Mercury Playback Engine improvements. Efficient ingest and logging with Adobe Prelude. Multicam improvements. Improved trimming. Continuous playback. For an explanation and tips on speeding up previews in Premiere Pro, see this video on the video2brain website. Most of these software modules are. Hurricane Harvey, the Category 4 storm that barreled into southeastern Texas on Friday evening, has shut down approximately a quarter of US gas production in the Gulf.

• Chapter 1: Copyright. • The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo- rated. • Contents Chapter 1: Getting started with Adobe Premiere Pro 2.0 Installation and registration.... 1 Adobe Help Center.

•..155 To copy and paste between Adobe After Effects and Adobe Premiere Pro. • Designing titles for television..206 Adding text to titles. • Exporting to files...

378 Adobe Media Encoder. • Registering your product also gives you access to the wealth of tips, tricks, and tutorials in Resource Center and access to Adobe Studio Exchange, an online community where users download and share thousands of free actions, plug-ins, and other content for use with Adobe products. • “To view support documents” on page 3 To check for updates Adobe periodically provides updates to software and to topics in Adobe Help Center. You can easily obtain these updates through Adobe Help Center. An active Internet connection is required. • The complete documentation for using your Adobe product is available in Help, a browser-based system you can access through Adobe Help Center.

Help topics are updated periodically, so you can always be sure to have the most recent information available. For details, see “To check for updates” on page 2.

• To search Help topics Search using words or phrases to quickly find topics. You can search Help for one product or for all Adobe products you’ve installed. If you find a topic that you may want to view again, bookmark it for quick retrieval. • Search tips The search feature in Adobe Help Center works by searching the entire Help text for topics that contain any of the words typed in the Search For box. These tips can help you improve your search results in Help: •.

• Resource Center provides a wealth of tips, tricks, tutorials, and instructional content in video, PDF, and HTML formats, authored by experts from Adobe and its publishing partners. You can search the entire collection or sort by product, topic, date, and type of content; new content is added monthly. Resource Center is available in English. • Adobe software certification programs; and more. • Visit the Adobe user forums, where users share tips, ask questions, and find out how others are getting the most out of their software. User forums are available in English, French, German, and Japanese from the main Support page of your local Adobe website. • Here’s a quick look at some of the new features that help make Adobe Premiere Pro 2.0 an integral part of Adobe’s comprehensive solution for even the most demanding productions.

• Adobe Premiere Pro. Additionally, users of Adobe Production Studio can use Dynamic Link. With Dynamic Link, you don’t need to render an After Effects composition to view and edit it in an Adobe Premiere Pro Sequence. Send edited videos embedded in PDF files to your clients, and read their timecode-specific comments Clip notes from markers that appear in the timeline of Adobe Premiere Pro. • Chapter 2: Workflow and workspace Workflow and workspace basics Workflow overview Whether you’re using Adobe Premiere Pro to edit video for broadcast, DVD, or the web, you’re likely to follow a similar workflow. A a bc Premiere Pro workflow 1.

Start or open project 2. Capture and import assets 3. Assemble and refine sequence 4. Add titles 5. Add transitions and effects 6. • VHS to HDV.

Each file you capture to your hard disk automatically becomes a clip in your project. Project panel and Capture panel Using the Project panel, you can import a variety of digital media, including video, audio, and still images. Adobe Premiere Pro also imports Adobe Illustrator artwork or Adobe Photoshop layered files, and translates Adobe After ®. • Using the Adobe Premiere Pro full-featured Titler, create stylish still titles, title rolls, or title crawls that you can easily superimpose over video. If you prefer, you can modify any of a wide range of provided title templates.

• ADOBE PREMIERE PRO 2.0 User Guide Titler Add transitions and effects a a bc The Effects panel includes an extensive list of transitions and effects you can apply to clips in a sequence. You can adjust these effects, as well as a clip’s opacity and motion, using the Effect Controls panel.The Effect Controls panel also lets you animate a clip’s properties using traditional keyframing techniques. • For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Adobe Premiere Pro saves your adjustments in real time, on the fly. With the proper sound card, you can record audio through the sound mixer, or mix audio for 5.1 surround.

• Deliver your edited sequence in the media of your choice: tape, DVD, or movie file. With the DVD Layout panel, you can produce a DVD complete with navigational menus all from within Adobe Premiere Pro. And using the Adobe Media Encoder, even formats with extensive options—MPEG1, MPEG2, and formats for delivery via the. • As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors.

• ADOBE PREMIERE PRO 2.0 User Guide Example of workspace A. Application window B.

Grouped panels C. Panels To display menus In addition to choosing from the menus at the top of your screen, you can choose from context menus, which display commands relative to the active tool or selected item. • ADOBE PREMIERE PRO 2.0 User Guide Using tools The Tools panel contains a number of tools for editing sequences in the Timeline panel. When you select a tool, the pointer generally changes shape according to your selection. For example, when you select the Razor tool and position the pointer over a clip in the Timeline panel, the icon changes to a razor. • ADOBE PREMIERE PRO 2.0 User Guide Dragging panel (A) onto grouping zone (B) to group it with existing panels (C) To dock or group panels You dock and group panels by dragging them onto drop zones. As you drag a panel over a drop zone, the zone becomes highlighted to provide a visual reference for the drop.

• You can open a panel in a floating window. You can add panels to the floating window or otherwise modify it, as you do the application window. You can use floating windows to create a workspace like those in earlier versions of Adobe applications, or to make use of a secondary monitor. • To brighten or darken the user interface Adobe Premiere Pro lets you brighten or darken the application’s graphical user interface (GUI). For example, you may prefer to lower the brightness when working in a darkened editing suite or when making color corrections. • ADOBE PREMIERE PRO 2.0 User Guide You can save any workspace, as a custom workspace at any time.

Once saved, new and edited workspaces appear in the Workspace menu on the local computer. If a project with a custom workspace is opened on a system other than the one on which it was created, the application looks for a workspace with a matching name. • Project basics About projects A project is a single Adobe Premiere Pro file that contains sequences and references to the assets (clips, still images, and audio files) associated with the sequences. A project stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. • ADOBE PREMIERE PRO 2.0 User Guide Presets are groups of project settings. Adobe Premiere Pro comes with several groups of presets installed: Adobe SD0-SDI, Adobe HD-SDI, Adobe HDV, DV-NTSC, DV-PAL, and DV-24P.

These contain the correct project settings for the most typical project types. When creating a new project, you can either select from among the standard presets or customize a group of project settings and save the customized group as a custom preset. • Playback Settings Realtime Playback, Export, 24P Conversion Method, and Desktop Display Mode options.

You can also choose whether to disable video output when Adobe Premiere Pro is in the background, and whether to enable aspect ratio correction on external devices. • ADOBE PREMIERE PRO 2.0 User Guide • Reports time in hours, minutes, seconds, and frames, separating units with 30 fps Non Drop-Frame Timecode colons. It assumes a rate of 30 frames per second and does not drop frame numbers.

Use for output to computer displays via the web or CD-ROM. • Uses still images efficiently in sequences. For example, if a still image has a duration of 2 seconds in Optimize Stills a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Deselect this option if sequences exhibit playback problems when displaying still images. • Select the file and choose Select.

Note: Do not delete source files while you are using them as clips in an Adobe Premiere Pro project unless they were captured using device control and you plan to recapture them. After you deliver the final movie, you can delete source files.

• You set the frame and pixel aspect ratios for an Adobe Premiere Pro project when you create it. Once they are set, you cannot change them for that project. You can, however, use assets created with different aspect ratios in that project.

• 16:9 frame behind the narrower 4:3 frame so that important action is visible in the 4:3 frame (called pan & scan). In Adobe Premiere Pro, you can implement either technique by using Motion effect properties such as Position and Scale. • When you capture or import NTSC footage with the ATSC frame size of 704 x 480, the D1 frame size of 720 x 486, or the DV frame size of 720 x 480, Adobe Premiere Pro automatically sets the pixel aspect ratio for that asset to D1/DV NTSC (0.9).

• For example, if a square-pixel asset generated by a graphics or animation program looks distorted in Adobe Premiere Pro, you can correct its pixel aspect ratio to make it look right. By ensuring that all files are interpreted correctly, you can combine footage with different ratios in the same project and generate output that doesn’t distort the resulting images. • For example, suppose you generate a square-pixel asset at 720 x 540 and import it into an Adobe Premiere Pro DV project with an aspect ratio of 720 x 540. In this case, the asset will be wider than the screen when it is conformed.

• About 24P footage Because support for 24P footage is built into Adobe Premiere Pro, you need to make only minor preparations to capture, import, and export 24P projects. Adobe Premiere Pro includes project presets for 24P; after you create a 24P project, you import and capture your footage as usual. • Pro recognizes 24P modes, you can perform your capture and edits within the program. Then, you can use the Adobe Media Encoder to export the file from Adobe Premiere Pro.

After you export the file, you can open it in Adobe Encore DVD, author your DVD, and then simultaneously export the project and burn it to DVD as a 24P MPEG-2 stream. • About scratch disks When you edit a project, Adobe Premiere Pro uses disk space to store files required by your project, such as captured video and audio, conformed audio, and preview files that you create manually or that are created automatically when exporting to certain formats. • • Set up scratch disks on one or more separate hard disks. In Adobe Premiere Pro, it’s possible to set up each type of scratch disk to its own disk (for example, one disk for captured video and another for captured audio). • To correct mistakes In case you change your mind or make a mistake, Adobe Premiere Pro provides several ways to undo your work.

You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window. • ADOBE PREMIERE PRO 2.0 User Guide To work with the History panel ❖ Do any of the following: • To select a state, click the name of the state in the History panel. • To navigate in the History panel, drag the panel’s slider or scroll bar; or choose Step Forward or Step Backward from the panel menu. • Bridge to organize, browse, and locate the assets you need to create content for print, the web, television, DVD, film, and mobile devices. Bridge keeps native Adobe files (such as PSD and PDF) as well as non-Adobe appli- cation files available for easy access. • For example, if you choose File >Browse from within Adobe Premiere and then double-click a Photoshop file, the file is added to the Premiere Project panel, not opened in Photoshop.

• ADOBE PREMIERE PRO 2.0 User Guide By default, the Compact mode Bridge window floats on top of all windows. (In Full mode, the Bridge window can move behind application windows.) This floating window is useful because it is always visible and usable as you work in different applications. • You can save the current Bridge layout (that is, the work area configuration) as a workspace and reuse it later. By saving Bridge in various configurations, you can work in (and quickly switch between) different layouts of the work area. For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign files. • Look In menu. Sets the language used in the Bridge interface.

Language Opens camera raw files in the Adobe Camera Raw dialog box in Double-Click Edits Camera Raw Settings In Bridge Bridge. Places the two cache files created for each folder you view in a centralized folder.

A Use A Centralized Cache File centralized cache is generally easier to use than a distributed cache. • Depending on the view you’re in, you can display extra file information by positioning the pointer over a thumbnail in the content area.

For files in Version Cue projects (Adobe Creative Suite 2 only), you can also choose File. • Show Folders to display folders as well as individual files. • Show All Files to display all files regardless of type, even non-Adobe files that Bridge doesn’t normally display. • Show Graphic Files Only to display only files in graphic file formats, such as EPS, JPEG, BMP, PS, TIFF, and GIF. • Note: If you have Adobe Creative Suite 2, you can also use Adobe Version Cue from Bridge to manage files you author. You can create and manage revisions to files kept in Version Cue projects. Version Cue is also a convenient environment for collaborative file management in workgroups.

• ADOBE PREMIERE PRO 2.0 User Guide Drag a file or folder onto the Preview panel to display the contents of the folder in Bridge. To manage folders with Bridge ❖ Do any of the following: Choose File >New Folder. Then, enter a name when the folder appears in the content area. • (Optional) Select Include All Subfolders to expand the search to any subfolders in the source folder. (Optional) Select Search Past Versions Of Version Cue Files to include past versions of Adobe Version Cue files, as well as current ones, in the search (Adobe Creative Suite 2 only). • The Tools menu contains submenus for various commands available in the different Adobe applications. For instance, if you have Adobe Photoshop installed, you can use the commands under the Tools >Photoshop submenu to make picture packages and create Photomerge panoramas using photos you select in Bridge.

Running these tasks from Bridge saves time because you don’t have to open each file individually. • Extensible Metadata Platform (XMP) standard on which Adobe Bridge and the Adobe Creative Suite applications are built. XMP is built on XML, and in most cases the information is stored in the file so that it cannot be lost.

If it is not possible to store the information in the file itself, XMP metadata is stored in a separate file called a sidecar file. • Displays settings applied by the Camera Raw plug-in. Camera Raw Keeps a log of changes made to images with Photoshop. Edit History Lists information about images obtained from Adobe Stock Photos. Adobe Stock Photos Lists any Version Cue version information about the file. Version Cue Note: Depending on the applications you are using, custom panels for various properties may appear here as well. • Displays read-only information about the camera and settings used to take the photo, such as make, Camera Data 1 model, shutter speed, and f-stop.

The Camera Data 1 option appears only if Adobe Photoshop or Production Studio is installed. Lists read-only file information about the photo, including pixel dimensions and resolution. The Camera Data 2 Camera Data 2 option appears only if Adobe Photoshop or Production Studio is installed.

