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Adobe Premiere Pro Manual (PDF) Full pages updated user manual for Adobe Premiere Pro – indexed by topic – alternative to watching tutorial videos. Visit. Audio Transitions is where you will find tools to fade in and out your audio. Audio Effects contains advanced audio tools. Page 5. To apply effects, select the. Audio Transitions is where you will find tools to fade in and out your audio. Audio Effects contains advanced audio tools. Page 5. To apply effects, select the.

 
 

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The Titler has several alignment tools to make this job easy. You will explore a few here: 1 Delete your test shapes to create a blank Titler panel, or start a new title. You can constrain it to be a circle by holding down the Shift key while you drag the shape.

Notice that when more than one object is selected, the Align tools become active. You should have four perfectly aligned circles centered in the title area. You have the following options: t Still: This changes the credits to a still title. Note: The default 7 Drag your newly created Rolling Credits title to the Video 2 track of the Timeline above the video clip if another title is there, drag this one directly on top of it to do an overlay edit.

If you change the length of the credits clip, that changes the speed. A longer clip length means slower rolling credits. Note: Dragging a rolling title to increase its length will cause it to roll slower. Dragging the rolling title to decrease its length will cause it to roll faster. Unlike styles, templates are a combination of background graphics, geometric shapes, and placeholder text.

They are organized into themes with enough variety for just about any circumstance. Templates are tremendously useful. You can easily customize graphic themes to suit your needs or build your own templates from scratch and save them for future projects. It is now selected, and its characteristics are displayed in the Titler Properties panel. This gives the rectangle extra depth. When done, return to 4 Color Gradient. Select new colors. Select a color from your video Instead of using the Color Picker to change the color-stop color, you can use the Eyedropper tool located next to the color swatch to select a color from your video.

Click the Show Video button at the top of the Titler panel, move to a frame you want to use by scrubbing the timecode numbers left or right, select the Eyedropper tool into your video scene, and click a color that suits your needs. Strokes are outer or inner borders on text or graphic objects. They have the same collection of properties available for text and other Titler objects.

In this case, both strokes are 3 points wide, and they fall adjacent to one another. As shown here, this more clearly displays the sheen applied to these borders. Note that the angles are degrees and degrees and 90 degrees are horizontal. That is, each sheen appears just a bit above the centerline on one side and a bit below the centerline on the other. This is a clever bit of visual artistry.

Before you expanded the rectangle, the sheens were on the top and bottom edges. In this taller mode, they appear along the sides. The Inner Stroke properties box appears. Note: Adding a sheen or a shadow to an object is also easy. Just select the object in the Titler panel, select the appropriate properties box, and adjust the parameters. Note: The Shadow settings are selfexplanatory, with the exception of Spread. Increasing the Spread value softens the shadow.

Open a new title, select a style, and draw an object. Then open the Fill, Strokes, and Shadow properties, and make lots of changes to each object. Create some new outer and inner strokes. Add sheens. Review answers 1 You create point text with the Type tool. Its bounding box expands as you type. Changing the box shape changes the text size and shape accordingly. The amount lost varies from set to set. Keeping your text within the title-safe margin ensures that viewers will see all your title.

This is less of a problem with newer digital TVs, but it is still a good idea to use the Title Safe zone to frame your titles. Templates give you a starting point for creating your own full-featured graphic or text, backgrounds, styles, or shapes. The Distribute tools also become active when more than two objects are selected. Then start adjusting parameters, and they will show up on the object. All of these can simplify certain tasks.

If you ever have a multicamera video shoot—in which multiple cameras capture a single event simultaneously—this feature will save you a lot of time switching between camera angles during the editing process.

They come in handy for precisely timed projects such as second advertisements. You worked with extract edits and lift edits by using the drag-and-drop method. You used this tool in Lesson 5. A ripple edit changes the overall length of the project.

A rolling edit retains the overall length of the project. Note: Although the Slip and Slide tools are typically employed on the center clip of three adjacent clips, each tool functions normally even if the clip is adjacent to a clip on one side and a blank space on the other. The Rolling Edit tool changes the Out and In points of adjacent clips. Try rolling the edit point to the right to 00;20 20 frames. Note: This is just to Take a look at the Program Monitor as you perform the slide edit.

The two top images are the In point and Out point of Clip B. They do not change. These edit points change as you slide the selected clip over those adjacent clips. Take a look at the Program Monitor as you perform the slip edit.

