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- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Sprache: Englisch
When the filming stops, the real video production work begins Ever wonder how your favorite video creators regularly put out such slick content? They're probably using Adobe Premiere Pro CC, a go-to video production app for both professional and amateur video creators. Adobe Premiere Pro CC For Dummies walks you through each step of editing and producing slick and stylish videos that stand up to what the pros post. From transferring your digital movie files from your camera or phone to your computer all the way to uploading your latest creation to YouTube or the web, this book has the info you need to bring your ideas to life. If you're new to video production, you can begin at the beginning with the handbook's user-friendly guide to the basics of setting clips on the timeline and making them flow seamlessly. Or, if you've already got a few videos under your belt, you can skip right to the more advanced material, like special effects and handy tricks of the trade. You'll also find: * Instruction on joining video clips into a continuous final product, complete with transitions, special effects, and more * Advice on improving sound, getting rid of color errors, and customizing the look of your videos with filters and aftereffects * Straightforward guides to adding voiceovers and soundtracks to your videos So, if you're new to Adobe Premiere Pro CC--or digital video editing in general--Adobe Premiere Pro CC For Dummies is the first and last resource you'll need to start editing like a pro.
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Adobe Premiere Pro CC For Dummies®
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Published simultaneously in Canada
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Library of Congress Control Number: 2022933151
ISBN: 978-1-119-86749-4
ISBN: 978-1-119-86721-0 (ebk); ISBN: 978-1-119-86722-7 (ebk)
Adobe Premiere Pro CC For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Adobe Premiere Pro CC For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Title Page
Copyright
Introduction
About this Book
How this book is organized
Icons Used in the Book
Beyond the book
Part 1: Getting Familiar with the Adobe Premiere Pro Universe
Chapter 1: Perusing the Premiere Pro Landscape
Understanding What Premiere Pro Can Do
Dissecting the Workspace
Having a Panel Discussion
Tooling Around the Toolbar
Chapter 2: Understanding the Premiere Pro Workspace
Identifying Your Needs
Understanding Workstation Requirements
More Hard Drive Space, Please
Managing other computer components
Looking at Capture Gear
Defining Users
Chapter 3: Adjusting Premiere Pro to Suit Your Needs
Setting Up Your Workspace
Tweaking Program Settings
Customizing the Windows
Part 2: Gathering Content
Chapter 4: Sorting Out the Elements of Video Production
Defining Digitized Video
Explaining Digital Video Fundamentals
Capturing Great Video
Chapter 5: Prepping Your Movie Projects
Starting Your Project
Tweaking the Settings
Making a Sequence
Chapter 6: Importing Media into a Project
Starting Your Project
Organizing Media
Part 3: Editing Your Masterpiece
Chapter 7: Preparing Your Video for Editing
Getting the Lowdown on Your Clips
Working the In and Out Points
Modifying Clips
Chapter 8: Editing in the Timeline
Managing Your Sequence
Fine Tuning Your Clips
Advanced Timeline Tricks
Chapter 9: Transitioning between Clips
Choosing Effective Transitions
Grasping Transition 101
Advanced Transition Techniques
Chapter 10: Finishing Your Edited Video
Exercising Video Correction
Correcting Color and Tone
Using Video Scopes
Exploring Some Advanced Techniques
Chapter 11: Constructing the Video Composite
Understanding Compositing
Working with Keyframes
Compositing with Special Effects
Chapter 12: Choosing Cool Effects for Your Movie