• You can modify the metadata in the File Info dialog box and save it as a template for use with other files. Create a new file using an Adobe Creative Suite or Production Studio application. This creates a file without metadata from any other source. • Bridge, select the keyword and then choose Persistent from the context menu. • To find a file using the keyword, choose Find from the panel menu.

Note: You can’t modify keywords in search results for Adobe Stock Photos. See also “To search for files and folders with Bridge” on page 49. • Stock Photos and Adobe applications, you can download images from Adobe Stock Photos directly into many Adobe applications. In the design process, you need the flexibility to try different images before deciding which one you want. Adobe Stock Photos gives you the option to download low-resolution, complimentary (comp) versions of images you’re considering.

• “To view file and folder thumbnails in Bridge” on page 45 To search for stock photos In Bridge, click Adobe Stock Photos in the Favorites pane. In the text box at the top of the screen, type the word or phrase that describes the subject of the photos you want to search for. • Note: The currency displayed in the Price & Keywords dialog box may not be the native currency of your billing country; it is the supported currency for purchases made from your country. When you purchase photos from Adobe Stock Photos, your credit card will be billed in the supported currency.

• Buying stock photos It’s simple to buy images through Adobe Stock Photos. When you find the photos you want to buy, put them in your shopping cart. The photos remain in your cart until you’re ready to complete your purchase. When you finish browsing, you can check out and have your images automatically downloaded to your computer. • • If you have an Adobe account, enter your ID and password.

• If you want to open an Adobe account, click Set Up An Account. You are prompted to enter your billing and account information. • If you want to buy the images without an account, click Continue As Guest. You are prompted to enter your billing information. • Stock Photos Accounts Benefits of Stock Photos accounts Creating an Adobe account makes purchasing photos quick and easy. When you log in with your e-mail address and password, you can work with your account in several ways: After you complete the registration process, modify your account information anytime by Manage your profile clicking the Your Account link in the navigation bar. • • To sign up to get e-mail from Adobe Stock Photos about promotions or other special information, select the check box.

To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click Return To Your Account. • In the Your Order History page, click the order number (highlighted in blue) of the photo you want to download again. In the Order Detail page, click the arrow under Download. The photo is downloaded.

By default, purchased images are located at My Documents/AdobeStockPhotos/Purchased Images (Windows) or Documents/Adobe- StockPhotos/Purchased Images (Mac OS). • Country menu. The currency displayed next to the Billing Country menu may not be the native currency of that country (not all currencies are supported). Instead, it’s the currency Adobe allows for that country. Your credit card is billed in the supported currency. • All digital camcorders and decks record video in digital formats, but it must be captured (transferred to disk) before Adobe Premiere Pro can use it in a project. Adobe Premiere Pro’s capture function, in conjunction with a digital port or capture card (for example, IEEE 1394 or SDI), can capture digital video from tape and save it to disk as files that you can then add to your project.

• File size limits Adobe Premiere Pro does not limit the size of files. However, your capture card, operating system, or hard disk may set such a limit. Check your capture card and hard disk documentation for information on support of large files. • User Guide Supported file formats for import Adobe Premiere Pro can import a number of video and audio formats.

It also supports 10-bit color depth, necessary for editing standard and high-definition footage. File format support is provided by plug-in software modules. Most of these software modules are installed automat- ically with Adobe Premiere Pro.

• About device control You can use Adobe Premiere Pro’s device control to simplify and automate video capture and to export sequences to tape. Device control lets you precisely control devices, such as decks and camcorders, with capture and batch capture controls.

• To set up a device for device control Adobe Premiere Pro supports the control of devices such as camcorders and VTRs. It controls DV and HDV devices by way of IEEE 1394 connections and serially controlled devices by way of RS-232, RS-422, LANC, or Control-M controllers installed on a given computer. • User Guide In the Device Control section of the Settings pane, specify the following options as needed: Indicates how much before the In point Adobe Premiere Pro starts playing the tape before capture.

The Preroll Time appropriate value varies depending on the device you are using. • AJA HD SDI card. • A codec (compressor/decompressor) for the type of data you need to capture. Adobe Premiere Pro has its own codecs for importing DV and HDV footage. Plug-in software codecs are available for other types.

Hardware codecs are built into some capture cards. • To capture without device control If you do not have a device that can be controlled by Adobe Premiere Pro, you can capture video manually. You have to operate both the playback device controls and the Capture panel controls in Adobe Premiere Pro. • Video is captured and stored at the quality you determine and always plays at that quality on an NTSC or PAL monitor. On slower systems, Adobe Premiere Pro may lower the quality of the capture preview in order to ensure that sufficient CPU resources are available for full-quality capture.

• About capture card settings Some of the capture settings you see in Adobe Premiere Pro may be from the plug-in software that came with your digitizer/capture card. Because of the differences among brands of cards, specific options and supported formats can vary.

• If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would with a digital source. To help determine the effects of your compression settings on the data rate of the captured video, use the Adobe Premiere Pro Data Rate graph. Record Enable button for track B. Record button for Audio Mixer In the Audio Mixer, click the Record button for the sequence.

Adobe Premiere Pro prepares the sequence for recording but moves the playhead only when you press the Play button. • Batch Capture. If you organized offline clips into bins, you can batch capture an entire bin by selecting the bin. Adobe Premiere Pro can capture video in the background so that you can perform other tasks during capture.

When you start either a manual capture or batch capturing in Adobe Premiere Pro, you can minimize the Adobe Premiere Pro application or switch to another application without stopping capture. • In the Capture panel, make sure that your device is online, as indicated above the preview. Insert a tape into your device.

Adobe Premiere Pro prompts you to name the tape. Be sure not to give any two tapes you log the same name. • • Set options on the Logging pane of the Capture panel. Adobe Premiere Pro uses the current data in the Setup and Clip Data sections as defaults for subsequent logged clips. If you want to log a series of clips into the same bin with similar logging data, save work by specifying clip data before you start logging the series. • For example, if a clip’s settings specify capture at a frame size of 720 x 480 in a project with a frame size of 320 x 240, Adobe Premiere Pro captures the clip at 720 x 480 unless you change its default. • When you import a batch list, the order of fields in the list must be as follows: tape name, In point, Out point, clip name, and comment.

When you export offline files as a batch list, Adobe Premiere Pro orders the fields as follows: tape name, In point, Out point, clip name, log note, description, scene, and shot/take. • For Tape Name, type the name of the tape containing the source video for the offline clip. For File Name, type the name of the file as you want it to appear on disk when you capture it using Adobe Premiere Pro. • In editing, if you log a capture In point such as 00:00:01:09 but that number occurs on the tape two or three times because of timecode restarts, Adobe Premiere Pro can’t be certain which 00:00:01:09 is the place to start its capture. • ADOBE PREMIERE PRO 2.0 User Guide To ensure that you always shoot continuous timecode, record at least 5 seconds of extra video past the end of the action in any shot. If you review a clip in the camera, be sure to rewind the tape back into that 5-second margin before recording again.

• As you capture and edit video, you enter timecode values many times. For example, you enter timecode values to set In and Out points for clips and to navigate the Timeline panel. Adobe Premiere Pro provides many ways to enter timecode. • You can complete an offline edit of, for example, an HD project with Adobe Premiere Pro and then export your project to the Advanced Authoring Format (AAF) or EDL for transfer to an editing system with more powerful hardware. • Logging pane of the Capture panel. You can use CD audio (CDA) files in a project, but before you can import them into Adobe Premiere Pro, you need to convert them to a supported file format, such as WAV.

You can convert CDA files using an audio application such as Adobe Audition ®. • “About aspect ratio” on page 29 Importing Photoshop images You can import files from Adobe Photoshop 3.0 or later. Adobe Premiere Pro supports 16-bit as well as 8-bit Photoshop files. You can control how layered Photoshop files are imported.

Empty (transparent) areas of nonflat- tened Photoshop files are transparent when imported into Adobe Premiere Pro, because the transparency is stored as an alpha channel. • Converting layers into a sequence makes it easy to set up graphics using layers in Photoshop or Illustrator. When Adobe Premiere Pro converts layers to a sequence, the sequence is imported into the Project panel as a bin; each layer in the file becomes an individual clip in the bin. • For best results, create files with a frame size at least as large as the frame size of the project so that you don’t have to scale up the image in Adobe Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. • (PLB) is a file apart from any project file.

Although Adobe Premiere Pro doesn’t directly support libraries, it allows you to import PLB library files. A library converts to a bin when you import it into an Adobe Premiere Pro project. • Chapter 6: Managing and viewing assets Customizing the Project panel To change Project panel views After you obtain an asset, its name appears in the Project panel.

The Project panel lists detailed information about each asset in your project. You can view and sort assets in either List view or Icon view. List view displays additional information about each asset. • Rearrange columns by dragging them horizontally in the Project panel. Note: If you can’t locate or change a column attribute in the Edit Columns dialog box, the attribute is locked by Adobe Premiere Pro and cannot be changed. For example, you can change the names of columns you added, but not the names of columns built into Adobe Premiere Pro. • Location of the file on disk, expressed as a folder path.

File Path Indicates whether a file has capture settings assigned in Adobe Premiere Pro. Capture Settings Whether an asset is online or offline. If a clip is offline, this also indicates why.

• • To move an item into a bin, drag the item to the Bin icon. You can move bins into other bins to nest them. In Adobe Premiere Pro 2.0, dropping an item into a bin does not automatically open the bin. • About clip properties Adobe Premiere Pro includes clip analysis tools that you can use to evaluate a file in any supported format stored inside or outside a project. For example, after producing a video clip to be streamed from a web server, you can use clip analysis tools to determine whether a clip you exported has an appropriate data rate for Internet distribution. • To change the frame rate of a file You can use the Interpret Footage command to change the frame rate that Adobe Premiere Pro assumes for a clip.

Changing the frame rate changes the original duration proportionally. For example, if you set a 10-second, 24-fps clip to 48 fps, it becomes half as long, with a new duration of 5 seconds.

• ADOBE PREMIERE PRO 2.0 User Guide Choose File >Interpret Footage, select a Frame Rate option, and click OK. Source and Program Monitors About the Source and Program Monitors The Source Monitor plays back individual clips. In the Source Monitor you prepare clips that you want to add to a sequence by specifying In and Out points and the clip’s source tracks (audio or video).

• ADOBE PREMIERE PRO 2.0 User Guide Choosing a clip to view from the Source menu To clear a clip from the Source monitor, in the Source menu, choose Close to clear or Close All to clear all clips. You can also close the current clip by clicking the Close button in the Source Monitor tab. • ADOBE PREMIERE PRO 2.0 User Guide tuted. When no Out point is set, the Source Monitor uses the ending time of the clip to calculate duration, and the Program Monitor uses the ending time of the last clip in the sequence to calculate duration. • ADOBE PREMIERE PRO 2.0 User Guide To change magnification The Source and Program Monitors scale video to fit into the available area. You can change the magnification setting for each view to see the video in more detail, or to increase the size of the pasteboard area around the image (to adjust motion effects more easily, for example).

• ADOBE PREMIERE PRO 2.0 User Guide To use the waveform monitor and vectorscope displays most effectively, view them in a reference monitor that is ganged to the Program Monitor. See “To gang the Reference Monitor and Program Monitor” on page 105. • ADOBE PREMIERE PRO 2.0 User Guide To move to a different frame in a time ruler Note: When using keyboard shortcuts to move in a time ruler, make sure the panel you want is active. ❖ Do any of the following: •. • ADOBE PREMIERE PRO 2.0 User Guide To match a frame While editing in the Timeline panel, you might locate a frame in a sequence clip that you want to display in the Source Monitor.

❖ In the Timeline panel, position the current-time indicator over the desired frame in a clip and double-click the clip. • ADOBE PREMIERE PRO 2.0 User Guide To gang the Reference Monitor and Program Monitor You can gang the Reference Monitor and the Program Monitor so that changes in the edit point of one are reflected in the other. ❖ Do one of the following: •. Preview the sequence.

As you assemble a sequence, you can preview it in the Program Monitor. Adobe Premiere Pro can play back the assembled sequence in real time as you build it, but in some cases you may need to render the sequence for better playback. • ADOBE PREMIERE PRO 2.0 User Guide For a tutorial on trimming clips, go to Resource Center on the Adobe website. Adobe periodically provides updates to software and Help. To check for updates, click the Open Preferences Dialog button in Adobe Help Center, and then click Check For Updates.

• ADOBE PREMIERE PRO 2.0 User Guide Sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing. Multiple audio tracks are used to mix audio. You can specify the type of audio channels supported by each audio track and decide how they are sent to a Master audio track. • ADOBE PREMIERE PRO 2.0 User Guide See also “To play video in the Source and Program Monitors” on page 102 To position the current time in the Timeline panel ❖ Do any of the following: • In the time ruler, drag the current-time indicator or click where you want to position the current-time indicator. • ADOBE PREMIERE PRO 2.0 User Guide To zoom out in the Timeline panel ❖ Do one of the following: • Select the Zoom tool, and then Alt-click an area in the Timeline panel.