The two larger images are the In point and Out point of Clip B. This makes it easier to set In and Out points. This should be at 00;00;02; As shown here, your Timeline now has a light blue highlighted zone between the In and Out points, as well as a gray area in the time ruler with In and Out point brackets at each end. That deletes the selected frames and leaves a gap. That performs the equivalent of a ripple delete.

Play this edit to see how, by clicking only one button, you edited two clips. For example, you may create an opening sequence for wedding videos that you use over and over for new projects. By replacing the clip with a new clip, you can save a lot of time by not having to rebuild the opening sequence from scratch. Notice that the same clip is played twice as a picture-inpicture PIP. This is a great scenario for using the Replace Clip feature.

Do not drop it yet. Notice that it is longer than the clip on the Timeline. Notice that the replacement clip now becomes the exact length of the clip it is replacing. Release the mouse button to complete the Replace Clip function. The second PIP clip remains unchanged. When you use Replace Footage, all instances of the clip you replace are changed anywhere the original clip was used in any sequence in the project.

Play the Timeline to see the original bike low shot. For example, you can replace a video clip with a still image. This means if one track moves, all the other tracks move the same amount. Note that this sequence has four video tracks with a gap between clips. The clips on the right move left to close the gap. Notice that by default all tracks have Toggle Sync Lock enabled.

All tracks stay in sync except the Video 4 track. All tracks ripple except the clips in the Video 4 track. Notice that the clips are still editable in this track.

Diagonal lines appear through the track header. Notice that you cannot do anything to the clips in the Video 4 track. Finding gaps in the timeline Adobe Premiere Pro tools make it easy to keep unwanted gaps out of your Timeline by snapping clips to one another and other objects such as the current-time indicator. But sometimes an unwanted gap in the Timeline will appear. But if the gaps are very small, you might miss them.

There should still be gaps on the Timeline. Editing with In and Out points around a clip In Lesson 5 you set In and Out points on a sequence to perform some lifts and extracts. You can use the same In and Out points in a sequence to identify the location to insert a source clip that also has In and Out points marked.

This is called a four-point edit. In this exercise, you will perform a four-point edit using In and Out Around Clip. This is especially helpful when your start and end frame points are both important but you need to replace the frames in between.

You want to remove the second clip and replace it with the In and Out sections of a new clip you will specify. Right-click in the Timeline area.

The Timeline is now shaded above the second clip. A dialog appears, warning that the marked source clip is shorter than the destination clip. Accept the default to allow Adobe Premiere Pro to adjust the speed of the source clip to make it match the length of the destination clip. You can rename these subclips and store them in the Project panel in bins as you choose. Set the Out point at around 08;00 seconds.

This will represent the race portion of the clip. Name this subclip Race. Now you will make a subclip from the Timeline rather than the Source Monitor. This will be the Hug section of the clip.

Call this subclip Hug. If not, click it as needed to target the track, and move the current-time indicator to the beginning of the sequence. Note: You can put markers on clips or sequences. You use markers for a variety of purposes, most frequently to mark DVD chapter points in sequences. In this case, you will have Adobe Premiere Pro move the four clips so the markers you place on their sync points all line up vertically.

If you are adding clips to the Timeline by using the Source Monitor Insert or Overlay button, it is necessary to target your selected tracks or to tell Adobe Premiere Pro which track or tracks you want the clip to go to. You must do two things to target the track or tracks you want to be the destination. Highlight by selecting the track or tracks you want to be the destination, and then target the track by dragging the source track indicator to the desired track.

This may sound like a lot to do to target a single video or audio track, but this combination of tools can be very useful, such as when you have clips with multiple audio tracks attached. I selected 00;00;16;29 as the sync point. Your sequence should look like the one shown here. Note the marker icons in the clips.

You will line up those markers in a few steps. Instead of moving the clip with the Overlay button, you can drag it to the Timeline. Click in the Source Monitor, drag to the gray blank space above the Video 3 track, and drop it. Adobe Premiere Pro creates the Video 4 track. Notice that the markers do not line up. If you had trouble marking your clips, open Lesson The clips align to the marker on the clip in the Video 1 track.

All the markers are lined up vertically. The beginning of the clips above the Video 1 track were trimmed because they all had more video before the sync point than the clip in the Video 1 track. Now that all four clips are in sync, you can start switching camera angles. This is called nesting a sequence in a sequence. A red box appears around the selected camera each time you make an edit. Note: After making your edits, you can always change them in the Multi-Camera Monitor or on the Timeline.

