 Right-click (Windows) or Control-click (Mac OS) in the Title Styles panel,

and choose New Style.

3. Type a name for the style and click OK. Depending upon the display option you

select, either a swatch displaying the new style or the new style name appears in the

Title Styles panel.

Apply a style to an object

1. Select the object to which you want to apply the style.

2. In the Title Styles panel, click the style swatch that you want to apply.

Delete, duplicate, or rename, a style

In the Title Styles panel, do any of the following:

 To delete a style, select it, and then choose Delete Style from the Title Styles

panel menu.

 To duplicate a style, select it, and choose Duplicate Style from the Title

Styles panel menu. A duplicate of the selected style appears in the Title

Styles panel.

 To rename a style, select it, and choose Rename Style from the Title

Styles panel menu. Type a new name, up to 32 characters, in the Rename

Style dialog box, and click OK.

Manage style libraries

After you create a style, you can save it in a collection, or style library, with other

styles. By default, the styles you create appear in the current style library, but you can

create new libraries in which to save styles. For example, you can delete the current

library display, create new styles as you work, and then save those styles in their own

library.

In the Title Styles panel, do any of the following:

 To restore the default style libraries, choose Reset Style Library from the

Styles menu.

 To save a style library, choose Save Style Library from the Styles menu.

All styles visible in the Styles section are saved. Specify a name and

location for the style library file and click Save.

 To load a saved style library, select Append Style Library from the Title

Styles panel menu. Then browse to the style library, select it, and click

Open (Windows), or Choose (Mac OS).

 To replace a style library, choose Replace Style Library from the Title

Styles panel menu. Browse to the style library that you want to use as a

replacement, select it, and click Open (Windows), or Choose (Mac OS).
 SELF ASSESSMENT QUESTIONS

1. Explain the procedure of creating a crawling end credits?

2. Explain how to create a text style preset and manage style library?

3. Explain how the anchor point and curves are used to transform an

object?

4. Describe the formatting of a text and different options available for

formatting any text?

5. Define safe margins and procedure to show the video behind the title?

6. Explain process of adding texture and adding drop shadow to text or

an object?
 References

 http://library.creativecow.net/devis_andrew/Rolling-Titles_Adobe-Premier-Pro/1

 http://library.creativecow.net/barrie_jon/Premier-Pro-Title-Feathering/1

 http://infiniteskills.com/blog/2011/05/adobe-premiere-cs5-tutorial-rolling-and-

crawling-credits/

 https://www.videomaker.com/article/c10/9550-home-video-hints-titling-tips

 https://helpx.adobe.com/premiere-pro/using/creating-editing-titles.html

 https://www.youtube.com/watch?v=G0r2Vl60hgY

 https://www.youtube.com/watch?v=t-ZrVWzMoW0

 https://library.creativecow.net/devis_andrew/Spicing-up-titles-in-Premiere-Pro/1

 http://www.mediacollege.com/adobe/premiere/pro/title/

 http://www.steves-digicams.com/knowledge-center/how-tos/photo-

software/inserting-a-title-on-the-premiere-timeline.html

 video2brain.com/en/videos-14781.htm

 video2brain.com/en/videos-1548.htm

 http://tv.adobe.com/watch/learn-premier-pro-cs5/gs07-creating-titles-in-abobe-

premier-pro-titler/

 http://library.creativecow.net/devis_andrew/Rolling-Titles_Adobe-Premier-Pro/1

 http://infiniteskills.com/blog/2011/05/adobe-premiere-cs5-tutorial-rolling-and-

crawling-credits/
 Unit 8

Exporting

Writer: Muzammil Dani

Reviewer: Shakeel Adnan

 CONTENT

Introduction

Objectives

1. Types of exporting

2. Workflow for exporting

3. Formats and how to export them

4. Exporting to DVD or Blu-ray Disc

5. Smart Rendering

6. Exportingfor Weband Mobiledevices

7. Export projects for other applications

8. Exporting to Video tape

Self Assessment Questions

References
INTRODUCTION

Exporting is the getting of end result from any software this is very important for the editor

as there are a lot of different formats which are used for playback and by other

software’s .Every format have their own benefits along with drawbacks some give out very

good video quality along with a very big file sizes and if we select any format which gives

out very small file size it can lack in the quality so basically it all depends on the need of the

editor which format is required .There are a lot of formats in the market and they all have

different type of encoding going on in them some are good for playback for broadcast ,some

for portable devices and some for internet web.

In this unit the student will be learning different exporting technics and about different

formats which are available in editing software’s we will cover the most commonly used

formats and then there will be exporting to different types of tapes which are really useful to

get the backup of the resulting file on which all the editing is done as it is the most secure

form of data storage so it is important to use them for long term data storage. Data can also

be transferred from one editing machine to other with the help of data drives or Disk like

DVD, Blu-ray burning to dvd or Blu-ray is done with the help of add on software known as

encore which is also explained in this unit so an editor can write a dvd of his final output.

Sometimes the project file needs to be transferred to other systems with better hardware or to

a totally different software these type of things are also made possible by exporting a

complete project file so that it can be used on a different machine or a different software.

Smart rendering will also be discussed as it is a really good add-on and make things a lot

faster.
 Objectives:

 You will learn about the types of exporting

 You will learn how to export a file which can be used later for editing

 Exporting to tape and DVDs will also be taught

 Exporting the project files for editing the project on other systems will be covered

 Exporting files for portable devices and Internet will be covered

 Work flow for exporting and formats will be discussed

1. TYPES OF EXPORTING

You can export video from a sequence in the form best suited for further editing or for a viewing

audience. Premiere Pro supports export in formats for various uses and target devices.

a. Exporting files for further editing

You can export editable movie or audio files. Then, you can preview your work with

effects and transitions fully rendered. Also, you can continue editing the files in applications

other than Premiere Pro. Similarly, you can export a still-image sequence. Also, you can export a

still image from a single frame of video for use in a title or graphic. After editing P2 MXF assets,

you can export the sequence back to P2 MXF format. You can continue editing the resulting

MXF files on other editing systems that edit MXF.