• Drag the zoom slider to the left, or click the Zoom Out button •. • ADOBE PREMIERE PRO 2.0 User Guide Right-click the clip containing the keyframe properties you want to view. Choose Show Clip Keyframes, and then choose the effect containing the keyframes you want to view. To set a sequence’s starting time By default, each sequence’s time ruler starts at zero and measures time according to the video frame count you specified in the project settings. • ADOBE PREMIERE PRO 2.0 User Guide Displays the name of audio clips without waveforms. Show Name Only Note: For information about viewing and adjusting keyframes in video and audio tracks, see “Displaying keyframes in the Timeline panel” on page 232. • ADOBE PREMIERE PRO 2.0 User Guide To 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. • ADOBE PREMIERE PRO 2.0 User Guide You can perform trimming tasks to a range of selected clips or grouped clips just as you would a single clip.

The range or group acts as a single clip; you can trim its outer edges (the In point of the first clip and the Out point of the last clip), but not the interior edges (the In and Out points of each clip in the selected range or group). • ADOBE PREMIERE PRO 2.0 User Guide Viewing In and Out frames simultaneously in the Source Monitor To cue to an In or Out point You use the Source Monitor to cue a frame for a clip and the Program Monitor to cue the current frame for a sequence. • ADOBE PREMIERE PRO 2.0 User Guide About insert and overlay edits An overlay edit adds a clip by replacing any frames already in a sequence starting from the edit point and extending for the length of the clip. Overlay is the default method when dragging a clip to a sequence or when rearranging clips in a sequence. • ADOBE PREMIERE PRO 2.0 User Guide Includes video only in the sequence.

Take Video Includes audio only in the sequence. Take Audio Note: Specifying a source track affects a clip only while adding it to a sequence. It doesn’t change the state of clips or their source media.

• ADOBE PREMIERE PRO 2.0 User Guide To insert a clip and not shift clips in other tracks, Ctrl-Alt-drag the clip into the track. You can drag video clips to any video track; however, you can drag audio clips only to a compatible audio track. • Drag a clip from the Project panel or Source Monitor into the blank space above the topmost video track (for a video or linked clip) or below the lowest audio track (for an audio or linked clip). Adobe Premiere Pro adds an audio track, a video track, or both, depending on the content of the source clip. • In a four-point edit, you mark source In and Out points and sequence In and Out points. A four-point edit is useful when the starting and ending frames in both the source clip and sequence are critical.

If the marked source and sequence durations are different, Adobe Premiere Pro alerts you to the discrepancy and provides alternatives to resolve it. • ADOBE PREMIERE PRO 2.0 User Guide Automatically changes the source clip’s In point so that its duration matches the duration Trim Clip’s Head (Left Side) determined by the sequence In and Out points. Automatically changes the source clip’s Out point so that its duration matches the Trim Clip’s Tail (Right Side) • ADOBE PREMIERE PRO 2.0 User Guide Places the default transition (defined in the Effects panel) at each edit. This option Apply Default Video Transition is available only when the Placement option is set to Sequentially, and has no effect when the Clip Overlap option is set to zero. • ADOBE PREMIERE PRO 2.0 User Guide Program Monitor during a ripple or rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This effec- tively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence. • ADOBE PREMIERE PRO 2.0 User Guide See also “Using the Trim Monitor” on page 126 To perform a rolling edit Select the Rolling Edit tool Drag left or right from the edge of the clip you want to change.

The same number of frames added to the clip are trimmed from the adjacent clip. • ADOBE PREMIERE PRO 2.0 User Guide Program Monitor during a slip or slide edit Note: Though Slip and Slide tools are typically employed on the center of three adjacent clips, each tool functions normally even if the clip is adjacent to a clip on one side and blank space on the other. • In and Out points later in the clip. Adobe Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration. • ADOBE PREMIERE PRO 2.0 User Guide Do any of the following: • Position the pointer in the left or right image so that it becomes the Trim-out icon or Trim-in icon respec- tively, and drag left or right to ripple-edit the corresponding clip. • So naturally, a change in speed results in a corresponding change in duration. When you change the speed of a clip containing interlaced fields, you may need to adjust how Adobe Premiere Pro treats the fields, especially when the speed drops below 100% of the original speed.

• ADOBE PREMIERE PRO 2.0 User Guide To change a clip’s speed using 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 the Timeline panel.

• ADOBE PREMIERE PRO 2.0 User Guide Each interlaced video frame consists of two fields. Each field contains half the number of horizontal lines in the frame; the upper field (or Field 1) contains all of the odd-numbered lines, and the lower field (or Field 2) contains all of the even-numbered lines. • Field Settings option in the Project Settings. If you specified No Fields, Adobe Premiere Pro keeps the upper field unless you selected Reverse Field Dominance, in which case it keeps the lower field. This option is useful when freezing a frame in the clip. • ADOBE PREMIERE PRO 2.0 User Guide To select one or more clips When you want to perform an action that affects a clip as a whole, such as applying an effect, deleting a clip, or moving a clip in time, first select the clip in the Timeline panel.

The toolbox contains selection tools that can handle various selection tasks. • ADOBE PREMIERE PRO 2.0 User Guide Do one of the following: • To overlay the pasted clips, choose Edit >Paste. • To insert the pasted clips, choose Edit >Paste Insert. To enable or disable a clip You can disable a clip while you try out a different editing idea, or to shorten processing time when working on a complex projects.

• ADOBE PREMIERE PRO 2.0 User Guide To enable and disable the snap feature To make it easier to align clips with one another or with particular points in time, you can activate the snap feature. When you move a clip with snap on, it automatically aligns with, or snaps to the edge of another clip, to a marker, to the start and end of the time ruler, or to the current-time indicator.

• ADOBE PREMIERE PRO 2.0 User Guide To lift frames Lifting removes frames from a sequence and leaves a gap of the same duration as the frames you remove. ❖ Do one of the following: • To remove entire clips, select one or more clips in the sequence and press the Delete key.

• Previewing at the project’s full frame rate Adobe Premiere Pro renders a sequence when you play back the sequence in the Program Monitor. Sequences that consist of cuts between single tracks of video and audio render quickly, whereas sequences that include layered video. • This renders the segment as a new file on the hard drive, which Adobe Premiere Pro can play at the project’s full frame rate. In the Timeline panel, rendered areas are marked with a green line.

• ADOBE PREMIERE PRO 2.0 User Guide • Position the current-time indicator, and press Alt+[ to set the beginning of the work area. • Position the current-time indicator, and press Alt+] to set the end of the work area. • Alt-click the work area bar to resize it to the width of all contiguous clips under the point you click. • When you render previews, Adobe Premiere Pro creates files on your hard disk. These preview files contain the results of any effects that Adobe Premiere Pro processed during a preview.

If you preview the same work area more than once without making any changes, Adobe Premiere Pro instantly plays back the preview files instead of processing the sequence again. • You can also use sequence markers to specify chapters for DVD or QuickTime movies, or to specify a URL to send a user to a web page. Adobe Premiere Pro also provides DVD markers that you can add to a sequence to specify scenes, or a menu structure for sequences that you export to DVD. • ADOBE PREMIERE PRO 2.0 User Guide Click the Set Unnumbered Marker button in the Program Monitor or the Timeline panel.

(Double-click the Set Unnumbered Marker button to open the Marker dialog box as you set it.) You can also drag a marker from the Timeline panel’s marker button to any point in the time ruler. • You can specify chapter points in the Marker dialog box for a QuickTime movie or for a sequence to be exported to a DVD authoring program like Adobe Encore DVD. Chapters divide a movie into segments and allow viewers to go to specific points in a movie. • Click OK when you are done editing markers. Note: DVD authoring programs such as Adobe Encore DVD adhere to DVD guidelines that restrict the proximity of chapter links.

When setting markers for use as chapter links, make sure to space them at least 15 frames apart, or by the amount required by your authoring software. • ADOBE PREMIERE PRO 2.0 User Guide Source Monitor set to display audio units for more precise editing of an audio clip To use audio samples in the Source or Program Monitor ❖ In the Source or Program Monitor panel menu, choose Audio Units.

• [V] and [A] labels. Even so, Adobe Premiere Pro keeps track of the link. If you relink the clips, they indicate whether they have been moved out of sync, and by how much. • ADOBE PREMIERE PRO 2.0 User Guide To create a split edit If necessary, click the triangle to the left of each track name to expand the audio tracks you want to adjust. Select one of the clips involved in the split edit, and choose Clip >Unlink.

Repeat for the other clip. • To use multiple sequences A single project can contain multiple sequences. All the sequences in a project share the same timebase, which defines how Adobe Premiere Pro calculates time, and which cannot be changed after you create the project. • • Actions involving a nested sequence may require additional processing time, because nested sequences can contain references to many clips, and Adobe Premiere Pro applies the actions to all of its component clips.

• A nested sequence always represents the current state of its source. Changing the content of the source sequence is reflected in the content of nested instances. • ADOBE PREMIERE PRO 2.0 User Guide • You can set a nested sequence’s In and Out points as you would other clips. Subsequently changing the source sequence’s duration, however, does not affect the duration of existing nested instances. To lengthen the nested instances and reveal material added to the source sequence, use standard trimming methods. • To easily synchronize footage from all cameras, make sure each camera records a sync point using a clapper slate or other technique. Keep each camera recording to maintain synchronization.

After you capture the footage in Adobe Premiere Pro, use the following workflow to edit the footage. • Timeline panel” on page 154.) For a tutorial on multi-camera editing, go to Resource Center on the Adobe website. Adobe periodically provides updates to software and Help. To check for updates, click the Open Preferences Dialog button in Adobe Help Center, and then click Check For Updates. • ADOBE PREMIERE PRO 2.0 User Guide Multi-camera Monitor A. Recorded sequence preview D. Record button The Multi-Camera Monitor includes the standard playback and transport controls and keyboard shortcuts.

• ADOBE PREMIERE PRO 2.0 User Guide Note: Adobe Premiere Pro uses an overlay edit when synchronizing clips. Take care not to overwrite adjacent clips if you have multiple clips on the same track. Select the clips you want to synchronize. • ADOBE PREMIERE PRO 2.0 User Guide You can switch cameras using a keyboard shortcut.

The 1, 2, 3, and 4 keys correspond to each camera. When you are done recording, click the Stop button or the Record button to get out of recording mode. You can then use the playback controls to preview your sequence without recording over it. • Project from the Embedding Options menu. (See “Exporting video as a file” on page 378.) To edit an image file in Photoshop In an Adobe Premiere Pro project, you can open an image file in any format that Adobe Photoshop supports. Select a clip in either the Project panel or Timeline panel.

• Note: You can also paste assets from Adobe Premiere to an After Effects composition. You can’t, however, paste footage from After Effects into an Adobe Premiere sequence.

If you want to work with all clips or a single sequence from an Adobe Premiere Pro project, use the Import command to import the project into After Effects. • Move the current-time indicator to the desired location, and choose either Edit >Paste or Edit >Paste Insert. Note: You can copy multiple layers into Adobe Premiere Pro. Each layer is placed on a separate track. The order in which Adobe Premiere Pro places the layers depends on the order in which you selected them in After Effects.

• After Effects and either Adobe Premiere Pro or Adobe Encore DVD. Creating a dynamic link is as simple as importing any other type of asset, and dynamically linked compositions appear with unique icons and label colors to help you identify them. Dynamic links are saved as part of the Adobe Premiere Pro or Adobe Encore DVD project. • In Adobe Premiere Pro, you can preview the linked composition in the Source Monitor, set In and Out points, add it to a sequence, and use any of the Adobe Premiere Pro tools to edit it.

When you add a linked composition that contains both footage and audio layers to a sequence, Adobe Premiere Pro inserts linked video and audio clips in the timeline. • Adobe Premiere Pro displays the Import Composition dialog box. Note: You can link to a single After Effects composition multiple times in a single Adobe Premiere Pro project. In an Adobe Encore DVD project, however, you can link to an After Effects composition only once. • Note: If you change the name of the composition in After Effects after you’ve created a dynamic link to it from Adobe Premiere Pro, Adobe Premiere Pro doesn’t update the linked composition name in the Project panel, but retains the dynamic link. • In Adobe Encore DVD, choose File >Transcode Now. You can temporarily suppress a linked clip in Adobe Premiere Pro by selecting the clip and choosing Clip >Enable.

To relink the clip, choose Clip >Enable again (a check mark next to the command indicates that the clip is enabled). • 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.

Adobe Premiere Pro provides several transitions that you can apply to your sequence. • ADOBE PREMIERE PRO 2.0 User Guide 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. • ADOBE PREMIERE PRO 2.0 User Guide Single-sided transitions fade to and from a transparent state, not to and from black. Whatever is below the transition in the Timeline panel appears in the transparent portion of the transition (the portion of the effect that would display frames from the adjacent clip in a two-sided transition).

• 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, Adobe Premiere Pro adjusts the duration to match the frames.

• ADOBE PREMIERE PRO 2.0 User Guide Position the current-time indicator at the edit point where the two clips meet. You can use the Next Edit and Previous Edit buttons in the Program Monitor. Choose Sequence >Apply Video Transition or Sequence >Apply Audio Transition, depending on the target track. • ADOBE PREMIERE PRO 2.0 User Guide 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) H. Transition I.