Note: You can also press the number keys 1—4 to switch among the four cameras. Note that at each edit point a yellow box appears on that camera shot. You can always return to it by selecting it from the Program Monitor menu. As shown here, the sequence now has multiple cut edits.

The number represents the video track used for that edit. Changing an edit in the Timeline To change a multicamera edit in the Timeline, do the following: 1 Right-click Windows or Control-click Mac OS the clip you want to change.

Multicam tips Here are a few helpful tips on multicam editing in Adobe Premiere Pro: t You can use any of the Timeline editing tools to change the edit points of a multicam sequence. Note: This example of multicam footage did not include any audio. It is often easier to sync video by looking for a common spike in the audio waveform. There are no additional head or tail frames to enable you to move the edit any further.

Replace Footage replaces a clip in the Project panel with a new source clip. Any instance of the clip in any sequence in the project is replaced. Subclips do not copy the physical media of the master clip; they are references to it. In addition, you can use Bezier curves to adjust the velocity and acceleration of those changes.

When one of the supported video adapters is installed in the host computer, the Adobe Premiere Pro Mercury Playback Engine uses the graphics processing unit GPU to play back sequences. Adobe Premiere Pro automatically makes them available for all video clips. Now your sequence shifts gradually from color to black and white and then back to color.

Undo those edits by clicking the History tab and clicking Apply Filter. As you change that setting, it shows up in real time in the Program Monitor.

You want to remove them all. This is an easy way to start fresh. Note: Wave Warp has three menus. Adding Video Effects 20 Play this clip. You can also use the Marquee tool to select a group of clips. The clip starts at the maximum Solarize threshold value and reduces to 0 at the one-second point.

Locate the onesecond point by looking in the Program Monitor or the Timeline time ruler. Adobe Premiere Pro adds a keyframe with the same value as the previous keyframe.

The last frame of the clip appears. Note: Pressing Page Down takes you to the frame following the last frame in a selected clip. That is by design. Note: You can drag the keyframe only up or down. When it changes to the Selection tool, drag the keyframe as high as it will go to change its value to Selecting a clip does not move the currenttime indicator to that clip.

Stretch the title clip to be the same length as the video clip beneath it. Note: Make sure 24 Set a keyframe near the middle of the clip, with the Center value set to , What generally works better is something that mirrors your experience or exaggerates it, such as a gradual acceleration or deceleration or super-fast changes.

Getting a handle on this feature will take some time and practice on your part. Its Position, Scale, and Rotation parameters all lend themselves to speed changes.

Click the title clip to select it. This adds a keyframe at the beginning of the clip with the default parameter value of 0. They will change to accommodate the actual high and low Rotation values once you change the keyframe settings. Since you have not changed any parameters, the velocity is a straight line with a value of 0.

You can also select and type in the value. Once completed, your keyframes and graphs should look like the ones shown here. You should see the following: t The top and bottom Value numbers have changed to 2×0 and —2×0 two full rotations in both directions to show the actual maximum and minimum parameter values.

They remain unchanged as you move the current-time indicator. The sudden drops or jumps represent sudden changes in acceleration—jerks, in physics parlance. Points on the graph above the middle of the Velocity graph area represent positive clockwise speeds, and points below the center represent negative counterclockwise speeds.

The farther the point or line is from the center, the greater the velocity and you thought high-school algebra was a waste of time. The text spins clockwise twice, spins faster going counterclockwise three times, and then slows down for one last rotation.

This does several things: t The keyframe icon changes to an hourglass. That curve shows the velocity change over time— its acceleration. Beziers allow for sudden acceleration changes into or out of a keyframe. Unlike Bezier, if you adjust one handle, the handle on the other side of the keyframe moves in a complementary fashion to ensure a smooth transition through the keyframe. If you choose to manually adjust its handles, it changes to a Continuous Bezier point, retaining the smooth transition through the keyframe.

The graph following a keyframe with the Hold interpolation applied appears as a horizontal straight line. Pen Tool handles appear on the Value and Velocity graph keyframes as well as on the two adjacent sets of keyframes. You changed the velocity without changing the value. Note: If you add another keyframe, it will have keyframe interpolation already applied to it. Making any such adjustment will change the keyframe icon to the Bezier keyframe interpolation hourglass.