Understanding Effects
Making Corrections
Playing with Your Clips
Chapter 13: Working with Audio
Understanding Your Audio Needs
Beginning with Recording the Audio
Working with Audio in Your Movie
Navigating the Essential Sound Panel
Chapter 14: Dazzling with Titles and Graphics
Understanding Titles and Motion Graphics
Using Text to Speech
Editing Graphics
Part 4: Finishing Off Your Project
Chapter 15: Finalizing Your Project
Being Your Own QC Monitor
Previewing the Timeline
Fine-Tuning Video for Export
Chapter 16: Kicking Out Your Movie
Exporting Your Movie
Choosing the Right File Format for Your Needs
Chapter 17: Spanning the Globe with Your Movie
Showing Your Movie
Using the World’s Largest Screening Room
Using Social Media
Sharing your Movie
Going Old School
Part 5: The Part of Tens
Chapter 18: Ten Ideas for Making Fantastic Movies
Making Your Own
Brady Bunch
Opening (Or Something Like It)
Exploiting Montage Editing
Showing Restraint While Using Plug-ins
Transforming Your Movie to Film Noir
Making Still Images Move (The Ken Burns Effect)
Producing Your Own News Segment
Using Transitions to Help Tell the Story
Applying a Filter Over Your Movie
Having Fun by Reversing Motion
Chapter 19: Ten Essential Premiere Pro Plug-Ins
Knocking Out Your Movie with the Cine Punch Bundle
Roll with Motion Array Premiere Pro Transitions
Making Your Still Photo “Pop” Using Photo Montage 2
Producing the Look of Film Stock with Film Convert Nitrate
Emulating
Star Wars
Opening Titles with the Free Star Titler
Sweetening Up Audio with Accusonus ERA 5 Bundle
Prettying Up Your Subject’s Skin Tones with Make Up Artist 3
Adding Pizazz between Shots with Andy’s Swish Transitions
Making Seamless Time-Lapse and Slow-Motion Video with Flicker Free
Simulating Beams of Light Coming through Portals with Light Rays
Chapter 20: Ten Tips for Making Video Easier to Edit
Shooting Movies “Horizontally” with Your Smartphone
Producing Better Video to Edit by Keeping It Steady
Shooting to Edit for Quicker Turnaround
Taking Advantage of Natural Light
Handling Each Shot for Your Edit
Seeing True Video Quality with a Calibrated Monitor
Adding Drives for Scratch Space
Ditching the Pinhole for a Microphone
Using an Audio Recorder for Great Sound
Converting Master Files into the Right Format
Index
About the Author
Advertisement Page
Connect with Dummies
End User License Agreement
List of Illustrations
Chapter 1
FIGURE 1-1: Premiere Pro showing the editing workspace.
FIGURE 1-2: The Project panel.
FIGURE 1-3: Video clips in the timeline.
FIGURE 1-4: Monitors from the Source and Program panel shown side by side.
FIGURE 1-5: The Effects panel.
FIGURE 1-6: The Effect Controls panel.
FIGURE 1-7: The Audio Mixer.
FIGURE 1-8: The toolbar and all it has to offer, including the Ripple Edit tool...
Chapter 2
FIGURE 2-1: Premiere Pro running on a Mac.
FIGURE 2-2: Dell laptop running Premiere Pro
FIGURE 2-3: Samsung T7 Portable SSD is only 2 x 3 inches.
FIGURE 2-4: The jog shuttle brings the control of an editing console to your de...
FIGURE 2-5: The video capture mode used with an iPhone.
FIGURE 2-6: High-speed XQD SD card.
FIGURE 2-7: The Canon 6D DSLR captures HD video and includes a full-frame senso...
FIGURE 2-8: A Røde shotgun microphone atop a Canon M6 mirrorless camera.
FIGURE 2-9: The Panasonic P2, Sony XQD, and a multi-card reader.
FIGURE 2-10: Audio recorder for capturing audio independent of the camera.
Chapter 3
FIGURE 3-1: The Welcome screen.
FIGURE 3-2: The Workspaces pull-down menu.
FIGURE 3-3: Typed information in the Clip Description Notes field.
FIGURE 3-4: iPad being recognized in the Displays section of System Preferences...
FIGURE 3-5: Filling the iPad screen with the Project Panel.
FIGURE 3-6: The Keyboard Shortcuts dialog allows you to access every shortcut i...
FIGURE 3-7: The search field in the Keyboard Shortcuts dialog.