Clip B (second clip) J. Current-time indicator •. • ADOBE PREMIERE PRO 2.0 User Guide Dragging the transition in the Timeline panel to reposition it To align a transition using the Effect Controls panel Double-click the transition in the Timeline panel to open the Effect Controls panel. If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in the Effect Controls panel. • ADOBE PREMIERE PRO 2.0 User Guide 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 icon to the Ripple Edit icon Drag the cut as desired. • ADOBE PREMIERE PRO 2.0 User Guide Default center (left) and repositioned center (right) To change transition settings In the Timeline panel, click a transition to select it.

In the Effect Controls panel, adjust settings: Change the orientation or direction of the transition. Click an Edge selector arrow on the transition’s Edge selectors thumbnail. • To create a Gradient Wipe transition Adobe Premiere Pro 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.

• Working with audio About audio In Adobe Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.1 surround channels. • Adobe Premiere Pro creates a new audio track to match the channel format of a clip dragged to the Timeline panel. See also “General settings”. • “Applying audio effects to clips” on page 196 Processing order for audio As you edit sequences, Adobe Premiere Pro processes audio in the following order, from first to last: • Gain adjustments applied to clips by using the Clip >Audio Options >Audio Gain command.

• ADOBE PREMIERE PRO 2.0 User Guide Audio Mixer Audio Mixer A. Tracks area B. Controls area C. Playback controls In the Audio Mixer, you can adjust settings while listening to audio tracks and viewing video tracks.

Each Audio Mixer track corresponds to a track in the timeline of the active sequence and displays the timeline’s audio tracks in an audio console layout. • To display hardware input levels on the VU meters (not track levels in Adobe Premiere Pro), choose Meter Input(s) Only. When this option is on, you can still monitor audio in Adobe Premiere Pro for all tracks that aren’t being recorded. • Viewing audio data To help you view and edit the audio settings of any clip or track, Adobe Premiere Pro provides multiple views of the same audio data. You can view and edit volume or effect values for either tracks or clips in the Audio Mixer or in the Timeline panel. • Making quick audio adjustments Although Adobe Premiere Pro includes a full-featured audio mixer, there are times when you may not need many of the options.

For example, you might be creating a rough cut from video and audio captured together from DV footage, output to stereo tracks. • Track Format stereo, or 5.1 surround. When you change a master clip’s track format from stereo or 5.1 surround to mono, Adobe Premiere Pro maps each channel to a separate mono track. When you add the clip to the sequence, the clips on the separate mono tracks are linked together. • Timeline panel. If the number of source channels is not in multiples of six, Adobe Premiere Pro creates a 5.1 surround audio track with silence on one or more channels when the clip is added to the Timeline panel.

• Linking multiple audio clips In Adobe Premiere Pro, you can link one video clip to multiple audio clips or link multiple audio clips together. Linked clips remain in sync as you move them or trim them in the Timeline panel.

You can apply audio effects, including Volume and Panning effects, to all channels in the linked clips. • ADOBE PREMIERE PRO 2.0 User Guide Effects applied to the audio tracks in a multi-clip link displayed in the Effect Controls. See also “Linking video and audio clips in the Timeline panel” on page 144 “To edit a multi-clip link in the Source Monitor” on page 183. • About recording audio Adobe Premiere Pro lets you record directly to the Timeline panel. You can record to an audio track in a new sequence or record to a new audio track in an existing sequence. The recording is saved as an audio clip that’s added to your project.

• Specifies the ASIO settings for the selected device. The settings in this dialog box are set by the device ASIO Settings and driver you are using, not by Adobe Premiere Pro. See the documentation for the ASIO device and driver you are using. • Select the Mute Input During Timeline Recording option.

Audio output mapping Using the Audio Output Mapping preferences, you can specify how each device channel corresponds to an Adobe Premiere Pro audio output channel. The Stereo and 5.1 columns correspond to the number of channels (outputs) in the current sequence’s master audio track, which you specify when you create a sequence. • • Click Normalize to optimize a clip’s audio gain automatically. Adobe Premiere Pro examines levels in the clip. It then determines how much to adjust the audio so that the strongest signals in the clip don’t exceed the ceiling level (0dB) and create distortion. • ADOBE PREMIERE PRO 2.0 User Guide See also “Working with keyframes” on page 230 “Adjusting gain and volume” on page 186 To adjust the volume in the Effect Controls panel Select an audio clip in a sequence.

In the Effect Controls panel, click the triangle next to Volume to expand the effect. • Working with audio transitions Adobe Premiere Pro lets you 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. • When you output a stereo track to a stereo or 5.1 surround track, you can balance it.

• When the output track contains fewer channels than in the other audio tracks, Adobe Premiere Pro downmixes the audio to the number of channels in the output track. • ADOBE PREMIERE PRO 2.0 User Guide See also “Downmixing to fewer channels” on page 195 “Working with submixes” on page 192 Panning and balancing in the Audio Mixer The Audio Mixer provides controls for panning and balancing. A round knob appears when a mono or stereo track outputs to a stereo track. • ADOBE PREMIERE PRO 2.0 User Guide To pan or balance a track routed to a stereo track ❖ In the Audio Mixer, do one of the following: • Drag the pan control knob or the value below the knob.

• ADOBE PREMIERE PRO 2.0 User Guide To create a submix in the Timeline panel Choose Sequence >Add Tracks. Specify options in the Audio Submix Tracks section, and then click OK.

To simultaneously create a submix and assign a send If necessary, display the effects/sends panel in the Audio Mixer by clicking the triangle to the left of an automation option’s pop-up menu. • ADOBE PREMIERE PRO 2.0 User Guide To send a track to a submix (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Mixer. • (2 channels) or mono (1 channel). However, downmixing can also occur in your project when you assign track output to a track that has fewer channels. Adobe Premiere Pro provides a 5.1 Mixdown Type option that lets you choose how to translate 5.1 surround audio into stereo or mono audio. You can choose from various combinations of Front channels, Rear channels, and the LFE (low-frequency effects, or subwoofer) channel.

• In the Audio Mixer, all submixes are grouped to the right of all audio tracks. You can output a track to any submix, but to prevent feedback loops, Adobe Premiere Pro allows a submix to be routed only to a submix to the right of it, or to the master track. • Audio Mixer. The Effects And Sends panel contains Effect Selection pop-up menus to apply up to five track effects. Adobe Premiere Pro processes effects in the order they are listed and feeds the result of an effect into the next effect in the list. • Working with VST effects Adobe Premiere Pro supports the Steinberg VST (Virtual Studio Technology) audio plug-in format so that you can add VST audio effects from third-party vendors.

Adobe Premiere Pro includes VST plug-in effects that are available in both the Audio Mixer and the Effect Controls panel. • Pro application folder, there is also a VST folder with plug-ins that are used only by Adobe Premiere Pro. Note: When you use a VST effect not provided by Adobe, the specific control layout and results of the plug-in are the responsibility of the plug-in manufacturer. • ADOBE PREMIERE PRO 2.0 User Guide For each audio track, the selection in the automation options menu determines the track’s automation state during the mixing process: Ignores the track’s stored settings during playback. Off allows real-time use of Audio Mixer controls without interference from stored automation settings.

• Linear Keyframe Thinning keyframes. For example, suppose you are automating a fade from 0 dB to –12 dB. With this option selected, Adobe Premiere Pro creates keyframes only at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes. • In the Timeline panel, select a clip containing audio.

Choose Edit >Edit In Adobe Audition (Render And Replace). The clip’s audio is rendered in a new audio file, which opens in Adobe Audition. The new audio file also appears in the Project panel. • About the Titler You can design custom titles and logos with the Adobe Premiere Pro Titler feature. Titles are a valuable addition to a movie and can serve many purposes, from naming the people and places in your movie to providing movie-style credits at the beginning and end. • (Click the down-pointing triangle in the Titler tab to open the panel menu.) When you save a title, Adobe Premiere Pro adds it to the active bin in the Project panel automatically. Titles are saved as part of the project.

However, you can export titles as independent files that use the.prtl file-name extension. If the title you want to use is on your hard disk but not yet part of the current project, you can import it as you would any other source file. • ADOBE PREMIERE PRO 2.0 User Guide Note: In addition to importing Adobe Premiere Pro titles with the.prtl extension, you can import titles with the.ptl extension, created in Adobe Premiere Elements and earlier versions of Adobe Premiere. The imported titles become part of the current project file.

• ADOBE PREMIERE PRO 2.0 User Guide To set or restore a default template With a title open, choose Title >Templates and select a template. Do one of the following: • To set a default template, choose Set Template As Default Still from the Templates menu.

The default template loads each time you open the Titler. • When adding text to a title, you can use any font that’s already on your system, including Type 1 (PostScript ® OpenType, and TrueType fonts. Installing Premiere Pro (and other Adobe applications) adds fonts to the shared ® Adobe resources.

• ADOBE PREMIERE PRO 2.0 User Guide Dragging the corner handle of a point text object scales the text, whereas 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 the it to reveal the hidden text. • When you choose a font in the Font Browser, Adobe Premiere Pro immediately applies it to your title. The Font Browser remains open so that you can easily preview another. You can continue changing fonts until you find the right one. • For vertical text, leading is measured from the center of one line of type to the center of the next line. In Adobe Title Designer, the baseline is the line underneath the text.

You can apply more than one leading amount within the same paragraph. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the amount of space between a range of letters. The value indicates the percentage of character Tracking width between the specified range of characters.

The direction of the text tracking is based on the justification of the text. • ADOBE PREMIERE PRO 2.0 User Guide Tab Stops dialog box See also “Creating rolls and crawls” on page 227 “Aligning and distributing objects” on page 218 To set and adjust a tab stop Select a text box.

Choose Title >Tab Stops. • In addition to creating text objects, you can also use the Titler’s drawing tools to create a variety of shapes, such as rectangles, ellipses, and lines. The Titler includes standard pen tools that resemble those used in Adobe Illustrator and Adobe Photoshop. • ADOBE PREMIERE PRO 2.0 User Guide To change the shape of a graphic object or a logo Select one or more objects or logos in a title.

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. • ADOBE PREMIERE PRO 2.0 User Guide Drag to create direction lines that determine the slope of the curve segment you’re creating. In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. Shift-drag to constrain the direction line to multiples of 45 ˚. • ADOBE PREMIERE PRO 2.0 User Guide Do one of the following: • To add an anchor point without creating or manually adjusting a curve, click where you want to add an anchor point.

• To add an anchor point and simultaneously move the new point, drag the spot on the path where you want to add an anchor point. • 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). • ADOBE PREMIERE PRO 2.0 User Guide Choose Title >Logo >Insert Logo Into Text.

To 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. • ADOBE PREMIERE PRO 2.0 User Guide • A distribution option evenly spaces selected objects between the two most extreme objects. For example, for a vertical distribution option, the selected objects are distributed between the highest and lowest selected objects. • ADOBE PREMIERE PRO 2.0 User Guide • 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.

• ADOBE PREMIERE PRO 2.0 User Guide Adding color, fills, texture, strokes, and shadows About object properties With the Titler, you can apply custom properties to each object or group of objects you create. These properties include strokes, fills, sheens, textures, and shadows.

You can save a combination of properties as a style. Styles appear as buttons in the Titler Styles panel, allowing you to apply favorite property combinations to objects easily. • You can map a texture to any object’s fill or stroke. To add a texture, specify a vector or bitmap file (for example, an Adobe Photoshop file), or use one of several textures included with Adobe Premiere Pro.

Select the object. • In the Title Properties panel, select Texture for the object’s fill or stroke, and click the triangle next to it to reveal the options. Click the Texture swatch and select a file on the hard disk, or navigate to Program Files/Adobe/Premiere Pro/Presets/Textures to open a texture, and then click Open. • ADOBE PREMIERE PRO 2.0 User Guide To add a stroke to an 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. • My Documents/Adobe/Premiere Pro/2.0/Styles. Because Adobe Premiere Pro stores each style or set of styles as a separate file, you can share styles with other users. If you share styles, make sure that the fonts, textures, and background files used are available on all systems.

• ADOBE PREMIERE PRO 2.0 User Guide The Current Style thumbnail always shows the properties that you have applied to the currently selected element. Titler Styles panel To create a style Select an object that has the properties you want to save as a style.

• 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. Adobe Premiere Pro saves style library files with the extension.prsl.

• ADOBE PREMIERE PRO 2.0 User Guide Setting title to roll To create a rolling or crawling title 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. • ADOBE PREMIERE PRO 2.0 User Guide Roll/Crawl Timing options Specifies that the roll begins out of view and scrolls into view. Start Off Screen Specifies that the roll continues until the objects are out of view.

End Off Screen Specifies the number of frames that play before the roll begins. • Chapter 12: Animation Animating effects About keyframes Keyframes are used to create and control animation, effects, audio properties, and many other kinds of change that occur over time. A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. • ADOBE PREMIERE PRO 2.0 User Guide See also “To activate keyframing” on page 234 “About keyframes” on page 230 “Automating audio changes in the Audio Mixer” on page 199 Viewing keyframes and graphs You can view any keyframe in the keyframe area of the Effect Controls panel. In the Timeline panel, you can see keyframes by expanding the track and choosing the appropriate track viewing options. • ADOBE PREMIERE PRO 2.0 User Guide Effect Controls A.