These motion-related topics are covered in Lesson This gives you an explanation of each parameter—25 in all! This also illustrates how complete and useful Adobe Premiere Pro Help is. Set the Intensity value to 50 and the Focus value to This will decolor everything except the color you chose with the eyedropper.

Presets can be exported so you can share them with other editors, and of course you can import presets that have been exported from Adobe Premiere Pro. You will animate it like you were challenged to try on your own earlier in the lesson as extra credit on page Set a keyframe at the beginning of the clip with Swivel set to — Set an end keyframe with Swivel set to Set a keyframe at the beginning of the clip with Flare Center set to 20, Set an end keyframe with Flare Center set to , Set a keyframe at the beginning of the clip with Blurriness set to Set a second keyframe about one second in with Blurriness set to 0.

The preset appears in your Custom Preset folder. Why not? Simply selecting a clip does not move the current-time indicator to that clip. You can make those adjustments directly in the Program Monitor by dragging to change its position, or you can drag or rotate its handles to change its size, shape, or orientation.

Motion disclosure triangle Toggle animation 8 Click OK when prompted that all keyframes will be deleted if you apply the action. These two actions return Motion to its default settings. Examining Motion settings To examine some Motion settings, follow these steps: 1 Drag the current-time indicator anywhere in the clip so you can see the video in the Program Monitor.

Note: Adobe Premiere Pro CS5 uses something like an upside-down x, y coordinate system for screen location. That coordinate system is based on a methodology used in Windows for so long that to change it now would create numerous programming headaches.

The upper-left corner of the screen is 0, 0. All x and y values respectively to the left of and above that point are negative. All x and y values respectively to the right of and below that point are positive. The lower-right corner of the screen is , —the frame size of the p sequence setting used for this project. Since is half of , this puts the right edge of the clip at the left edge of the screen frame.

Changing the Position parameters adds a keyframe at the current-time indicator. This places the clip completely above the screen and adds a keyframe. Adobe Premiere Pro automatically uses Bezier curves for motion. Dots closer together represent a lower speed; dots farther apart represent a higher speed. Faster Slower Notice that the dots get closer together to the left of the keyframe and farther apart to the right. Note: By moving the center keyframe, you changed its location and thereby the distance the clip traveled between it and its adjacent keyframes.

So, the clip moves faster between keyframes that are farther apart and slower for those closer to one another. Note: Now you are changing the time between keyframes but not changing their physical location in the screen. It should behave the same way it did when you opened Lesson For example, you can start a clip full-screen or zoom in even further and then shrink it to reveal another clip.

The slider has a range from 0 to percent, but you can set the numerical representation to increase the clip size to percent of its original size. Note: The percent refers to the clip border perimeter, not the clip area. So, 50 percent is equal to 25 percent in terms of area, and 25 percent is equal to 6. A positive number is clockwise, and a negative number is counterclockwise. The maximum number of rotations allowed in either direction is 90, meaning you can apply up to full rotations to a clip.

The default setting 0. That sets the size to 0 for the beginning of the clip. The clip will remain centered and at full-screen for the time between the two keyframes. That sets Scale back to 0.

Deselect Uniform Scale; then, to scale freely, drag a corner handle. To scale one dimension only, drag a side not a corner handle; to scale proportionally, Shift-drag any handle.

The clip should grow from a tiny dot in the upper left, move to full-screen in the center, hold there for a while, and then shrink to a dot while moving to the lower-right corner. That sets a keyframe for Rotation with 0. That adds a keyframe with the same value as the preceding keyframe.

That returns Rotation to its default setting of 0. Play this clip. It will rotate clockwise twice, hold, and then rotate counterclockwise. Spatial interpolation refers to the motion path—where the clip appears onscreen.

Temporal interpolation refers to changes in velocity. In this exercise, you will use an interpolation method called Ease In and Ease Out. Using Ease In and Ease Out is a quick way to set a Bezier curve on a keyframe without manually dragging the keyframe handles. The selected keyframes will be blue. You will see that choosing the Ease options changed the graph to a curve. You will begin formal work on compositing later in the book.

This exercise will give you a taste. Render and play that sequence to get an idea of what you can do. If you play this, you will see only the clip on the top track.

It covers all the clips below it in the sequence. You use one of the presets to create one. Simply change the start and end Position keyframes to , For example, you might change the preset start or end locations or the size.

The clip in the Video 1 track will remain as is; you want to use it as a background. Next, you need to customize this motion so that this PIP shows up in the center rather than the lower-left corner.