Premiere Pro supports both direct export and Adobe Media Encoder export. Direct export

generates new files directly from Premiere Pro. Adobe Media Encoder export sends files to

Adobe Media Encoder for rendering. From Adobe Media Encoder, you can choose whether to

render an asset immediately, or to add it to a render queue.

b. Exporting to tape

You can export a sequence or clip to videotape in a supported camcorder or VTR. You

can use this type of export for archiving a master tape, or for delivering rough edits for screening

from VTRs.

c. Send to Encore for DVD, Blu-ray Disc, or SWF file creation

You can send video from any sequence into Adobe Encore for output to DVD, Blu-ray

Disc (Windows only), or a SWF file. Changes made in the timelines of either Premiere Pro or

Encore are reflected in the other, by way of Adobe Dynamic Link. You can send content from

Premiere Pro to Adobe Encore for creating an AutoPlay disc without menus. You can quickly

create menu-based discs using the professional templates in Adobe Encore. Finally, you can use
the deep authoring tools of Adobe Encore, Adobe Photoshop, and other applications, to author

professional-quality discs. You can also export in formats appropriate for CD-ROM distribution.

d. Export project files for other systems

You can export project files, not just clips, to standard EDL files. You can import EDL

files into various third-party editing systems for finishing. You can trim Premiere Pro projects

down to their essentials and ready them, with or without their source media, for archiving.

e. Export formats for various devices and web sites

Finally, using the Adobe Media Encoder, you can export video in formats suitable for

devices ranging from professional tape decks to DVD players

to video-sharing web sites to mobile phones to portable media players to standard- and high-

definition TV sets.

f. Adobe Media Encoder

Premiere Pro and other applications employ Adobe Media Encoder, a standalone

encoding application. When you specify export settings in the

Export Settings dialog box and click Export, Premiere Pro sends the export request to the Adobe

Media Encoder.

From the Export Settings dialog box, click Queue to send Premiere Pro sequences into the

standalone Adobe Media Encoder queue. From the queue, you can encode sequences into one or

more formats, or take advantage of other features.

When the standalone Adobe Media Encoder is rendering and exporting in the background, you

can continue to work in Premiere Pro. Adobe

Media Encoder encodes the most recently saved version of each sequence in the queue.
2. WORKFLOW FOR EXPORTING VIDEO AND AUDIO FILES

1. Do one of the following:

 In a Timeline panel or Program Monitor, select a sequence.

 In a Project panel, Source Monitor, or bin, select a clip.

2. Do one of the following:

 Choose File > Export > Media. Premiere Pro opens the Export Media dialog box.

 Choose File > Export. Then select one of the options other than Media from the menu.

3. (Optional) In the Export Settings dialog box, specify the Source Range of the sequence or clip

you want to export. Drag the handles on the work area bar. Then click the Set In Point button and

Set Out Point button.

4. To crop the image, specify cropping options in the Source panel.

5. Select the file format you want for your exported file.

6. Select a preset best suited for your target means of playback, distribution, and audience. 7. To

automatically export a file from a Premiere Pro sequence with settings that exactly match the

settings for that sequence, select Match Sequence Settings in the Export Settings dialog box.

8. To customize the export options, click a tab (e.g., Video, Audio) and specify the appropriate

options.

Do one of the following:

a. Click Queue. Adobe Media Encoder opens with the encoding job added to its queue.

b. Click Export. Adobe Media Encoder renders and exports the item immediately.

By default, Adobe Media Encoder saves the exported file in the folder where the source file is

located. Adobe Media Encoder appends the extension for the format specified to the end of the

filename. You can specify watched folders.

3. FORMATS AND HOW TO EXPORT THEM

Export to Panasonic P2 format

When you have finished editing a Panasonic P2 sequence you can export the sequence to a hard

disk or back to a P2 card. You can also export individual clips to the P2 format. The maximum

file size for a clip stored in the P2 format is 4 GB. When Premiere Pro exports clips or sequences

larger than 4 GB to P2 format, it exports them as groups of 4 GB spanned clips.

The workflow from P2 card to edit and back to P2 card is simple. Import the P2 clips into a

project containing a 5.1-channel sequence. Map the source channels to their specified tracks.

Place the clips into the sequence, or export them to P2.

When you export clips or sequences to P2 media, Premiere Pro translates clip and XMP metadata

into P2-standard fields. P2 viewers, cameras, servers, and decks can read these.

1. Select the sequence or clip in a Timeline panel or Project panel.

2. (Optional) If exporting from the Timeline, set a timeline marker, numbered “0” on the

frame you want used as the P2 icon for the exported. If you do not set this marker, the P2

icon appears on the first frame of the sequence by default.

3. Choose File > Export > Media.

4. From the Format drop-down list, select P2 Movie.

5. (Optional) Click the hot text in the Output Name field, and type a new filename.

This name is used as the value for the User Clip Name element in the exported clip’s metadata

XML file. The User Clip Name value appears in the Name column of the Project panel when the

clip is imported back into Premiere Pro. If you do not specify a name, the filename appears in the

Name column. The name of the file is automatically generated in conformance with the

Panasonic P2 MXF format.

 6. Browse to the location where you want to save the file. You can navigate to the root of the

mounted P2 card or to your destination folder of choice, and click Save.

7. If a P2 compliant file structure is present at the destination, Premiere Pro adds the exported

clips to the existing folders. If the P2 compliant file structure is not present, Premiere Pro creates

one at the destination.

8. Define the section of the clip or sequence you want to export. In the Export Settings dialog

box, drag the triangular current-time indicator to the desired in point, and click the Set In Point

button. Drag the triangular current-time indicator to the desired out point, and click the Set Out

Point button.

9. Do one of the following:

 Click Queue. Adobe Media Encoder opens with the encoding job added to its queue.

 Click Export. Adobe Media Encoder renders the asset immediately.

Exporting OMF files for Pro Tools

You can export all the active audio tracks from an entire sequence in Premiere Pro to an Open

Media Format (OMF) file. Digi Design Pro Tools imports OMF files, when the Digi Translator

feature is licensed. With Digi Translator in Pro Tools, you can sweeten soundtracks from

Premiere Pro.

Export an OMF file for Pro Tools

1. In a Timeline panel, select a sequence.

2. Select File > Export > OMF.

3. In the OMF Export Settings dialog box, type a title for the OMF file into the OMF Title field.

4. From the Sample Rate and Bits Per Sample menus, choose the settings needed for your sequence.

5. From the Files menu, choose one of the following:

a. Encapsulate With this setting, Premiere Pro exports an OMF file containing the project

metadata and all the audio for the selected sequence. Encapsulated OMF files typically are large.
b. Separate Audio With this setting, Premiere Pro exports individual mono AIF files into an omfi

Media Files folder. The folder name contains the OMF filename. Using AIF files assures

maximum compatibility with legacy audio systems.

6. From the Render menu, choose one of the following:

a. Copy Complete Audio Files With this setting, Premiere Pro exports audio for the entirety of

each clip used in the sequence, no matter how many times the clip is used nor how many parts of

the clip are used.

b. Trim Audio Files With this setting, Premiere Pro exports only the portions of each clip that are

used in the sequence: the clip instances. You can choose to export each clip instance with extra

length, handles, added to the start and end of the file.

7. In the Handle Frames field, specify the length of the handles, in video frames. This amount of

time is added to the start and end of the exported files when you choose Consolidate Media. The

default setting is one second, in frames, at the sequence frame rate. If the length of the handles

you specify exceeds the length of the clip instance, Premiere Pro exports the whole clip instance.

8. Launch Pro Tools, and import the OMF file. For more information on importing files into Pro

Tools, see Pro Tools Help.

Features supported in OMF files

On export to OMF, Premiere Pro exports files with the following attributes and metadata:

 Sample accurate exports Premiere Pro places all transitions and keyframe points on audio

sample boundaries. Video frame boundaries do not constrain these locations.