Value graph B. Velocity graph See also “About keyframes” on page 230 Displaying keyframes in the Timeline panel By default, keyframes in the Timeline panel are hidden. For video and audio effects, the Timeline panel can display the keyframes specific to each clip. Track effect properties B. Keyframe graph C.

Audio track keyframes D. Video clip keyframes E. Clip effect properties Adobe Premiere Pro provides a tool tip display of a keyframe’s location, as well as the property and options you set for it in the Effect Controls panel. • ADOBE PREMIERE PRO 2.0 User Guide (Optional) Use the Zoom In control to magnify the clip so that the effect pop-up menu appears at the top of the track in the Timeline panel. You can also drag the boundaries above and below the track name to increase the track height. • ADOBE PREMIERE PRO 2.0 User Guide Clicking the Toggle Animation button activates keyframing for an effect property at the current time. Make sure you have a sequence with clips in the Timeline panel.

By default, the Fixed effects (Motion, Opacity, and Volume) are applied to clips in the video and audio tracks. • ADOBE PREMIERE PRO 2.0 User Guide Keyframe navigator A.

Keyframe navigator in Effect Controls panel B. Current-time indicator C. Keyframe navigator in Timeline panel To select keyframes If you want to modify or copy a keyframe, first select it.

Unselected keyframes appear hollow; selected keyframes appear solid. • ADOBE PREMIERE PRO 2.0 User Guide In the Effect Controls panel, click the triangle to expand the effect that you want to add keyframes to, and then click the Toggle Animation icon to activate keyframes for an effect property.

Do one of the following to display the effect property’s graph: •. • ADOBE PREMIERE PRO 2.0 User Guide See also “Displaying keyframes in the Timeline panel” on page 232 “To view keyframes in the Effect Controls panel” on page 231 “About keyframes” on page 230 To edit keyframe graphs in the Effect Controls panel In the Effect Controls panel, you can make precise adjustments to keyframes for any effect property by editing their graphs. • ADOBE PREMIERE PRO 2.0 User Guide Specifying keyframe values in the Timeline panel You can use the Selection and Pen tools to edit keyframes in the Timeline panel. You increase or decrease values by dragging keyframes vertically.

When working with keyframes graphically in the Timeline panel, be aware of how the. • Linear Keyframe Thinning keyframes. For example, suppose you are automating a fade from 0 dB to –12 dB. With this option selected, Adobe Premiere Pro only creates keyframes at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes. • The keyframes remain selected after pasting, so you can fine-tune their location in the Timeline panel. You can paste keyframes only to a clip or track that displays the same property as the copied keyframes. Also, Adobe Premiere Pro can paste keyframes at the current-time indicator on only one clip or track at a time.

• ADOBE PREMIERE PRO 2.0 User Guide Controlling effect changes using keyframe interpolation About interpolation Interpolation is the process of filling in the unknown data between two known values. In digital video and film, this usually means generating new values between two keyframes. For example, if you want a graphic element (such as a title) to move fifty pixels across the screen to the left, and you want it to do so in 15 frames, you’. • ADOBE PREMIERE PRO 2.0 User Guide Creates a smooth rate of change through a keyframe. As you change a keyframe’s value, the Auto Bezier Auto Bezier direction handles change to maintain a smooth transition between keyframes.

Creates a smooth rate of change through a keyframe. However, unlike the Auto Bezier interpo- Continuous Bezier lation method, Continuous Bezier lets you adjust direction handles manually. • ADOBE PREMIERE PRO 2.0 User Guide To manually change a keyframe from one type to another, do one of the following: • If the keyframe uses Linear interpolation, Ctrl-click the keyframe in the Timeline panel or Ctrl-click the keyframe marker in the Effect Controls panel to change it to Auto Bezier. If you drag the handles, the keyframe changes to Continuous Bezier. • By default, a clip appears at 100% of its original size in the center of the Program Monitor. Position, scale, and rotation values are calculated from the anchor point, which lies at the clip’s center.

Note: Do not confuse the anchor point of a clip with anchor points created with the Pen tool in the Adobe Title Designer. • ADOBE PREMIERE PRO 2.0 User Guide Because the Position, Scale, and Rotation properties are spatial in nature, it’s best if they are adjusted directly in the Program Monitor. When you click the Transform icon next to the Motion effect in the Effect Controls panel, handles appear on the clip in the Program Monitor that let you directly manipulate the clip and adjust the Motion effect properties. • ADOBE PREMIERE PRO 2.0 User Guide The handles and anchor point appear in the Program Monitor. In the Program Monitor, do any of the following: • To position a clip or lighting effect, click in the clip or effect outline and drag to reposition it. Don’t drag a handle to reposition the clip or lighting effect. • ADOBE PREMIERE PRO 2.0 User Guide See also “To adjust position, scale, and rotation” on page 246 “About interpolation” on page 242 “Controlling change using Bezier keyframe interpolation” on page 243 “About keyframes” on page 230 To animate a clip in the Program Monitor When the Motion effect is selected in the Effect Controls panel, you can manipulate a clip in the Program Monitor.

• ADOBE PREMIERE PRO 2.0 User Guide To change Position keyframes in a motion path You can change the value of a Position keyframe, and thereby adjust your motion path, simply by dragging the Position keyframe (indicated by a white X) in the Program Monitor. • Working with effects Adobe Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. 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. • Bezier curves in the Effect Controls panel.

Note: The effects listed in the Effects panel depend on the actual effect files in Adobe Premiere Pro’s Plug-ins folder. You can expand the repertoire of effects by adding compatible Adobe plug-in files or plug-in packages available through other third-party developers.

• User Guide Any effect is available to Adobe Premiere Pro when its plug-in file is present in the Plug-ins folder, which is in the Adobe Premiere Pro folder by default. If you purchased additional effects, purchased Adobe Premiere Pro as part of a hardware package, or removed files from the Plug-ins folder, you may have a different set of effects than those described in Adobe Premiere Pro Help. • ADOBE PREMIERE PRO 2.0 User Guide Effects panel A. Effects bins B.

Custom bin C. Audio effect D. Audio transition E. Video effect F. Video transition G.

Effects panel menu H. Search text box I. Transitions bins J. New Custom bin K.

Delete Custom Item. • ADOBE PREMIERE PRO 2.0 User Guide You cannot apply audio effects to a clip when Show Track Volume or Show Track Keyframes is enabled for the Audio track.

If the clip is selected in the Timeline panel and the Effect Controls panel is open, you can drag the effect directly to the Effect Controls panel. • ADOBE PREMIERE PRO 2.0 User Guide Adjusting effects About the Effect Controls panel When you apply an effect, the Effect Controls panel lists all the effects that are applied to the currently selected clip. Fixed effects are included with every clip: the Motion and Opacity effects are listed in the Video Effects section and the Volume effect is listed in the Audio Effects section. • ADOBE PREMIERE PRO 2.0 User Guide Effect Controls panel A. Reset Effect button B.

Show/Hide Effects button C. Toggle The Effect On Or Off button D. Toggle-Animation button When a clip is selected in the Timeline panel, the Effect Controls panel automatically adjusts the zoom level so that icons for the clip’s In and Out points are centered in the timeline. • Eyedropper tool selects a one pixel area. Ctrl-clicking an Eyedropper tool samples a 5 x 5 pixel area.

• To set a color value using the Adobe Color Picker, click the color swatch, select a color in the Adobe Color Picker dialog box, and then click OK. • To view the properties of an effect preset, select the preset in the Effects panel, and choose Preset Properties from the Effects panel menu If you apply a preset to a clip and the preset contains settings for an effect that is already applied to the clip, Adobe Premiere Pro modifies the clip using the following rules: •. • Note: If you have placed the same item in several different custom bins, and you delete that item from one bin, Adobe Premiere Pro deletes each occurrence of the item from the custom and preset bins, and deletes each item from all clips that it affects. • ADOBE PREMIERE PRO 2.0 User Guide • To create a presets bin, choose New Presets Bin from the Effects panel menu. Adobe Premiere Pro nests each new presets bin in the root Presets bin. • To nest a new custom or presets bin, select the bin into which you want to place the new bin, and then create a custom or presets bin.

• Video Limiter with the other Color Correction effects. For a tutorial on correcting color, go to Resource Center on the Adobe website. To set up a Color Correction workspace The following is a suggested procedure for setting up your color correction workspace.

It’s meant only as a starting point so you can configure the workspace to suit your style of working. • ADOBE PREMIERE PRO 2.0 User Guide Make sure that the Draft Quality is not chosen in the Program Monitor menu. If possible, choose Highest Quality. If your computer performance suffers, then choose Automatic Quality instead. (Optional) Choose New Reference Monitor from the Program Monitor menu.

Move the Reference Monitor where you can see it and the Program Monitor easily. • ADOBE PREMIERE PRO 2.0 User Guide (Optional) Use the Tonal Range Definition control to define the shadow, midtone, and highlight areas in the clip. You can choose Tonal Range from the Output menu to view the tonal ranges you defined.

Once defined, choose from the Tonal Range menu to restrict the color corrections to a specific tonal range. • Like using the White Balance control, these adjustments affect all the colors in the clip. Note: You can also click the color swatch next to the eyedroppers and use the Adobe Color Picker to select a sample color. See also “To specify a color or range of colors to adjust”. • ADOBE PREMIERE PRO 2.0 User Guide Color balance, angle, and saturation controls The Fast Color Corrector and the Three-Way Color Corrector effects offer Hue Balance and Angle color wheels and a Saturation control for balancing color in your video.

Color balance is just what its name implies, balancing the red, green, and blue components to produce the desired color of white and neutral grays in the image. • ADOBE PREMIERE PRO 2.0 User Guide See also “Vectorscope” on page 280 To adjust color balance and saturation Although the following procedure uses the color wheel adjustments. The same adjustments can be made by entering numeric values or using the slider controls in the Fast Color Corrector and Three-Way Color Corrector effects. • ADOBE PREMIERE PRO 2.0 User Guide Adjusting the Balance Gain to fine-tune the Balance Magnitude setting.

Note: The Three-Way Color Corrector effect lets you make separate adjustments to the three tonal ranges using individual wheels for the shadows, midtones, and highlights. • ADOBE PREMIERE PRO 2.0 User Guide (Optional) Click the triangle to expand the Secondary Color Correction controls if you want to correct the exposure for a specific color or range of colors. Use the Eyedropper tool or the other Secondary Color Correction controls to specify the colors to correct. • Black Level eyedropper Program Monitor that you want to be the darkest value in the image.

You can also click the color swatch to open the Adobe Color Picker and select a color to define the darkest shadow in the image. • About the Adobe Color Picker You select a color in the Adobe Color Picker either by choosing from a color spectrum or by defining the color numerically. You can use the Adobe Color Picker to set target colors in some color and tonal adjustment effects. • ADOBE PREMIERE PRO 2.0 User Guide Adobe Color Picker A.

Selected color B. Color field C. Color slider D. Original color E. Adjusted field F. Color values To define the tonal ranges in a clip The Luma Corrector, RGB Color Corrector, and Three-Way Color Corrector effects let you define the tonal ranges for the shadows, midtones, and highlights so you can apply a color correction to a specific tonal range in an image. • Select the Eyedropper tool and click the color you want to select in the Program Monitor.

You can also click anywhere in the workspace to select a color, or click the color swatch to open the Adobe Color Picker and select a color. • ADOBE PREMIERE PRO 2.0 User Guide • Use the Saturation and Luma controls to specify saturation and luminance parameters for the color range to be color corrected. These controls fine-tune the range of color specification. (Optional) Choose Mask from the Output menu to view the areas selected for adjustment. White represents areas that allow 100% color correction, and black represents areas protected (masked) from color correction.

Note: You can also click the color swatch next to an eyedropper tool and use the Adobe Color Picker to select a color. Select the Target eyedropper with the same parameter as the Sample eyedropper. Click an area in the Program Monitor that represents the color information or attribute that you want to correct.

• ADOBE PREMIERE PRO 2.0 User Guide To remove color in a clip To quickly remove color in a clip, apply the Black & White effect from the Image Control bin of the Video Effects bin. Set up your workspace for color correction.

• Move the pointer into the Clip Sample (the pointer turns into an eyedropper) and click to select a color. • Click the color swatch, select a color in the Adobe Color Picker, and then click OK to close the Adobe Color Picker. The selected color appears in the Output Sample.

• Shines light in all directions from directly above the image—like a light bulb over a piece of paper. Omni Casts an elliptical beam of light. Spotlight To specify a color for the light, do one of the following: • Click the color swatch, select a color using the Adobe Color Picker, and then click OK. • ADOBE PREMIERE PRO 2.0 User Guide • Click the Eyedropper icon and then click anywhere on the computer desktop to select a color. (Optional) Click the Transform icon to display the light’s handles and Center circle in the Program Monitor. You can directly manipulate the position, scale, and rotation of a light by dragging its handles and Center circle Note: If you have more than one light, Center circles for each light appear in the Program Monitor.

• About the vectorscope and waveform monitors Adobe Premiere Pro has a vectorscope and waveform monitors (YC Waveform, YCbCr Parade, and RGB Parade) to help you output a video program that meets broadcast standards and also assist you in making adjustments based on aesthetic considerations, such as color corrections. • ADOBE PREMIERE PRO 2.0 User Guide Vectorscope The Vectorscope displays a circular chart, similar to a color wheel, that shows the video’s chrominance information. Saturation is measured from the center of the chart outward. Saturated, vivid colors produce a pattern some distance from the center of the chart, while a black-and-white image produces only a dot at the center of the chart. • ADOBE PREMIERE PRO 2.0 User Guide YC Waveform A. Luminance (green) waveform C.