This centers the clip. If you have trouble with any of the steps, open the 5 PIP sequence to see how it should look. Enhancing motion with shadows and beveled edges PIPs are more interesting when their shrunken clips have drop shadows, beveled edges, or some other kind of border.

It has six layered clips you might need to use the Timeline scroll bar to see all of them. The clip on the bottom of the sequence in the Video 1 track will serve as the PIP background. After you adjust the Bevel Edges parameters, it will look as shown here. This new preset shows up immediately in the Presets folder. Or, you can Shift-select these tracks, and drag the preset over once. Generally, the greater the Distance parameter, the more softness you should apply. Repeat this for the other PIP clips.

It should look like the Finished sequence. Drag the currenttime indicator over both to quickly view the content. In both cases, a picture-in-picture is rotating twice over the background clip, while moving from left to right. Look carefully at the relationship of the shadow to each pair of clips. In the set on the right, the shadow stays on the lower right of the PIP, which is realistic.

Drag the current-time indicator over both to quickly view the content In both cases, a picture-in-picture is rotating to the left in 3D space while tilting upward slightly. Now do the same for the pair on the right. Drag your current-time indicator above the set of clips on the right. Describe what will happen. How do you make one?

Review answers 1 The Scale parameter will adjust the size of the clip to make it larger or smaller—when a smaller clip is located above another in a sequence, this makes the top clip a PIP. Then it will spin counterclockwise four times as it moves to the next keyframe. Set the Rotation value back to 0 zero to have it spin counterclockwise twice. Then move to where you want the spinning to end, and change the Rotation parameter; another keyframe will appear.

In this lesson, you will review static speed changes, the time-remapping feature, and some other tools that let you make time changes to multiple clips. Using slow-motion and reversemotion techniques In this exercise, you will start by making a static speed change to a clip. You can speed up or slow down any clip on the Timeline. Notice the clip is now 12 seconds long.

This is because you slowed the clip to 50 percent, making it twice its original length. This is impossible without trimming the clip as it is slowed down. Adobe Premiere Pro provides a tool that makes this easy to do.

Notice that with Speed and Duration unlinked, the duration remains six seconds. Note: The Clip Notice that the clip plays at 50 percent speed, but the last six seconds have automatically been trimmed to keep the clip at its original duration.

Occasionally you will need to reverse time. Notice it plays in reverse at 50 percent slow motion. Selecting this option keeps audio at the original pitch regardless of the speed at which the clip is running. This can be helpful when making small speed adjustments to clips when you want to maintain pitch in the audio.

As an alternative, you can reopen Lesson Notice its new length is two seconds. This is where the Rate Stretch tool comes in handy. The situation in this exercise is fairly common. The Timeline is synchronized to music and the clips contain the content you want, but the clips are just too short. This means one portion of the same clip could be in slow motion while another portion of the clip is in fast motion. Hang on—this is really fun. As you add time adjustments to the clip, it will change length.

Increasing the track height makes adjusting keyframes on the clip much easier. With this option selected, the yellow line across the clip represents the speed. Then click the yellow line to create the keyframe that will be visible at the top of the clip. You are not yet changing the speed; you are just adding control keyframes. Notice the clip has stretched in length to accommodate the speed change of this section.

Note: If you have problems setting the speed keyframes, open the Completed sequence to see the completed process. Notice the speed changes from percent to 30 percent and back to percent at the end. Render the clip for the smoothest playback. In the previous section, you changed from one speed to another instantly. To create a more subtle speed change, it is possible to transition from one speed to another smoothly by using speed keyframe transitions. You will recognize the clip and speed changes from Lesson Note: When selecting the Practice sequence, you may need to adjust the height of the Video 1 track by positioning the Selection tool over the Video 1 label and dragging the edge of the track up.

Note: The speed keyframes are actually two icons next to each other. You can drag these two icons apart to create a speed transition. Notice the yellow line now ramps down, rather than making a sudden change from percent to 30 percent. Note: If you have 4 Repeat step 3 on the second speed keyframe to create a transition there as well. Using time remapping with reverse motion Reversing a clip can add comedy or drama to a sequence.

Time remapping allows you to easily adjust variable speed remapping and do reverse motion in the same clip. The quality of the slow motion is very good. Notice that there are three clips on the Timeline in the Video 1 track, with one title clip, called drafty, positioned over the middle clip. The clip could not expand because it abuts against another clip.