 48k and 96k sample rates Premiere Pro converts sound clips to the same consistent sample rate,

as required by Pro Tools. You can select the sample rate at the time of export.

 16-bit and 24-bit depth You can choose the bit-depth at the time of export.

 Encapsulate and Separate Audio options With the Encapsulate option, you can export a single,

large, OMF file containing both audio and OMF metadata. With the Separate Audio option, you
 can export a smaller OMF file and a set of related, individual, external audio files. The Separate

Audio option is useful for larger projects, as an OMF file cannot exceed two gigabytes.

 Track names OMF and Pro Tools work with mono tracks only. Premiere Pro exports each

channel from a stereo, 5.1-channel or 16-channel track into its own mono track with its source

track ID appended to its track name. Premiere Pro exports Left and Right stereo channels with

_L and _R in their respective track names.

 Clip names After you import an OMF file into Pro Tools, the clip names from the Premiere Pro

sequence appear in the Pro Tools timeline.

 Clip volume and clip keyframe volume By default, Premiere Pro exports clip volume levels

and clip keyframe volume levels to the Clip Gain effect in the OMF file. You can set Digi

Translator to accept or ignore keyframe volume settings.

 Audio Transitions Premiere Pro exports audio transitions between two adjoining clips, both

centered or not centered, as you specify.

 Audio Mixer pan settings One pan setting is exported per clip without keyframes. Premiere Pro

extracts the pan setting from the track and applies it to the clip export data.

 Stereo tracks By default, Premiere Pro hard pans the Left channel to the left and the Right

channel to the right on export to OMF.

 Stereo Balance Premiere Pro applies clip balance to the Clip Gain effect for the clip. Premiere

Pro does not apply Audio Mixer balance, as that is track-based, not clip-based.

 Channel Gain effects for 5.1-channel and 16-channel tracks Premiere Pro applies the first

channel-gain value per clip channel. Premiere Pro does not apply clip channel-gain keyframes.

 Fill Left, Fill Right, and Swap Channel effects Premiere Pro applies the first value for Fill Left,

Fill Right, and Swap Channel effects to each clip. Premiere Pro does not apply Fill Left, Fill

Right, or Swap Channel keyframes.

 Toggle Track Output Premiere Pro exports only those audio tracks with the Toggle Track

Output setting turned on. If a track is turned off it does not appear in the exported OMF file.

Premiere Pro does not apply the Audio Mixer Mute Track, or Solo Track button settings.

 Nested sequences Premiere Pro exports audio for each nested sequence the same way it does for

each simple clip.

 Merged Clips Premiere Pro CS exports audio the same way it does for master clips and sub-

clips.

Tips for importing OMF files into Pro Tools

In the Digi-Translator dialog box:

Deselect Pan Odd Tracks Left/Even Tracks Right.

For automatic gain control, select Convert Clip Based Gain To Automation.

Leave Sample Rate Conversion deselected, unless you need sample rate conversion.

In the Missing Files dialog box:

Change the default setting to Manually Find And Relink, and press OK.

Deselect all options.

Navigate to the <projectName>ExternalMediaFiles folder and select it.

Export a still image

The Export Frame buttons in the Source Monitor and Program Monitor enable you to quickly

export frames of video without using the Adobe Media Encoder. This is sometimes called a

frame grab.

1. Position the playhead at the desired frame in a clip or sequence.

2. Click the Export Frame button.

3. The Export Frame dialog box opens with the name field in text edit mode. The entire name is

selected for editing. By default, the frame name contains the name of the source clip or sequence,

and an auto-incremented number. For example, Premiere Pro names frames exported from a clip
 named Clip.mov, "Clip.mov.Still001," "Clip.mov.Still002," "Clip.mov.Still003," and so on.

Even if you rename the frame, Premiere Pro uses the next number the next time you export a

frame from that same clip. By default, Premiere Pro selects the format last used for a frame

export.

4. Do one of the following:

 Type a new name for the frame. Select a format from the Format: menu. Browse to a destination

for the frame. Click OK.

 Press Enter to accept the default frame name, format, and location.

Premiere Pro exports a frame. By default, Premiere Pro sets the color bit depth of the exported

frame to the color bit depth of the source clip or sequence.

4. EXPORTING TO DVD or Blu-ray DISC

You can export sequences or portions of sequences in files formatted for authoring and burning

to DVD and Blu-ray Disc. Alternately, you can export to Encore for authoring a DVD or Blu-ray

Disc with menus, or direct burning to disc without menus.

To export your sequence for later use or to work in Encore on another computer you can use File

> Export > Media and choose the appropriate settings for export. See Workflow for exporting

video and audio files.

Choosing file formats for various discs

When exporting a file from the Export Settings dialog box for use in DVD or Blu-ray Disc

creation, select the format appropriate for the target medium. For single-layer or dual-layer DVD,

select MPEG2-DVD. For single-layer or dual-layer Blu-ray Disc, select either MPEG2 Blu-ray

or H.264 Blu-ray.

Select the preset for a given format in accordance with the available space on the target medium

and the needs of the target audience.

 Send a sequence to Encore to create a DVD, Blu-ray Disc, or SWF

Before you begin, make sure that Encore is installed on the same computer as Premiere Pro.

1. In Premiere Pro, select a sequence.

2. (Optional) Add Encore chapter markers, if desired. See Add Encore chapter markers.

3. (Optional) If you are producing a sequence for standard-definition output that includes high-

definition clips, select Maximum Render Quality before using Dynamic Link to send the

sequence to Encore for DVD authoring. This does not apply to HD sequences that use Dynamic

Link for Blu-Ray Disc authoring.

4. Choose File > Adobe Dynamic Link > Send To Encore.

5. On the Basic tab in the New Project dialog box, type a name for the disc into the Name field.

6. (Optional) Click Browse and browse to a location for the Encore project, to change it from the

default location.

7. In the Project Settings pane, select the name of the authoring mode desired. The sets of options

available in the Settings area and on the advanced tab depend on whether Blu-ray or DVD is the

authoring mode.

8. (Optional) Click Advanced, and select the desired transcoding settings.

9. Click OK.

Premiere Pro starts Encore. The Encore Project panel contains the dynamically linked Premiere

Pro project and sequence.

10. Finish authoring and exporting in Encore.

5. SMART RENDERING

When exporting, smart rendering can be used for certain formats to create better quality output

by avoiding recompression when possible. In previous versions of Premiere Pro, smart rendering

has been available for DV and DVC Pro formats.

In Premiere Pro CS6 (6.0.1, and later), smart rendering capability has been added for Long GOP

MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or

XDCAM EX file. Smart rendering in Premiere Pro CS6 (6.0.1) is enhanced to accelerate MXF

render times for long GOP MPEG2 essences, while avoiding recompression. For DV or DVCPro

formats, smart rendering automatically engages. For XDCAM formats, check the checkbox for

smart rendering in the XDCAM exporter plug-in. If you have these types of clips in your

timeline in a sequence with matching settings, are exporting out to MXF OP1a with a matching

preset, and the checkbox is checked in the XDCAM exporter plug-in, it engages. Premiere Pro

sees effects applied and falls back to regular rendering if needed.