FIGURE 3-8: Standard Definition video in an HD sequence before setting or scali...
FIGURE 3-9: The Automation Control pull-down menu.
Chapter 4
FIGURE 4-1: This scene shown in the Program Monitor conforms to the sequence’s ...
FIGURE 4-2: The image from Salem, Massachusetts, is ready for viewing immediate...
FIGURE 4-3: Standard-definition video in an HD timeline will show pillar boxing...
FIGURE 4-4: Timecode shown in the timeline.
FIGURE 4-5: The camera was fooled by the blue light of early evening.
FIGURE 4-6: A quick white balance created some offsets to the cool lighting.
FIGURE 4-7: Rule of Thirds.
FIGURE 4-8: Sunlight coming through the windows and reflected on the white wall...
FIGURE 4-9: Sometimes great lighting comes from a variety of sources.
Chapter 5
FIGURE 5-1: New project screen.
FIGURE 5-2: List of scratch disk locations.
FIGURE 5-3: Image showing title-safe area.
FIGURE 5-4: The General tab of the Preferences window, with choices in the left...
FIGURE 5-5: The Timeline section of the Preferences panel.
FIGURE 5-6: The Auto Save function preferences.
FIGURE 5-7: Using an external drive with a lot of space can assure a smooth edi...
FIGURE 5-8: New Sequence window.
FIGURE 5-9: Make your video settings here.
FIGURE 5-10: Save Sequence Preset dialog.
FIGURE 5-11: Selecting the Expand All Tracks option.
FIGURE 5-12: Sliders to zoom the timeline and make the tracks longer and higher...
FIGURE 5-13: Enlarging the Program Monitor lets your edit fill the screen.
Chapter 6
FIGURE 6-1: Adobe Bridge is designed for reviewing files, transferring between ...
FIGURE 6-2: Card reader with Compact Flash card.
FIGURE 6-3: Connecting to an HDV camcorder.
FIGURE 6-4: Import menu.
FIGURE 6-5: Essential Sound panel.
FIGURE 6-6: This full-frame photograph leaves pillar boxing on the sides.
FIGURE 6-7: Cropping the image fills the frame but loses some of the image.
FIGURE 6-8: Color coding a bin.
FIGURE 6-9: Metadata Display dialog.
FIGURE 6-10: Choosing a data type from the pull-down menu.
FIGURE 6-11: Dragging the tag into a more visible area.
FIGURE 6-12: Folder icon to create a bin from a search.
Chapter 7
FIGURE 7-1: Proper arrangement of the scene.
FIGURE 7-2: An overloaded bin.
FIGURE 7-3: Playback Resolution menu.
FIGURE 7-4: In and Out points set in the clip.
FIGURE 7-5: Markers menu options.
FIGURE 7-6: A common error message when dragging clips into the timeline.
FIGURE 7-7: Marker window.
FIGURE 7-8: Crowded markers.
FIGURE 7-9: Marker panel.
FIGURE 7-10: In and Out points shown in Icon View.
FIGURE 7-11: The Razor tool highlighted in the toolbox.
FIGURE 7-12: Speed/Duration dialog.
FIGURE 7-13: Rate Stretch tool.
FIGURE 7-14: Backward capture of diving into a pool.
FIGURE 7-15: Time Interpolation pull-down menu.
Chapter 8
FIGURE 8-1: Insert and Overwrite buttons.
FIGURE 8-2: The Insert option on the Clip pull-down menu.
FIGURE 8-3: The barrenness of panels in new project.
FIGURE 8-4: Selecting the Overlay option.
FIGURE 8-5: Track targeting.
FIGURE 8-6: Clicking the tracks that you want to add and seeing them in the tim...
FIGURE 8-7: Changing clip names.
FIGURE 8-8: Waveforms in audio tracks on the timeline.
FIGURE 8-9: Use the pull-down menu to select Show Audio Waveforms.