Chrominance (blue) waveform D. Range of signal components The YC Waveform has the following controls: Adjusts the brightness of the waveform display. It does not affect the video output signal. • ADOBE PREMIERE PRO 2.0 User Guide RGB Parade scope A. R waveform C.

G waveform D. B waveform E. Range of signal components To view a scope You can view a vectorscope, YC waveform, YCbCr Parade, and an RGB Parade scope either individually or grouped in the Reference Monitor, Program Monitor, or Source Monitor. • Gallery of effects Gallery of effects The samples below illustrate just some of the video effects included with Adobe Premiere Pro. To preview an effect not in this gallery, apply it and preview it in the Program Monitor. Original image. • ADOBE PREMIERE PRO 2.0 User Guide Lens Flare Lightning Mirror Mosaic Noise Pinch Pointillize Posterize Radial Blur Replicate Sharpen Sharpen Edges Original image Shear Solarize Spherize Texturize Tiles Tint Twirl Vertical Flip Wave Wind ZigZag.

• For example, if you set Temporal Smoothing to 1 second, Adobe Premiere Pro analyzes the frames 1 second before the displayed frame to determine the appropriate adjustments. If you set Temporal Smoothing to 0, Adobe Premiere Pro analyzes each frame indepen- dently, without regard for surrounding frames. • ADOBE PREMIERE PRO 2.0 User Guide Color Balance effect The Color Balance effect changes the amount of red, green, and blue color in a clip.

The center point of each slider is neutral and indicates no change. A setting of –100 removes all of the color; a setting of +100 intensifies the color. • For example, if you set Temporal Smoothing to 1 second, Adobe Premiere Pro analyzes the frames 1 second before the displayed frame to determine appropriate shadow and highlight adjustments. If you set Temporal Smoothing to 0, Adobe Premiere Pro analyzes each frame independently, without regard for surrounding frames. • ADOBE PREMIERE PRO 2.0 User Guide Specify the range of adjustable tones in the shadows and highlights. Shadow Tonal Width and Highlight Tonal Width Lower values restrict the adjustable range to only the darkest and lightest regions, respectively. Higher values expand the adjustable range.

• ADOBE PREMIERE PRO 2.0 User Guide Channel Blur effect The Channel Blur effect blurs a clip’s red, green, blue, or alpha channels individually. You can specify that the blur is horizontal, vertical, or both.

Use this effect for glow effects or if you want a blur that does not become transparent near the edges of the clip. • ADOBE PREMIERE PRO 2.0 User Guide Gaussian Blur effect The Gaussian Blur effect blurs and softens the image and eliminates noise.

You can specify that the blur is horizontal, vertical, or both. (Gaussian refers to the bell-shaped curve that is generated by mapping the color values of the affected pixels.) • ADOBE PREMIERE PRO 2.0 User Guide Channel effects 3D Glasses effect The 3D Glasses effect creates a single 3D image by combining a left and right 3D view. You can use images from 3D programs or stereoscopic cameras as sources for each view. The method you use to create the combined images dictates how you view them. • ADOBE PREMIERE PRO 2.0 User Guide • Performs the same operation as Red Green LR but also balances the colors to reduce Balanced Red Green LR shadows or ghosting effects caused by one view showing through the other. Setting a high value reduces the overall contrast.

• ADOBE PREMIERE PRO 2.0 User Guide Prevents all functions from creating color values that exceed the valid range. If this option is not Clip Result Values selected, some color values may wrap around from on to off, or vice versa.

• Cineon Converter effect The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames. In Adobe Premiere Pro, you can convert the color in a Cineon file using controls using the Cineon Converter effect. To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence. • ADOBE PREMIERE PRO 2.0 User Guide Compound Arithmetic effect The Compound Arithmetic effect mathematically combines the layer to which it is applied with another layer. The Compound Arithmetic effect is intended only to provide compatibility with projects created in earlier versions of After Effects that use the Compound Arithmetic effect.

• ADOBE PREMIERE PRO 2.0 User Guide Set Matte effect The Set Matte effect replaces the alpha channel (matte) of a clip with a channel from a clip in a different video track. This creates traveling matte effects. Note: The Set Matte effect was originally from After Effects and intended only to provide compatibility with projects created in earlier versions of After Effects that use the Set Matte effect. • Assigns a white balance to an image using the Eyedropper tool to sample a target color in the image or White Point anywhere on your monitor’s desktop.

You can also click the color swatch to open the Adobe Color Picker and select a color to define the white balance. • Eyedropper tools to sample a target color in the image or anywhere on your monitor’s desktop.

You can also click the color swatch to open the Adobe Color Picker and select a color to define the black, midtone gray, and white. • – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color. Specify the color range to be corrected by hue, saturation, or luminance. • - Eyedropper tool to subtract from the color range.

You can also click the swatch to open the Adobe Color Picker and select the center color. Specify the color range to be corrected by hue, saturation, or luminance. • – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color. Specify the color range to be corrected by hue, saturation, or luminance. • – Eyedropper tool to subtract from the color range.

You can also click the swatch to open the Adobe Color Picker and select the center color. Specify the color range to be corrected by hue, saturation, or luminance. • Black Balance, Gray Balance, White Balance different Eyedropper tools to sample a target color in the image, or choosing a color from the Adobe Color Picker. Defines the tonal range of the shadows, midtones, and highlights in a clip. Drag the square Tonal Range Definition sliders to adjust the threshold values.

• Eyedropper tools to sample a target color in the image or anywhere on your monitor’s desktop. You can also click the color swatch to open the Adobe Color Picker and select a color to define the black, midtone gray, and white. • ADOBE PREMIERE PRO 2.0 User Guide Specify the color range to be corrected by hue, saturation, or luminance.

Click the Hue, Saturation, and Luma triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range. • ADOBE PREMIERE PRO 2.0 User Guide See also “Adjusting color and luminance” on page 260 Distort effects Bend effect The Bend effect distorts a clip by producing the appearance of a wave traveling both vertically and horizontally through the clip. You can produce a number of different wave shapes at various sizes and rates. • ADOBE PREMIERE PRO 2.0 User Guide Create a result similar to vertical and horizontal decentering, except that at Vertical and Horizontal Prism FX extreme values the image doesn’t wrap in on itself. Specifies the background color. Fill Color Makes the background transparent so that underlying tracks are visible. In the Effect Controls Fill Alpha Channel panel, click Setup to access this option.

• ADOBE PREMIERE PRO 2.0 User Guide • Uses spline algorithms. If you scale the image beyond 100%, Soft reduces edge pixelation and maintains Soft image quality. Soft works well at large magnification amounts.

• Creates scatter or noise in the image as the image enlarges. • Specifies the degree of transparency of the image, in percentages. Opacity Note: In Adobe After Effects, the Transform effect includes the Shutter Angle control and Use Composition option. Both controls are adjusted only in Adobe After Effects. Turbulent Displace effect The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image.

• ADOBE PREMIERE PRO 2.0 User Guide Turbulent Displace effect: Original image (left) and with variations of the Turbulent Displace effect applied (center and right) Adjust the following controls for Turbulent Displace: Specifies the type of turbulence used. Turbulent, Bulge, and Twist warp the image in slightly different Displacement directions.

• ADOBE PREMIERE PRO 2.0 User Guide • Specifies the number of revolutions of the Evolution setting that the fractal noise cycles through before it Cycle repeats. The amount of time allowed between evolution keyframes determines the timing or speed of these evolution cycles. • ADOBE PREMIERE PRO 2.0 User Guide GPU effects Page Curl effect Use Page Curl to simulate a page slowly turning. M84 Manual. As the “page” turns, you see the back of the image mapped to the opposite side of the curl.

The back of the image is actually a mirror image of the front. This effect is most useful as a transition where you would like to have a high-quality, textured page peel effect to reveal an underlying frame. • ADOBE PREMIERE PRO 2.0 User Guide Image Control effects Black & White effect The Black & White effect converts any color clip to grayscale; that is, colors appear as shades of gray. You cannot keyframe this effect. Change Color effect The Change Color effect adjusts the hue, saturation, and lightness of a range of colors. • ADOBE PREMIERE PRO 2.0 User Guide Change To Color offers flexibility and options unavailable in the Change Color effect.

These options include tolerance sliders for hue, lightness, and saturation for exact color matching, and the ability to select the exact RGB values of the target color that you wish to change to. • ADOBE PREMIERE PRO 2.0 User Guide The Color Balance (HLS) effect has the following settings: Specifies the color scheme of the image. Specifies the brightness of the image. Lightness Adjusts the image’s color saturation. The default value is 0 which doesn’t affect the colors. Negative values Saturation decrease saturation, with -100 converting the clip to grayscale. • When loaded into Adobe Premiere Pro, the specified arbitrary map is applied to the clip or to one or more channels of the clip, depending on how it was created.

If you do not select an arbitrary map, Adobe Premiere Pro applies the. • ADOBE PREMIERE PRO 2.0 User Guide In the Effect Controls panel, click the Setup icon, select an arbitrary map file in the Open dialog box, and then click Open. Although you can’t import.acv files into the PS Arbitrary Map effect, you can convert these files in Photoshop to create files that are compatible with the Curves effect. • ADOBE PREMIERE PRO 2.0 User Guide Chroma Key effect A.

Original image B. Blue color keyed out C. Image on second track D. Final composite image See also “Using the Chroma Key” on page 360 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. • ADOBE PREMIERE PRO 2.0 User Guide See also “About the Difference Matte Key” on page 365 “To replace a static background behind moving objects” on page 365 Eight-Point, Four-Point, and Sixteen-Point Garbage Matte effects The three Garbage Matte effects aid in cropping out extraneous portions of a shot so that you can apply and adjust a key effect more effectively. • ADOBE PREMIERE PRO 2.0 User Guide Multiply Key effect The Multiple Key effect multiplies the color values in a clip image with the underlying clip, and divides the result by 255 (the maximum pixel value of 8-bit pixels). The resulting color is never brighter than the original. • ADOBE PREMIERE PRO 2.0 User Guide See also “Using the Track Matte Key” on page 366 “To create transparency in a superimposed clip” on page 367 Noise effects Median effect The Median effect replaces each pixel with the median pixel value of neighboring pixels within a given radius. At low values, this effect reduces noise. • ADOBE PREMIERE PRO 2.0 User Guide Drag the Threshold slider left to 0 to turn off the value, so that all pixels in the selection or image can be examined.

(The threshold determines how different the pixels’ values should be before they are eliminated.) Note: The Threshold slider gives greater control for values between 0 and 128—the most common range for images—. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the placement of noise. This control is active only if you choose Uniform Animation or Noise Phase Squared Animation from the Noise pop-up menu. Specifies how you animate noise. Noise Options (Animation) •.

• ADOBE PREMIERE PRO 2.0 User Guide See also “About keyframes” on page 230 Perspective effects Basic 3D effect The Basic 3D effect manipulates a clip in an imaginary three-dimensional space. You can rotate your image around horizontal and vertical axes and move it toward or away from you. With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface. • ADOBE PREMIERE PRO 2.0 User Guide Bevel Edges effect The Bevel Edges effect gives a chiseled and lighted three-dimensional appearance to the edges of an image. Edge locations are determined by the alpha channel of the source image. Unlike Bevel Alpha, the edges created in this effect are always rectangular, so images with nonrectangular alpha channels do not produce the proper appearance.

• ADOBE PREMIERE PRO 2.0 User Guide Specifies the type of shadow the effect creates. Render • Creates a shadow based on the Shadow Color and Opacity values, regardless of semi-transparent pixels Regular in the original clip.

(If Regular is chosen, the Color Influence control is disabled.) •. • ADOBE PREMIERE PRO 2.0 User Guide 4 Color Gradient effect: Original images (left) and with variations of 4-Color Gradient effect applied (center and right) Adjust the following controls for 4-Color Gradient: Adjusts the positioning of each color within the four-color gradient, based on x, y coordinate values. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the contrast of the cell pattern image when you use the Bubbles, Crystal, Pillow, Mixed Crystals, Contrast or Tubular cell pattern. The control specifies sharpness for any of the Plate or Crystallize options. • ADOBE PREMIERE PRO 2.0 User Guide affects only the state of the cell pattern, not geometrics or other controls.

For example, two identical states of the cell pattern don’t appear the same if viewed with different Size or Offset settings.) •. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the blending mode the effect uses to create an interaction between the checkerboard Blending Mode pattern and the original layer. The default None mode renders the checkerboard pattern only. Circle effect The Circle effect creates either a customizable solid circle or ring. • ADOBE PREMIERE PRO 2.0 User Guide Ellipse effect The Ellipse effect draws an ellipse based on the dimensions you specify in the Effect Controls panel. In addition to width and height, you can specify the thickness, softness, and color of the ellipse.

• ADOBE PREMIERE PRO 2.0 User Guide Grid effect Use the Grid effect to create a customizable grid. Render this grid in a color matte or as a mask in the alpha channel of the source clip. This effect is good for generating design elements and mattes within which other effects can be applied.