To disengage smart rendering, uncheck the checkbox in the XDCAM exporter plug-in. Using

these formats, smart rendering creates an accelerated workflow, and less generational loss.

Render times are anywhere from 4 to 12 times faster than real-time. The lower the bitrate, the

faster it renders (less data per frame to copy, so it can do more at the same transfer speed).

6. EXPORTING FOR WEB AND MOBILE DEVICES

You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other

mobile devices. In Export Settings, select an H.264 format preset made for the target device.

You can use Device Central to preview how a movie will appear on a wide variety of mobile

devices.
 Moving assets between Adobe Premiere Pro and Adobe Flash

In Adobe Premiere Pro, you can add Flash cue point markers to a timeline. Flash cue point

markers serve as cue points in a rich media application. There are two types of cue point

markers: event and navigational cue point markers. You can use navigational cue point markers

to navigate to different sections of FLV and F4V files, and to trigger the display of onscreen

texts. You can use event cue point markers for triggering action scripts at specified times in FLV

and F4V files.

You can export a movie from Adobe Premiere Pro directly into the FLV and F4V formats. You

can choose from several Export Settings presets. These presets balance file size against audio

and video quality to achieve the bit rate needed for any target audience or device. If you export

the movie with an alpha channel, you can use the movie easily used as a layer in a rich media

project.

You can import the FLV or F4V file into Adobe Flash. Flash reads sequence markers as

navigational or event cue points. In Flash, you can also customize the interface that surrounds

your video. Alternatively, you can use Flash to create animations for use in movies. You can

create an animation in Flash. You can export the animation as an FLV or F4V file. Then, you can

import the FLV or F4V file into Adobe Premiere Pro for editing. In Adobe Premiere Pro, for

example, you could add titles or mix the animation with other video sources.

Tips for creating FLV and F4V files

Follow these guidelines to deliver the best possible FLV or F4V files:

 Work with video in the native format of your project until your final output

If you convert a pre compressed digital video format into another compressed format such as the

FLV or F4V format, the previous encoder can introduce video noise. The first compressor

already applied its encoding algorithm to the video, reducing its quality, frame size, and frame
 rate. That compression could have introduced digital artifacts: noise. This noise affects the final

encoding process, and a higher data rate is often required to encode a good-quality file.

 Strive for simplicity

Avoid elaborate transitions, they don’t compress well and can make your final compressed video

look “chunky” during the change. Hard cuts compress better than dissolves.

 Know your audience data rate

When you deliver video over the Internet, produce files at lower data rates. Users with fast

Internet connections can view the files with little or no delay for loading, but dial-up users must

wait for files to download. Make the clips short to keep the download times within acceptable

limits for dial-up users.

 Select the proper frame rate

Frame rate indicates frames per second (fps). If you have a higher data rate clip, a lower frame

rate can improve playback through limited bandwidth. For example, if you compress a clip with

little motion, cutting the frame rate in half can save you only 20% of the data rate. However, if

you compress high-motion video, reducing the frame rate has a much greater effect on the data

rate.

Because video looks much better at native frame rates, leave the frame rate high if your delivery

channels and playback platforms allow. For web delivery, get this detail from your hosting

service. For mobile devices, use the device-specific encoding presets and the device emulator

available through Adobe Media Encoder in Adobe Premiere Pro. If reducing the frame rate, the

best results come from dividing the frame rate by whole numbers.
 Select a frame size that fits your data rate and frame aspect ratio

At a given data rate (connection speed), increasing the frame size decreases video quality. When

you select the frame size for your encoding settings, consider frame rate, source material, and

personal preferences. To prevent pillar boxing, choose a frame size of the same aspect ratio as

the frame aspect ratio of your source footage. For example, pillar boxing results when you

encode NTSC footage to a PAL frame size.

Adobe Premiere Pro makes several FLV and F4V file presets available through the Export

Settings dialog box. These include preset frame sizes and frame rates for the different television

standards at different data rates. Experiment with the various Adobe Media Encoder presets to

find the best setting for your project. Use the following list of common frame sizes (in pixels) as

a guide:

Modem NTSC 4 x 3 162 x 120

Modem PAL 4 x 3 160 x 120

T1/DSL/Cable NTSC 4 x 3 648 x 480

T1/DSL/Cable PAL 4 x 3 768 x 576

 Stream for best performance

You can stream FLV and F4V files to eliminate download time. FLV and F4V files also have

deep interactivity and navigation capabilities when they are streamed. Streaming FLV and

F4V files allow you to monitor quality of service. You can stream FLV and F4V files with

the Flash Media Server. Alternatively, you can use a hosted service from one of the

FLV/F4V Streaming Service partners available through the Adobe website. For more

information, see “Delivering Flash Video: Understanding the Difference between Progressive

Download and Streaming Video” on the Flash Developer Center website.

 Cover progressive download times

Learn how long it takes to download enough of your video so that it can play to the end

without pausing to finish downloading. While the first part of your video clip downloads, you

can display other content that disguises the download. For short clips, use the following

formula: Pause = download time – play time + 10% of play time. For example, if your clip is

30 seconds long and it takes 1 minute to download, give your clip a 33-second buffer. The

applied formula is 60 seconds – 30 seconds + 3 seconds = 33 seconds.

 Remove noise and interlacing

For the best encoding, remove noise and interlacing. The higher the quality of the original,

the better the final result. Frame rates and sizes of Internet video are smaller than frame rates

and sizes of television video. However, computer monitors typically have color fidelity,

saturation, sharpness, and resolution at least as good as high-definition televisions. Even with

a small window, image quality can be as important for digital video as for HDTV. Artifacts

and noise are at least as obvious on a computer screen as on a television screen.

FLV files, F4V files, and SWF files are intended for progressive display on computer screens

and other devices. Interlaced displays such as TVs do not typically play FLV or F4V files.

Interlaced footage viewed on a progressive display can exhibit alternating vertical lines in

high-motion areas.

Thus, all the FLV and F4V file presets in the Adobe Media Encoder have DE interlacing

turned on by default.

 Follow the same guidelines for audio

The same considerations apply to audio production as to video production. To achieve good

audio compression, begin with clean audio. If your project contains audio from a CD,

transfer the audio files directly from the CD to your hard disk. Do not record the sound

through the analog input of your sound card. The sound card introduces an unnecessary
digital-to-analog and analog-to-digital conversion that can create noise in your source audio.

Direct digital transfer tools are available for Windows and Macintosh® platforms. To record

from an analog source, use the highest quality sound card available.

Tips for creating video for mobile devices

Use these tips when shooting content for mobile devices:

Tight shots are better. Try to keep the subject separated from the background; the colors and

values between background and subject should not be too similar.

Be aware of lighting. Poor lighting is a greater problem with mobile devices and can reduce

visibility on small screens. Shoot and adjust with this limitation in mind.