FIGURE 8-10: A dynamic portion of the clip used as a freeze frame.
FIGURE 8-11: Selecting the Add Frame Hold option.
FIGURE 8-12: Track Select tool showing an arrow grabbing clips in front of it.
FIGURE 8-13: Adding a clip to a gap for a three-point gap.
FIGURE 8-14: Overwrite button, circled below the clip in the Source Monitor pan...
FIGURE 8-15: Fit Clip dialog showing the Change Clip Speed option selected.
Chapter 9
FIGURE 9-1: Group of Transition bins.
FIGURE 9-2: The superimposition of two scenes in a long dissolve.
FIGURE 9-3: White flash from dip-to-white dissolve.
FIGURE 9-4: Sequence to a fade-out.
FIGURE 9-5: Example of an Iris Round in mid-transition.
FIGURE 9-6: Example of a Page Peel in mid-transition.
FIGURE 9-7: Example of a Push in mid-transition.
FIGURE 9-8: Transition pop-up dialog.
FIGURE 9-9: Set Transition Duration dialog.
FIGURE 9-10: Changing transition effects in the Effect Controls panel.
FIGURE 9-11: Indication of a clip end.
FIGURE 9-12: A double-sided transition.
Chapter 10
FIGURE 10-1: Overexposed image.
FIGURE 10-2: Corrected image.
FIGURE 10-3: The red box indicates how much of a wide-aspect-ratio image was in...
FIGURE 10-4: Dealing with pillar boxing by using a background.
FIGURE 10-5: Basic Correction and all its functions.
FIGURE 10-6: The Creative tool showing some of the Looks in pulldown menu.
FIGURE 10-7: Color Wheels & Match.
FIGURE 10-8: The image in this video was slightly underexposed.
FIGURE 10-9: After a little tweak to exposure, it looks much better.
FIGURE 10-10: Concertgoers bathed in red light.
FIGURE 10-11: Lumetri Scopes showing all five choices.
FIGURE 10-12: Parade scope.
FIGURE 10-13: Adjustment Layer dialog.
FIGURE 10-14: Comparison buttons on the bottom of the monitor.
FIGURE 10-15: When captured, the image had a color cast, but a quick slide of t...
FIGURE 10-16: Clip with low contrast and subdued color.
FIGURE 10-17: The clip getting a little “punch.”
Chapter 11
FIGURE 11-1: Stacked clips in the timeline.
FIGURE 11-2: The Opacity slider menu.
FIGURE 11-3: The Base clip.
FIGURE 11-4: The Blend clip.
FIGURE 11-5: The two clips stacked and showing a 50 percent opacity.
FIGURE 11-6: Because of the wide light ratio, this scene showing the Brooklyn B...
FIGURE 11-7: Using the Multiply blend to make a density correction. Opacity was...
FIGURE 11-8: The Blend modes showing the effect of the two clips from Darken to...
FIGURE 11-9: This once-bland image pops by doubling the layer and adding the Ha...
FIGURE 11-10: Naming a nested clip.
FIGURE 11-11: Image with a green screen background, indicating the surrounding ...
FIGURE 11-12: Eye dropper.
FIGURE 11-13: Alpha channel of the image.
FIGURE 11-14: Effect Controls with (circled from left to right) the Toggle Anim...
FIGURE 11-15: Panoramic image.
FIGURE 11-16: Image dragged to the edge.
FIGURE 11-17: Subject captured in front of a green screen.
FIGURE 11-18: An evenly lit background.
FIGURE 11-19: The subject keyed against the background.
FIGURE 11-20: Main subject.
FIGURE 11-21: Over-the-shoulder video added, but it needs adjustment.
FIGURE 11-22: Video adjusted for the scene.
FIGURE 11-23: Clips stacked in the timeline.
FIGURE 11-24: Crop settings in Effect Controls add up to 50 percent.
FIGURE 11-25: Frame sized, but not moved into place.
FIGURE 11-26: Final version.