• ADOBE PREMIERE PRO 2.0 User Guide The Lens Flare effect has the following settings: Specifies the percentage of brightness. Values can range from 10% to 300%. Brightness Specifies a location for the center of the flare. Flare Center Selects the type of lens to simulate. • The Paint Bucket effect is a non-destructive paint tool that fills a selected area with a solid color. It works much like the paint bucket tool in Adobe Photoshop.

Use Paint Bucket for colorizing cartoon-type outlined drawings or replacing selected areas of color in an image. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the range of pixels that the effect fills with the new color. This value is based upon the option Tolerance chosen in the Fill Selector menu. Higher values expand the range of similar pixel values that the effect fills.

Lower tolerance values restrict that range. • ADOBE PREMIERE PRO 2.0 User Guide The Alpha Glow effect has the following settings: Controls how far the color extends from the alpha channel edge. Higher settings produce larger glows Glow slider (and can cause very slow processing before playback or export). • ADOBE PREMIERE PRO 2.0 User Guide Color Emboss effect The Color Emboss effect sharpens the edges of objects in the image but doesn’t suppress any of the image’s original colors. The Color Emboss effect has the following settings: Specifies the apparent direction in which the highlight source is shining, in degrees. A setting of 45˚ causes Direction the shadow to be cast in the northeast direction. • ADOBE PREMIERE PRO 2.0 User Guide Adjust the following controls for the Leave Color effect: Specifies how much color is removed from the layer.

A setting of 100% causes the areas of the Amount To Decolor image dissimilar to the selected color to appear as shades of gray. At 50%, those areas lose half of their color saturation. • ADOBE PREMIERE PRO 2.0 User Guide Roughen Edges effect: Original image (left), with Edge Type set to Roughen (center) and with Rusty Color (right) Adjust the following controls for the Roughen Edges effect: Specifies how the effect is applied to the alpha channel. If you choose an option that uses color, such as Edge Type Photocopy Color, specify the color using the Edge Color control. • ADOBE PREMIERE PRO 2.0 User Guide Note: The Cycle control affects only the state of the fractal, not geometrics or other controls. For example, two identical states of the fractal will not appear the same if viewed with different Size or Offset settings.

• ADOBE PREMIERE PRO 2.0 User Guide Write-on effect The Write-on effect animates strokes on a clip. For example, you can simulate the writing of cursive text or create snakelike movement for a stroke. Using the Write-on effect, you can animate the brush size, color, hardness, and opacity of a stroke. • ADOBE PREMIERE PRO 2.0 User Guide Time effects Echo effect The Echo effect combines frames from many different times in a clip. It has a variety of uses, from a simple visual echo to streaking and smearing effects. This effect is visible only when there is motion in the clip. By default, any previously applied effects are ignored when you apply the Echo effect.

• Use the slider controls to crop each edge of the clip separately. You can crop by pixels or image percentage. If you don’t want Adobe Premiere Pro to automatically resize the trimmed clip to its original dimensions, use the Clip effect instead of the Crop effect. • The Ramp effect is a good starting point because it can generate a variety of grayscale gradients. To make completely custom gradients, paint them in a program such as Adobe Photoshop, or draw them in a program such as Adobe Illustrator. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the clip used as the gradient. The gradient layer must be in the same sequence as the clip to Gradient Layer which you apply Gradient Wipe.

Specifies how the gradient is positioned and sized in the clip: Gradient Placement •. • ADOBE PREMIERE PRO 2.0 User Guide Video effects Broadcast Colors effect The Broadcast Colors effect alters pixel color values so that the clip can be accurately represented in a television broadcast.

Computers represent colors as combinations of red, green, and blue. Consumer video equipment repre- sents colors using different composite signals. • Most of these effects are available for mono, stereo, and 5.1 clips, and can be applied to either clips or tracks, unless specified otherwise. If you have Adobe Audition installed, Adobe Premiere Pro automat- ically locates, recognizes, and uses the VST effects from that program as well.

• ADOBE PREMIERE PRO 2.0 User Guide Bandpass effect The Bandpass effect removes frequencies that occur outside the specified range, or band of frequencies. This effect is available for 5.1, stereo, or mono clips. The Bandpass effect has the following options: Specifies the frequency at the center of the specified range. • ADOBE PREMIERE PRO 2.0 User Guide Delay effect The Delay effect adds an echo of the audio clip’s sound that plays after a specified amount of time. This effect is available for 5.1, stereo, or mono clip. The Delay effect has the following settings: Specifies the amount of time before the echo plays.

• ADOBE PREMIERE PRO 2.0 User Guide Balances the dynamic range to create a consistent level throughout the duration of the clip by Compressor increasing the level of soft sounds and decreasing the level of loud sounds. Use the following controls for Compressor: •. • ADOBE PREMIERE PRO 2.0 User Guide Specifies the amount by which to increase or decrease the band (between –20 and 20 dB). Gain Changes the functionality of the filter from shelving to cutoff. Specifies the width of each filter band (between 0.05 and 5.0 octaves). • ADOBE PREMIERE PRO 2.0 User Guide Specifies the time required for the gain to return to the original level when the signal falls below the Release 1-3 threshold.

Adjusts the compressor’s output level (between –6 and +12 dB) to compensate for a loss in gain caused MakeUp 1-3 by compression. • ADOBE PREMIERE PRO 2.0 User Guide Prevents formants in the audio clip from being affected.

For example, use this control when Formant Preserve increasing the pitch of a high voice to prevent it from sounding cartoon-like. Reverb effect The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of the audio playing in a room. • An alpha channel provides a way to store both images and their transparency information in a single file without disturbing the color channels. When you view the alpha channel in the After Effects Composition panel or the Adobe Premiere Pro Monitor panel, white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial trans- parency. • With imported items, an alpha channel provides a way to store both the clip and its trans- parency information in a single file without disturbing the footage item’s color channels. You can also ignore an existing alpha channel and use Adobe Premiere Pro transparency effects to create a new one. When you view the.

• Clips on upper tracks cover clips on lower tracks except where alpha channels indicate transparency. Adobe Premiere Pro composites clips from the lowest track up, and the final video frame is a composite of clips on all visible tracks.

• • Applications such as Adobe After Effects, Adobe Photoshop, and Adobe Illustrator can save clips with their alpha channels when the alpha channel is present in the original file and the file is saved to a format that supports an alpha channel. • ADOBE PREMIERE PRO 2.0 User Guide See also “To activate keyframing” on page 234 “Alpha Adjust effect” on page 317 To specify clip opacity in the Effect Controls panel Select a clip in the Timeline panel. In the Effect Controls panel, click the triangle next to the Opacity effect to expand its settings. • (Optional) If you’re applying the Chroma Key or the RGB Difference Key, make sure the Color setting option shows and do any of the following to select a color to define clip transparency: • Click the color swatch and use the Adobe Color Picker to select a color, and then click OK to close the Color Picker. • Cutoff slider; doing so inverts gray and transparent pixels. Specifies the amount of anti-aliasing that Adobe Premiere Pro applies to the boundary between trans- Smoothing parent and opaque regions. Anti-aliasing blends pixels to produce softer, smoother edges.

Choose None to produce sharp edges, with no anti-aliasing. • Do one of the following to specify the key color: • Click the Key Color swatch to open the Adobe Color Picker, select a color, and then click OK. • Click the Eyedropper icon, and then click a color on the computer screen. • ADOBE PREMIERE PRO 2.0 User Guide Displays only the clip’s alpha channel. Black represents transparent areas, white represents opaque areas, Mask Only and gray represents partially transparent areas. Adds a 50% gray, 50% opaque shadow offset 4 pixels down and to the right from the opaque areas of Drop Shadow the original clip image. • Choose Green or Blue to remove a residual edge from green-screen or blue-screen footage, respectively.

Specifies the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary Smoothing 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.

• ADOBE PREMIERE PRO 2.0 User Guide See also “About keying” on page 355 Creating transparency and solid colors with mattes About mattes A matte is a still image that determines where to apply an effect to a clip. You can use matte keys to create superim- positions, including traveling mattes. • Broadens or reduces the range of color that will be made transparent. Higher values increase the range. Similarity Specifies the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary Smoothing 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.

• Apply the Chroma, RGB Difference, Difference Matte, Blue Screen, Green Screen, or Non Red Key to any clip and then select the Mask Only option. • Use Adobe Illustrator or Adobe Photoshop to create a grayscale image and import it into Adobe Premiere Pro. • ADOBE PREMIERE PRO 2.0 User Guide See also “About keyframes” on page 230 “Working with keyframes” on page 230 “About alpha channels and mattes” on page 354 To create transparency in a superimposed clip Add the background clip to a track in the Timeline panel.

• ADOBE PREMIERE PRO 2.0 User Guide The Garbage Matte keying effect provides settings that represent the x and y pixel coordinates of each point of the garbage matte, measured from the top left corner of the frame. Changes appear in the Preview view of the Program Monitor. • ADOBE PREMIERE PRO 2.0 User Guide Select a color from the Adobe Color Picker and click OK. In the Choose Name dialog box, type a name for the new matte and click OK. The matte appears as a still image in the Project panel. • About export When you have finished editing, you can export the final sequence in the form best suited for your viewing audience. You can use Adobe Premiere Pro to export a clip or sequence to any of the following media: •.

• (using programs such as Adobe Premiere Pro, Adobe After Effects, and Adobe Audition). When exporting from post-production software, you must determine the file settings appropriate to the film stock you will use, or decide how to best translate your editing decisions to film. • On the other hand, VCD quality is comparable to VHS—much lower than DVD quality. You can create Video CD files using MPEG1-VCD presets in the Adobe Media Encoder and then write the files to a recordable CD using a program that can create a VCD. However, because DVD media, recorders, and players are widespread and affordable, the demand and support for the VCD format is not as great as it was initially. • For this reason, there are numerous codecs designed to make video web-friendly. With its export settings, Adobe Premiere Pro includes a number of presets that aid in formatting a movie suited for particular audiences, according to their system’s capabilities.

Many formats employ the following technologies. • The codec you use must be available to your entire audience.

For instance, if you use a hardware codec on a capture card, your audience must have the same capture card installed, or a software codec that emulates it. For more information about compression, search for the Adobe DV Compression Primer (English only) on the Adobe website.

• If you use Adobe Premiere Pro, use the Get Properties For command to analyze the data rate of files you export. Exporting to videotape or DVD Exporting to videotape You can record your edited sequence onto videotape directly from your computer.

• ADOBE PREMIERE PRO 2.0 User Guide To record to a precise point on a tape, make sure to enable the Adobe Premiere Pro device control feature. Alterna- tively, you can use compatible third-party device control that enables Adobe Premiere Pro to operate recording devices not supported by the built-in settings. • • To have Adobe 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 (5 seconds) is sufficient. • Adobe Premiere Pro provides two ways to export a file. You can use one of the standard Export commands or you.

• To export marker data in AVI files In Adobe Premiere Pro, you can export marker data. Exporting marker data is useful if you plan to author a DVD in Adobe Encore DVD. If you export marker data and specify a marker as a chapter point in Adobe Premiere Pro, Encore DVD recognizes the chapter point so that you can easily create links to it as you author your DVD.

• When you export a still-image sequence, Adobe Premiere Pro numbers the files automatically. • Specify a location and file name, and click OK. If you want to cancel exporting, press Esc.

Note that it may take several seconds to complete the cancellation. Note: You can also export audio by using the Export >Adobe Media Encoder and deselecting the Video option. See also “File formats supported for export”.

• ADOBE PREMIERE PRO 2.0 User Guide • Macromedia Flash Video (FLV) • Microsoft AVI and DV AVI • Animated GIF • MPEG-1 (and MPEG-1-VCD) • MPEG-2 (and MPEG-2-DVD) • RealMedia • QuickTime • Windows Media Audio-only formats • Microsoft AVI and DV AVI •. • Choose whether to include a project link in the exported file. When a file contains project link Embedding Options information, you can open and edit the original project from within another Adobe Premiere Pro project or from another application that supports the Edit Original command. Select Project from this menu to embed the link infor- mation in the exported file.

• Optimize Stills has a duration of 2 seconds in a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Selecting this option can save disk space if you used still images. Deselect this option only if the exported video file exhibits playback problems when displaying the still images. • Increasing the value lets Adobe Premiere Pro store longer audio segments that need to be processed less often, but higher interleave values require more RAM. Most current hard disks operate best with a 1/2- to 1-second interleave value. • Exporting using Adobe Media Encoder In Adobe Premiere Pro, the Export Settings dialog box includes a large image area that you can toggle between two panels.

The Source panel allows you to see the source video and apply cropping options interactively. The Output panel includes a deinterlacing feature, and indicates how the clip’s frame size and pixel aspect ratio (PAR) appear after.

• In a clip, set an In point and Out point. Choose File >Export >Adobe Media Encoder.

In the Adobe Media Encoder Export Settings area, specify the following options: Specify the type of media file you want to export. Formats include types of MPEG-1, MPEG-2, Macromedia Format Flash Video, QuickTime, RealMedia, and Windows Media formats. • To exclude video or audio from the exported file, deselect the appropriate option in the Export Settings panel. Do any of the following: • To customize video settings, specify the options you want in the Video panel (see “Adobe Media Encoder Video options” on page 390).