Avoid excessive panning or rolling.

Use the following tips when editing video with Adobe Premiere Pro and After Effects: Set

the frame rate for the output movie according to output device or output type. For example, a

commercial in After Effects might be rendered at 15 frames per second (fps) for distribution

on mobile devices, but at 29.97 fps for broadcast television in the USA. In general, use a

lower frame rate. A frame rate of 22 fps is a good compromise for reducing file size without

losing quality Make the movie as small as possible and remove any extraneous content,

especially empty frames. Many actions can be done pre-encoding to limit file size. Some of

them apply to shooting techniques, while others (for instance, using motion-stabilization

tools in After Effects or applying a noise-reduction or blur effect) are post-production tasks

that facilitate the compression.

7. EXPORTING PROJECTS FOR OTHER APPLICATIONS

Export a project as an EDL file

You can export a data file that describes the project and enables you to recreate it either with

related media or by using another editing system.

With Premiere Pro you can export your project as an edit decision list (EDL) in the

CMX3600 format. This format is the most widely accepted and most robust of the EDL

formats.

When you set up a Premiere Pro project from which you will export an EDL, you must

satisfy the following criteria: EDLs work best with projects that contain no more than one

video track, two stereo audio tracks, and no nested sequences. Most standard transitions,

frame holds, and clip speed changes also work well in EDLs.

Capture and log all the source material with the correct timecode.

The capture device (e.g., capture card or FireWire port) must have device control that uses

timecode. Videotapes must each have a unique reel number and be formatted with timecode

before you shoot video.

1.Open or save the project that you want to export as an EDL.

2.Make sure that a Timeline panel is active, and then choose File > Export > EDL.

3.In the EDL Export dialog box, specify which video and audio tracks you want to

export.You can export one video track and up to four audio channels, or two stereo tracks.

4. Specify the location and name for the EDL file, and click Save.

5.Click OK

Exporting AAF files

Advanced Authoring Format (AAF) is a multimedia file format that allows you to exchange

digital media and metadata between platforms, systems, and applications. Authoring
applications that support AAF, such as Avid Media Composer, read and write the data in

AAF files to the extent that they support the format.

Ensure that the project you want to export conforms to general AAF specifications and is

compatible with an Avid Media Composer product.

Consider each of the following:

The AAF files exported by Premiere Pro are compatible with the Avid Media Composer

family of editing products. These AAF files have not been tested with other AAF importers.

Transitions should appear only between two clips, not adjacent to the beginning or end of a

clip. Each clip must be at least the same length as the transition.

If a clip has a transition at both its In and Out points, the clip must be at least the same length

as both transitions combined. When naming clips and sequences in Premiere Pro, avoid using

special characters, accented characters, or characters that affect the parsing of an XML file.

Some characters to avoid include /, >, <, ®, and ü. AAF files exported from Premiere Pro and

imported into Avid Media Composer do not automatically relink to the source footage. To

relink thefootage, use the Batch Import option in Avid Media Composer.

Export an Advanced Authoring Format (AAF) project file

1. Choose File > Export > AAF.

2. In the Save Converted Project As dialog box, browse to a location for the AAF file,

and type a file name. Click Save.

3. In the AAF Export Settings dialog box, select either Save As Legacy AAF, Embed

Audio, or neither. Click OK.

4. Premiere Pro saves the sequence to an AAF file at the specified location. The AAF

Export Log dialog box opens to report any exporting issues.

About the AAF plug-in

The AAF Export plug-in converts Premiere Pro projects as follows:

 Cuts-only mono/stereo audio and video The plug-in fully supports these elements

of a project. The plug-in does not convert audio pan, gain, and level changes, and 5.1

audio. Stereo audio channels are separated into two tracks in the Avid Media

Composer sequence.

 Clip speed The plug-in converts video clip speed changes (slow, fast, reverse

playback) to the Avid Media Composer Motion Effect, which is the only supported

effect. Clip speed applied to nested sequences is also converted. Avid Media

Composer does not have an equivalent to Motion Effect for audio. If the speed

change makes the audio clip longer than the source media, the plug-in stretches the

audio clip to the same length as the rest of the source media. The plug-in begins at the

StartTime, and places filler in the gap. You can fix these portions of the sequence

manually in the Avid editing system.

 Batch captured or redigitized files The plug-in retains the tape name specified in

the AAF file. Use the Batch Record capability in Avid Media Composer to recapture

the media from tape.

 Footage of varying dimensions The plug-in exports the project at its full resolution.

However, importing scales all footage according to the resolution specified in the

Avid project.

 Nested sequences The plug-in builds the master composition from the nested

sequences recursively (because Avid Media Composer does not support linking to the

nested sequences). Therefore, in the AAF file, there’s no linking between the master

composition and the nested sequences.

 Titles The plug-in converts titles to offline media in Avid Media Composer.
 Bin hierarchy Avid Media Composer places all items into a single bin. Projects with

multiple bins convert into one bin.

 Graphic files The plug-in saves a reference to all original files, but compatibility in

Avid Media Composer is limited to the formats that it supports.(See the Avid Media

Composer documentation for information on supported graphic file formats.)

 Project elements The plug-in converts synthetic clips, such as Bars and Tone, Black

Video, Color Matte, and Universal Counting Leader to offline media in XDV.

 Sequence and clip markers The plug-in converts all sequence markers, except the

sequence In and Out markers, to locators on the timecode (TC1) track in Avid Media

Composer. The Chapter, URL, and Frame Target fields are not converted because

Avid Media Composer has no equivalents. The plug-in converts clip markers to

segment markers in Avid Media Composer.

Note: The AAF Export plug-in ignores markers located beyond the end of the

sequence.

 Current-time indicator position In the exported file, the current-time indicator

retains its original position if it is within the duration of the sequence. Otherwise, the

plug-in places the current-time indicator at the end of the Avid Media Composer

sequence.

 Grouped clips Upon import, all grouped clips are ungrouped and treated separately.

 Transitions and effects Transitions and effects exported from Premiere Pro to the

AAF format are identified uniquely in Avid Media Composer.

 Export a Final Cut Pro project XML file

Choose File > Export > Final Cut Pro XML.

In the Save Converted Project As dialog box, browse to a location for the XML file, and type

a file name. Click Save. Premiere Pro saves the sequence to an XML file at the specified

location. Also, Premiere Pro saves a log of any conversion problems in a text file also at the

same location. The log file name contains the words FCP Translation Results.(Optional) If

necessary, read the log file for descriptions of any translation issues. Exporting a Final Cut

Pro XML file from Premiere Pro CS5.5 and later turns merged clips into nested sequences in

Final Cut Pro. The XML from Premiere Pro CS5 can also be imported into Final Cut Express

4.0.1.

10. EXPORTING TO VIDEOTAPE

You can record your edited sequence onto videotape directly from your computer, for

example, to create a master tape. When you start a new sequence, you specify the format and

quality for the videotape in the Editing Mode area of the New Sequence dialog box.

You can record a sequence directly to videotape on the following devices (decks or

camcorders) as specified:

 DV devices On either Windows or Mac OS with a FireWire connection between the

device and the computer.

 HDV devices On Windows only with a FireWire connection between the device and

the computer.

 HD devices On either Windows or Mac OS, provided your computer has a supported

HD capture card, with SDI or HD component connections. Capture and export of HD

video also requires serial device control; check the third-party solution provider's

manual for details.

  Analog devices On either Windows or Mac OS, provided your computer has a

capture card, converter, camcorder, or deck that can convert your sequence to an

analog format recordable by the device. Most DV, HDV, and HD cameras; all DV,

HDV, and HD videotape recorders; and some capture cards and converters are

capable of this conversion. Some digital camcorders require that you first record the

sequence to their digital tape, and then playback the tape in the digital camcorder to

make the dub to the analog video recorder.

For device control while exporting to analog devices, you must have a device controller

installed also.

Many video capture cards include compatible plug-in software that provides a menu

command for recording to videotape. If the options you see differ from those described here,

refer to your capture card or plug-in documentation for the most efficient way to export to

tape.

Prepare for exporting to DV videotape

Before you begin, make sure the recording device (camcorder or deck) is connected to your

computer using a FireWire connection.

To give your recording deck additional time before your video sequence starts
and after it ends, add black before and after the sequence in the Timeline
window. If you plan to have a postproduction facility duplicate your
videotapes, add a minimum of 30 seconds of color bars and tone at the
beginning of the program to aid in video and audio calibration.
1. Connect the device to the computer, turn it on, and set it to VTR, VCR, or Play.

2. Start Premiere Pro, and open the project.

3. Choose Sequence > Sequence Settings, and click Playback Settings.

4. In the Export area of the Playback Settings dialog box, specify the appropriate format

in the External Device menu. Choose one of the following settings, and click OK to

close the Preferences dialog box.

 a. DV 29.97i (720 x 480) Specifies NTSC DV, which uses a timebase of 29.97 fps and

interlaced fields.

b. DV 25i (720 x 576) Specifies PAL DV, which uses a timebase of 25 fps and

interlaced fields.

c. DV 23.976i Specifies DV 24p (24 progressive) or 24pA (24 progressive advanced),

which uses a timebase of 23.976 and interlaced fields(that become progressively

scanned frames using a pull down scheme).

5. Select a 24p conversion method.

6. Close other programs that might be running on your computer. Your computer is now

ready to export your sequence directly to tape.

Export a sequence to tape with device control

Before you export to videotape using device control, make sure that both the computer and

the camera or deck is set up properly, as you would when capturing video with device control.

If you’re using equipment that comes with its own software plug-in for use with Premiere

Pro, it may provide device control options different from those described here, and in

different locations.

Before you can export a sequence to an HDV device, you must first transcode it to HDV

format. Premiere Pro does this transcoding automatically just before exporting the sequence

to an HDV device.

1. Make sure that your video recording device is on and that the correct tape is in the

device. If necessary, locate and note the timecode for the location at which you want

to begin recording.

2. Activate the sequence you want to export, and position the work area bar over the

section of the sequence you want to export.

3. Choose File > Export > Export To Tape.

4. To let Premiere Pro control your deck, select Activate Recording Device and do any

of the following:

a. To specify a particular frame on the tape to start recording, select Assemble At

Timecode and type the In point. If you don’t select this option, recording begins at

the current tape location.

b. To synchronize a device’s timecode with the recording start time, select Delay

Movie Start and type the numbers of frames that you want to delay the movie.

Some devices need a delay between the time they receive the record command

and the time the movie starts playing from the computer.

c. To have Premiere Pro roll the tape before the specified start time so that the deck

can attain a constant speed, select Preroll and type the number of frames you want

the tape to play before recording begins. For many decks, 150 frames is sufficient.

5. In the Options section, select any of the following options:

 Abort After Dropped Frames Ends export automatically if a specified number

of frames is not exported successfully. Specify the number in the box.

 Report Dropped Frames Generates a text report alerting you to dropped frames.

 Render Audio Before Export Prevents sequences containing complex audio

from causing dropped frames during export.

6. Click Record, or, for HDV devices click Render And Record.

 If exporting to an HDV device, a rendering dialog box will open with a progress

bar showing the progress of the transcode to HDV. Typically, export to tape will

begin when transcoding is about 50% done.

 7. If you don’t need to perform any more recordings after the Recording Successful

message appears in the Status option, click Cancel to close the Export To Tape dialog

box.

Export a sequence to tape without device control

You can export to videotape without device control by operating the playback controls in

Premiere Pro and the recording controls on the device itself.

1. Activate the sequence you want to export.

2. Make sure that the sequence plays back on your deck or camera. If it does not, review

the steps for preparing for exporting to tape (See Prepare for exporting to DV

videotape), or see the documentation for your analog device.

3. Make sure that the video recording device is in Record-Pause mode, and that the tape

is cued to the point where you want to start recording.

4. Position the current-time indicator at the beginning of the sequence (or work area, as

needed).

5. Press the Record or Pause button on the device, as needed to put the device into

Record mode.

6. Press the Play button in the Program Monitor.

7. When the program finishes, press the Stop button in the Program Monitor, and then

press Stop on the device.

SELF ASSESSMENT QUESTIONS

1. What are the types of exporting?

2. How to export Still Image Write the work flow?

3. What is smart rendering?

4. Can we export to other editing software’s how?

3. How to export to Video tape?

4. How to export FLV file?

5. What is encore used for?

6. What should be the resolution if we are using Cable internet and want

to use PAL 4 x 3?

7. What should be the time field and resolution if we want to export to

DV 25i standard tape?

8. How to export to Panasonic p2 format ?

 References

 https://helpx.adobe.com/premiere-pro/using/exporting-projects-

applications.html

 https://www.youtube.com/watch?v=HSx4w-tzApY

 https://www.youtube.com/watch?v=j2j5dnlDmos

 http://www.premiumbeat.com/blog/pro-tip-exporting-a-finished-video-from-

premiere-pro/

 http://www.mediacollege.com/adobe/premiere/pro/export/

 https://helpx.adobe.com/premiere-pro/using/workflow-overview-

exporting.html

 https://helpx.adobe.com/premiere-pro/how-to/export-sequence-clip-premiere-

cc.html

 https://helpx.adobe.com/premiere-pro/using/export-still-image.html
 Unit 9

Internship

Written By: Umer Mehmood

Reviewer: Zahid Majeed
 CONTENT
About the program

1. Internship Introduction
1.1 Internship criteria
1.2 Why Internships
1.3 Benefits to Department
1.4 Benefits to Students
2. Internship coordinator

3. Interns
3.1 How to Begin
3.2 How to Apply
3.3 Responsibilities
3.4 Intern Rights
4. Internship Completion

5. Supervising an intern

6. Training

7. Orientation

9. Evaluations

10. Internship Completion

11. Frequently asked questions

Student Intern Evaluation form

Supervisor Evaluation of Student Internship
INTERNSHIP INTRODUCTION

Internships are mostly positions providing students withpractical experience. A media

department can offer internships to students as volunteers or for academic credit.