• In the Adobe Media Encoder, choose the format and preset you want to export. Alt-click the Save Preset button Choose the location to save the preset, name it, and then click Save. Adobe Premiere Pro saves the preset as a.vpr file. • Noise & Grain effects in Adobe Premiere Pro or After Effects. Adobe Media Encoder Video options The options available in the Adobe Media Encoder Video tab depend on the format you specify in the Export Settings area.

Video settings include some or all of the following options: Specifies the codec used to encode the video from those available on your system. • MPEG-1 (ISO/IEC 11172) and MPEG-2 (ISO/IEC 13818) formats. MPEG multiplexer preset options Multiplexer preset options control how After Effects and Adobe Premiere Pro merge MPEG video and audio data into a single stream. The exact options available depend on the MPEG format you choose. • In After Effects, you can create MPEG-2 and MPEG-2 DVD video. In Adobe Premiere Pro, you can create various types of MPEG video by using the File >Export >Adobe Media Encoder command or export directly to DVD- compliant video by using the Export To DVD command (any video you export to DVD is automatically transcoded to MPEG-2 if it isn’t already in that format). • To add Alternates or Audiences In the Adobe Media Encoder Export Settings dialog box, specify a format that supports streaming media (QuickTime, RealMedia, or Windows Media) and choose a streaming option from the Preset menu.

• Note: Removing an item from the Alternates or Audiences list can’t be undone. To specify QuickTime Alternates options In the Adobe Media Encoder Export Settings dialog box, specify a QuickTime for Format, and then choose a streaming option from the Preset menu. • Some Adobe programs, such as Adobe Bridge, can use or write XMP information. You can specify XMP metadata to be included with a file you export using the Adobe Media Encoder when you specify an MPEG-1 or MPEG-2 format.

• With Adobe 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 an Adobe Premiere Pro project from which you will export an EDL, you must satisfy the following criteria: •.

• AAF is a widely recognized file-exchange standard for video editing. Adobe Premiere Pro includes an AAF export command that allows you to export to AAF project files that contain clip, sequence, and editing data.

• Transitions and effects exported from Adobe Premiere Pro to the AAF format are identified Transitions and effects uniquely in Avid Xpress. For a table of supported transitions and effects, see the Adobe website. About Project Manager The Adobe Premiere Pro Project Manager can help facilitate an efficient workflow by performing two functions: reducing the storage needs of a project, and consolidating the files associated with a project.

• Include Audio Conform Files new project. Multiman Eboot Fix Free Download. When not selected, the new project occupies less disk space, but Adobe Premiere Pro conforms the audio again when you open the project. This option is available only if you select Collect Files And Copy To New Location. • Timeline panel.

To review a PDF file generated by the Clip Notes feature, a reviewer must have Adobe Acrobat Standard, Acrobat Professional, or Adobe Reader (version 7.0 or later). Adobe Reader is available as a free download from the Adobe website. • Specifies the web URL where the video file (QuickTime or Windows Media) will be stored.

Streaming Settings Allows you to specify or confirm a URL for the server later. Adobe Premiere Pro prompts you for Confirm URL Later a valid URL just prior to creating the Clip Notes PDF file. • ADOBE PREMIERE PRO 2.0 User Guide • To save your comments, click the Save Comment button • To modify a comment, cue to the comment and then edit the text in the box. • To delete a comment, cue to the comment and then click the Delete Comment button When you are finished adding comments, click the Export button.

• Creating DVDs You can burn a sequence to DVD directly from Adobe Premiere Pro, or save encoded files to a folder or as an ISO image that you can burn later with other DVD-burning software. You can create auto-play DVDs or menu-based DVDs. For best results, make sure that you capture or record following these specifications: NTSC standard 720 x 480 or PAL standard 720 x 576. If your project uses a different frame size, Adobe Frame size Premiere Pro scales it automatically. • A button is added to the menu that corresponds to each main menu marker. Text in the marker’s Name field becomes the button’s text.

If the main menu does not contain enough main menu marker buttons, Adobe Premiere Pro duplicates the main menu and adds a Next button on the primary main menu. • Scene markers You can add DVD scene markers automatically or manually where desired. Adobe Premiere Pro uses scene markers to create a scene submenu, which is accessible from the Scene Selection button on the DVD main menu. If you have no scene markers in the sequence, Adobe Premiere Pro omits the Scenes button and the scenes submenu. • (Optional) To create motion buttons that play the video in the menu button, select Motion Menu Button. Adobe Premiere Pro adds the marker to the Timeline panel. A main menu marker is green; a scene marker is blue.

• ADOBE PREMIERE PRO 2.0 User Guide See also “About DVD markers” on page 405 To automatically add scene markers to a sequence You get the best results when automatically adding scene markers if each scene in your movie is a separate clip, and all the clips you want marked are on the Video 1 track. • Designing menu-based and autoplay DVDs About menu-based DVDs You create a menu-based DVD by using the predesigned menu templates included in Adobe Premiere Pro. Each template includes a main menu and scene selection submenu. The templates automatically link menu buttons with DVD markers you place in the Timeline panel. • Note: If the sequence does not contain any DVD markers, the first time you select a DVD menu template, Adobe Premiere Pro asks you if you want to add DVD scene markers automatically. • • To delete a button, click Delete. Adobe Premiere Pro deletes the marker from the Timeline panel and deletes the button from the DVD menu.

Alternatively, you can select the button’s marker in the Timeline panel, and press the Delete key. • ADOBE PREMIERE PRO 2.0 User Guide Do any of the following in the Effect Controls panel: • To change the font, choose one from the Font menu.

(You may have to select the triangle next to Text to see the text attribute options.) • ADOBE PREMIERE PRO 2.0 User Guide Menu background options A. Video drop zone B. Audio drop zone Note: When both video and audio are set and you replace one of the clips, the other clip remains set.

Specify settings in the Effect Controls panel: Sets the background to the original template background. • Note: If you see a warning that buttons overlap, see “To view overlapping buttons” on page 411. Use the navigation controls in the Preview to select each button and view each scene or video.

Supported DVD media Adobe Premiere Pro supports single-layer, 4.7 GB discs of the following types: • DVD+R •. • User Guide If your DVD burner is not compatible with Adobe Premiere Pro, you can burn the project to a folder, which allows you to use the software included with the burner to burn the final DVD. (See “To burn a DVD disc, or save to a DVD folder or ISO image”. • Status may need to reduce your quality setting.

Specifies the number of copies of a DVD to burn. As each disc is completed, Adobe Premiere Pro asks you Copies to insert another disc until all of the discs you specified have been burned. • Finding and customizing keyboard shortcuts About keyboard shortcuts Adobe Premiere Pro provides a set of keyboard shortcuts. Because many commands and buttons have keyboard equivalents, you can edit a video program with minimal use of the mouse. You can also create or edit keyboard shortcuts by using the Keyboard Customization command. • Selecting a shortcut Note: Some commands are reserved by the operating system and cannot be reassigned to Adobe Premiere Pro. Also, you cannot assign the plus (+) and minus (–) keys on the numeric keypad because they are necessary for entering relative timecode values.

• ADOBE PREMIERE PRO 2.0 User Guide Default keyboard shortcuts Keys for selecting tools Result Shortcut Selection tool Track Select tool Ripple Edit tool Rolling Edit tool Rate Stretch tool Razor tool Slip tool Slide tool Pen tool Hand tool Zoom tool. • ADOBE PREMIERE PRO 2.0 User Guide Result Shortcut Step back Left Arrow Step forward Right Arrow Stop Keys for the DVD Layout You can find most keyboard shortcuts in menu commands and tool tips. Additional shortcuts appear in the table below. • ADOBE PREMIERE PRO 2.0 User Guide Result Shortcut Delete selection with options Ctrl + Delete Extend selection down Shift + Down Arrow Extend selection left Shift + Left Arrow Extend selection right Shift + Right Arrow Extend selection up Shift + Up Arrow. • ADOBE PREMIERE PRO 2.0 User Guide Result Shortcut Clear Out Point Edit audio or video In point or Out point indepen- Alt-drag In point or Out point dently Go to In point Go to Out point Go to next edit point.

• ADOBE PREMIERE PRO 2.0 User Guide Result Shortcut Shuttle slow left Shift + J Shuttle slow right Shift + L Shuttle stop Slide clip selection 5 frames to the left Alt + Shift + Left Arrow Slide clip selection one frame to the left. • ADOBE PREMIERE PRO 2.0 User Guide Result Shortcut Increase kerning by 5 units Alt + Shift + Right Arrow Increase kerning by 1 unit Alt + Right Arrow Increase leading by 5 units Alt + Shift + Up Arrow Increase leading by 1 unit. • This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips. Result Shortcut Open Adobe Bridge from other Creative Suite appli- Control + Alt + O, Control + Shift + O cation Switch to previous Bridge window Shift + Control + ~ Switches to the next view (As Thumbnails. • ADOBE PREMIERE PRO 2.0 User Guide Result Shortcut Move right one item Right Arrow Move to the first item Home Move to the last item Add to selection (discontiguous) Control-click Refresh tree and thumbnail panes Add an item to the selection.

• Adobe Stock Photos panning and balancing 192 Save As command, behavior 159 See also Stock Photo accounts saving projects 159 about 56 suppressing linked clips in Adobe buying 59, 60 AAF format Premiere Pro 162 comps 59 about 397 unlinking compositions 162. • Audio Units command 177, 178 digitizing 75, 76 batch lists Audio Video Interleave. See AVI downmixing 195 importing and exporting 81 format editing in Adobe Audition 201 recapturing using 86 audio volume 233 exporting 381 setting up 80 Audio volume property extracting 179. • 135 adjusting 42 CBR encoding 390 disabling 133 main components 40 CD-ROM dragging into Program Bridge. See Adobe Bridge capacity 371 Monitor 119 brightness exporting to 371 dragging to Timeline panel 118 adjusting 285 exporting VCD to 372. • Color Pass effect 276, 315 layers and assets between After exported video 384 Color Picker.

See Adobe Color Picker Effects and Adobe Premiere files prior to export 395 Pro 156 Color Replace effect 274, 315 freeze frames 129 copying and pasting color safe levels. • 7 duplicate clips 107 previewing 414 SDK documentation 7 Duplicate command 47 types of 403 device control duration Dynamic Link. See Adobe Dynamic Link about 68 about 127 Dynamics effect 349 capturing with 68 default transitions 167 capturing without 72. • 50 Enable command 133 to videotape without device finding 49 control 377 encoders 374 importing 86 using Adobe Media Encoder 385, Encore DVD. See Adobe Encore labeling 48 386, 387 locating 28 using preset settings 388 EQ effect 350.

• INDEX 433 Flicker Removal option 131 Full view, in Adobe Help Center 5 H.264 373 folders finding 49 halos creating 340 importing 86, 87 Gamma Correction effect 316 removing 320 managing 48 ganging 105 handles, for clips 164 navigating 46. • INDEX 434 In Shift display 127 changing interpolation layer-time markers methods 242 In Shift timecode number 127 conversion in Adobe Premiere copying and pasting in Effect Pro 157 Increase Font Size command 52 Controls panel 240 L-cut edit 123, 145. • 366 Move To Trash command 47, 48 deleting 409 Maximum Bit Depth setting 27 Movie command 380 moving 408 Media Encoder. See Adobe Media movie header 394 renaming 408 Encoder movies, self-contained 394 Make Palette From Movie option 383.

• 100 Out points timebase 25 Persistent command 55 See In and Out points video levels 279 Photoshop. See Adobe Photoshop Out Shift display 127 Numbered Stills option 90 PICT format Out Shift timecode number 127 numbered stills. See still images.

• Reference Rate Stretch tool 129 Monitor 104 effects 251 rating files, in Bridge 49 playback 102 in Adobe Store 8 Razor At Current Time Indicator setting audio units in 178 command 134 point text time controls 99 Razor tool 134. • 8 panel 141 adjusting in Effect Controls scripting guides Set Matte effect 296 panel 245 Adobe Bridge 50 Set Out button 114, 119 adjusting in Timeline panel 239 scrolling Set Sequence Marker command 141 Rotation property 245 Timeline panel 138. • 88 subwoofer 191 updating 2 changing duration 88 summary keyframes 231 Solarize effect 340 exporting 380 support documents, in Adobe Help Solid Composite effect 296 Center 3 importing 88, 89 Solo button 178 support options. See technical numbered sequence 90. • 219 Threshold effect 288 technical support Title Properties panel 210 TIFF format Adobe Expert Support 2 title roll. See rolling titles importing as sequence 90 complimentary and paid 5 Title Safe Area setting 26 importing as still image 88 on Adobe.com 7.

• 126 See also crawling titles, rolling training resources 6, 7 Trim preferences 126 titles, title objects, title transfer modes, conversion in Adobe Trim-in icon 122, 127 templates, title text Premiere Pro 157 trimmed batch list, creating with adding images to 217. • Help topics 2 about 10, 16 Monitor 104 user forums 7 audio 175 views closing panels and windows 20 in Adobe Help Center 5 deleting 22 Virtual Studio Technology. See VST Value and Velocity graphs, docking and grouping 19 plug-ins adjusting 238.