Departments employ interns during the school throughout the year. Students can earn

work experience by participating in an internship.

Interning in the related field will stand out on a student’s resume and help them with their

job search after graduation. Participating interns gain on-the-job training that integrates

education, career development and public service, while agencies hosting interns benefit

from the contributions of creativeand innovative students.

Everyone a student meets during the course of their internship is now a contact. These

people can help guide their career path as they make their way into the business world.

These people know other people in the industry as well and can provide introductions.

The fellow interns they meet may also become great contacts in the future.

Internships allow students the opportunity to apply their knowledge and skills in

aprofessional setting. Internships offer carefully planned and monitored work

experiencewith the goal being togain additional knowledge fromon the jobexposure.

Internships is a part of theeducational program in which students can earn academic

credits. Internships may be arranged independently from the curriculum in which students

would gain work experience only.

 1.1 Internship Criteria

Following is the criteria to meet for internships. According to certain standards listed
below:

 Interns are not guaranteed a job at the end of the internship

 Interns must receive training from the company.
 Interns must get hands-on experience with equipment and processes used in the
industry.
 Interns' training must primarily benefit them, not the company.

1.2 Why Provide Internships?

Following are the few reasons for providing internship

 Internships allow students the opportunity to apply their knowledge and skills in a
 Professional setting while still doing course.
 Internships offer carefully planned and monitored work experience with the goal
being togain additional knowledge from on the job exposure.
 Internships may also be part of an educational program in which students can earn
academic credits from their college. Internships may be arranged independently
fromthe curriculum in which students would gain work experience only.

1.3 Benefits to Department

• Immediate assistance to support projects

• Students will provide new ideas and viewpoints
• Salary Savings = No cost to department
• Effective public relations ambassadors for department; Recruitment and
Workforce Planning
• Department/University ties are strengthened and communication is improved
 • Employees can be relieved from performing minor or routinetasks allowing them
to perform higher priority work.
• Students energize a workplace with their enthusiasm and desire to learn.

1.4 Benefits to Students

• Career related experience

• Gains practical knowledge
• Opportunity to explore career avenues
• Valuable work experience for their resumes
• Potential to earn academic credit
• Increased self-confidence
• Enhances conventional classroom learning methods
• Letter of recommendation from departments supervisor
• Obtain references from co-workers

2. Internship Coordinator

The Internship coordinator will:

• Conduct on-campus recruiting to ensure students are aware that the department is
offering internship opportunities.
• Advertise the department’s recruitment opportunities.
• Coordinate the recruiting and screening of intern applicants.
• Assist in the selection of interns.
• Promote internship opportunities within the department.
• Serve as the contact regarding the department’s internships.
• Review and revise the department’s internship procedures as needed.
• Serve as a liaison between intern supervisors and university.
 3. Interns

• Internships allow students the opportunity to apply their knowledge and skills in a
professional setting while still completing course.
• Internships offer carefully planned and monitored work experience with the goal
being togain additional knowledge from on the job exposure.
• Internships may also be part of an educational program in which students can earn
academic credits from their college. Internships may be arranged independently
from the curriculum in which students would gain work experience only.

3.1 How to Begin

Interns should:

• Analyze their skills, values and interests to determine the location and working
environment desired.
• Prepare a resume and cover letter and have them critiqued at their career center.
• Network with alumni, college professors, friends, and family.

3.2 How to Apply

Internships are defined at the end of the course through departments, at Student
Internship Positions. Please follow the directions on each individual internship flyer.

3.3 Responsibilities

Interns should:

• Adhere to agency policies, procedures, and rules governing professionalbehavior.

• Be punctual, and work the required number of hours at times agreed to by the
intern and their supervisor.
• Notify their supervisor if they are unable to attend as planned.
 • Behave and dress appropriately to the particular workplace.
• Respect the confidentiality of the workplace, its clients and its employees.
• If things are slow, take the initiative and volunteer for different tasks or other
work.
• Discuss any problems with their supervisor and, if necessary, with the Internship
coordinator at the department.
3.4 Intern Rights

Unpaid interns have the same legal rights as employees inregards to protection against
discrimination and harassment. However, interns do nothave the same rights as
employees in the realms of unemployment compensation or termination procedures.

4. Internship Completion

At the end of the internship:

• The intern supervisor will provide the student with a letter of recommendation.
• The student Intern will evaluate the overall internship experience. The evaluation
form must be returned to the internship coordinator.

5. Supervising an Intern

An intern will have a designated site supervisor who is responsible for providing
orientation and supervision. This will be someone, available to the student on a regular
basis, and possesses expertise in the area in which the intern will work. Even if the intern
will rotate through various departments in order to gain broad-based experience, there
still will be a single overall supervisor who oversees the internship as a whole. Dear
student on choosing a supervisor, it is important to choose someone who is interested in
working with university students; has the time to invest in the internship, especially
during the first few weeks; and possesses qualities such as leadership, strong
communication skills, and patience.
Because an internship is defined as a learning experience, proper supervision of the intern
is essential. The supervisor is very important element in internship and he/she will be
serving as a teacher, mentor, critic, and boss. Ongoing supervision of the student intern is
the key to the success of the internship. This is especially true for students who do not
have extensive work experience.

Acknowledging and identifying the different expectations between the workplace and
school will help interns make a successful transition to the world of work.

An effective method of intern supervision is to have a set time to meet with the intern to
review progress on projects, touch base, and provide feedback. Some supervisors do this
over lunch; others choose a more formal setting.

The supervisor will oversee and assign the student intern’s work. Supervisors will need to
monitor the intern’s time and submit an intern evaluation form provided by the intern’s
college for those receiving academic credit. The intern supervisor will also provide the
student with a letter of recommendation.

6. Training

Training is as important as supervision. Establishing a training program will give the

interns a clear understanding of what is expected, and information about the duties that
will be supervised and evaluated.

The course coordinator of your course will designate a supervisor at Institute of

Educational Technology, Allama Iqbal Open University, Islamabad, Pakistan to oversee
and assign the student intern’s work.

Discuss the following with interns:

• What will the specific duties/responsibilities of the intern be?

• How will you provide the intern with regular feedback, guidance, and support?
• What training will the intern receive (if applicable)?
 • What will the intern need to do if they will be absent from work?
7. Orientation

Establish goals and objectives, and clarify these goals and objectives before the intern
begins working. Some interns need more guidance than others, and many factors must be
taken into consideration. Consider the intern’s cultural background, disabilities, learning
style and experience. Evaluate his or her level of maturity and confidence. Is the intern a
critical thinker or a creative problem-solver?

Plan to include the following in your orientation:

• Information about the organization. The university will review documents that
are important for them to understand the big picture. If available, include an
organizational chart that explains various roles and responsibilities of employees.
• Structure. Interns might not be familiar with formal workplace procedures (e.g.,
attendance policies, break times, days off). Make sure to clarify relevant policies
and procedures to interns on their first day.
• Introductions. Take time in the beginning of the internship to introduce the
intern to the people in your program. Allow more time for conversation with those
employees who are likely to interact with the intern on a regular basis. Some
interns, based on personality or culture, may be reluctant to seek out co-workers
on their own. By making a special effort to encourage those contacts early on,
interns will feel more comfortable asking for advice or support later.

8. Ongoing Training

Interns, as students, appreciate any opportunity to learn new skills or increase their
knowledge. Developing a plan for training throughout the internship will keep students
interested in the position and ready to tackle new challenges. Ongoing training may
include the following:
 • Skill development. There may be a need for training in specific skills such as
computer programs, office equipment, or other tasks directly related to the job.
Even bright students with great potential will struggle if they are not instructed in
the specifics related to successful completion of duties.
• Shadowing. Allow interns to participate in activities and meetings. Interns may
have leadership potential but not understand the culture of your organization.
They will rely on their supervisor to educate them.
• Questions. Interns might not know when to speak or how or what to ask. Assist
them in actively learning by explaining and clarifying everything. Suggest and
encourage questions at appropriate times.
• Professional conferences or association meetings. If possible, offer interns the
opportunity to attend training or networking events. It helps interns to get a feel
for the overall mission of your organization, and at the same time make them feel
that they are valued.

9. Evaluations

Evaluation is important to an intern's development and is an opportunity to identify

strengths and weaknesses. It is helpful if supervisors evaluate throughout the entire
internship, not just at the end. The evaluation should be planned as a learning experience
and an opportunity for two-sided feedback.

Regularly scheduled evaluations help avoid common problems with internships,

including miscommunication, misunderstanding of job roles, and lack of specific goals
and objectives. You may find it helpful to schedule a preliminary evaluation early in the
internship. This will help you understand whether the intern's orientation and training was
sufficient or if there are specific areas in which the intern has questions or needs further
training.

Criteria to consider when evaluating an intern:

 • Progress towards or accomplishment of learning objectives as stated in the
learning agreement.
• Skill development or job knowledge gained over the course of the internship.
• Overall contribution to the mission of the organization.
• Dependability, punctuality, attendance.
• Relations with others, overall attitude.
• Potential in the field.

The student will also evaluate the internship experience, which is important
indetermining the value of the work experience for future interns. Categories might
include:

• Was there educational value or merit in the assignment?

• Did the position live up to its initial description?
• Was the supervisor receptive to your ideas?
• Does the experience relate to your major or career goals?
• Did you receive a proper job orientation?
• Was the supervisor willing and/or capable of answering questions?
• Did you develop good work habits?

10.Internship Completion

An internship should have a clearly stated end date that is identified before the internship
begins. Completing a formal evaluation process such as the one described above can help
both the site supervisor and the intern bring closure to the experience. A letter of
recommendation from the Intern supervisor shall be given to the intern on the last day of
work.

You also may want to have some form of acknowledgment such as a lunch with
coworkers in the final week of the internship. Because co-workers often have extensive
contact with interns, this type of event can be a positive way to recognize the contribution
of other employees as well as the intern.

At the end of the internship, the intern supervisor will:

• Provide the student with a letter of recommendation.

• Complete college/university evaluation to assess the intern's progress and skill
development (if applicable).
• Evaluate the overall internship experience. This feedback is not only essential for
making necessary program improvements, but also for recognizing those
departments that provide outstanding learning opportunities. The evaluation form
must be returned to the internship coordinator.
11.Frequently Asked Questions

Why should I look at an internship?

Internships allow students the opportunity to apply their knowledge and skills in a
professional setting. Students will gain valuable work experience and the opportunity to
explore career avenues.

How do I find an internship?

The department advertises their intern positions at local radio stations and production
houses.

Is my internship paid?

There are no paid positions available. The department will provide internships to students
as volunteers or for academic credit.

What happens at the end of my internship?

You will receive a letter of recommendation from your internship supervisor. You will
also have an opportunity to evaluate the department’s internship program.
 Institute of Educational Technology

Student Intern Performa

Intern's Name:___________________________________________________________

Semester of Internship: □ Spring □ Autumn

Year: ______________

Intern’s Supervisor: __________________________________________________

What resources did you use to find your internship? (Check all that apply)

□ Career Services Office/Internship Coordinator □ Faculty □ Internet Site

□ Family Friend □ Other: _______________________________________________

Internship field:
_____________________________________________________

Project Title: ___________________________________________

_____________________________________________________

____________________________________________________________

Details of the final project: ______________________________

______________________________________________________

_________________________________________________________________________________
Department ____________________________ Date ________________________

This evaluation is completed by the student.

Please rate the following aspects of your Internship placement on the basis of this scale:

Excellent (Consistently exceeds expectations) Good (Sometimes exceeds

expectations)
Average (Meets expectation) Poor (Rarely meets expectations)

N/A Not Applicable (Not applicable to this internship experience)

Select one evaluation level for each area by marking an “X” under the level that
represents the internship.
Comments if any

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
Would you work for this supervisor again?

Yes No Uncertain

Would you work for this agency where doing internship again?

Yes No Uncertain

Would you recommend this agency where doing internship to other students?

Yes No Uncertain

Why or why not?: _____________________________________________________

____________________________________________________________________

____________________________________________________________________

____________________________________________________________________

Intern’s Signature: _________________ Date: ______

Thank you very much for completing this evaluation of your internship. We take
your comments very seriously. Please return this evaluation to the university.
Supervisor Evaluation of Student Internship

Intern's Name: ________________________________________

Intern's Supervisor: ____________________________________

This internship started on (date) ______________________and

will be as completed on (date) ____________________________

Do you permit the student to receive a copy of this evaluation?

Yes ___ No ___

Please rate the following aspects of your Internship placement on the basis of this scale:

Excellent (Always demonstrates this ability/consistently exceeds expectations)

Good (Usually demonstrates this ability/sometimes exceeds expectations)
Average (Sometimes demonstrates this ability/meets expectation)
Poor (Seldom demonstrates this ability/rarely meets expectations)
N/A Not Applicable (Not applicable to this internship experience)
Evaluation of personal qualities of the intern observed during the internship. Select one
evaluation level for each area by marking an “X” under the level that represents the
intern’s performance.
Comments about the project

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

Would you supervise this intern again?

Yes No Uncertain

Would your agency host this intern again?

Yes No Uncertain

Would you recommend this student to other organizations?

Yes No Uncertain
Why or why not? ___________________________________________________

__________________________________________________________________

__________________________________________________________________

__________________________________________________________________

Evaluator’s Signature: ___________________ Date: ______________________

Title/Position: _____________________Telephone: ________________________

Thank you very much for completing this evaluation of your intern. We take your
comments very seriously. Please return this evaluation to the FAX number or address
listed above.