Chapter 12
FIGURE 12-1: Lighting Effects nested in the Adjust bin.
FIGURE 12-2: Pull-down menu showing lighting types.
FIGURE 12-3: By clicking the circled box, you can center the light by dragging ...
FIGURE 12-4: Showing the effect in Spotlight mode.
FIGURE 12-5: Image without any effect.
FIGURE 12-6: Directional lighting effect.
FIGURE 12-7: Spotlight lighting effect.
FIGURE 12-8: Omni lighting effect.
FIGURE 12-9: Original image.
FIGURE 12-10: Scaled version.
FIGURE 12-11: Using the Scale control.
FIGURE 12-12: Crop tool.
FIGURE 12-13: Warp Stabilizer in action.
FIGURE 12-14: Warp Stabilizer settings.
FIGURE 12-15: Now the entire frame is filled without having to change the orien...
FIGURE 12-16: The Mosaic effect used to hide the subject’s face.
FIGURE 12-17: Remove Attributes dialog.
FIGURE 12-18: Timecode in video.
FIGURE 12-19: Upside-down video: Intentional or accidental?
FIGURE 12-20: Posterize Time settings.
FIGURE 12-21: Turbulent Displace using the Turbulent effect.
Chapter 13
FIGURE 13-1: Dialogue levels hovering around –12 decibels.
FIGURE 13-2: Rubber band in the audio track.
FIGURE 13-3: Pen tool in the Toolbox.
FIGURE 13-4: Audio Gain dialog.
FIGURE 13-5: Search for the Hard Limiter in Effects.
FIGURE 13-6: Click the Edit button in Effect Controls.
FIGURE 13-7: Adjusting the Maximum Amplitude to -12 dB in Clip FX Editor.
FIGURE 13-8: Shooting on a busy street.
FIGURE 13-9: The Drag Video Only and Drag Audio Only buttons circled in the Sou...
FIGURE 13-10: Clip with stereo on a single track.
FIGURE 13-11: The Modify Clip dialog.
FIGURE 13-12: The clip showing audio channels on separate tracks.
FIGURE 13-13: Essential Sound panel.
FIGURE 13-14: Audio tracks differentiated by color.
FIGURE 13-15: The Dialogue options.
FIGURE 13-16: Preset options for dialogue.
FIGURE 13-17: Auto-ducking feature.
FIGURE 13-18: SFX presets.
FIGURE 13-19: Ambience presets.
FIGURE 13-20: Creative menu choices.
FIGURE 13-21: Repair tab.
Chapter 14
FIGURE 14-1: The Click Transcript button in the Text panel.
FIGURE 14-2: Create Transcript dialog.
FIGURE 14-3: Options for your transcript.
FIGURE 14-4: Caption options.
FIGURE 14-5: Captions track in yellow.
FIGURE 14-6: Captions on video.
FIGURE 14-7: Template choices in the Essential Graphics panel.
FIGURE 14-8: Filling out a form for a graphic.
FIGURE 14-9: Seeing the resulting info in the graphic.
FIGURE 14-10: Editing tools for text.
FIGURE 14-11: Replace Fonts in Project command.
FIGURE 14-12: Editing directly on the clip.
FIGURE 14-13: Locator graphic.
FIGURE 14-14: Laying out a movie title.
FIGURE 14-15: Adding content to the Film Credits graphic.
FIGURE 14-16: New Layer icon circled under the Edit tab.
FIGURE 14-17: Editing text directly in the field on the clip.
FIGURE 14-18: Clicking the Center Align Text button to center text in the field...
FIGURE 14-19: Centering the credits onscreen using the controls in the Align an...
FIGURE 14-20: Responsive Design — Time section on the Essential Sound panel wit...
FIGURE 14-21: Making adjustments with the scroll bar to view the finalized vers...
FIGURE 14-22: Subject identified with a lower third.
FIGURE 14-23: Generic sports quote motion graphic.
FIGURE 14-24: Controls for the graphic under the Edit tab.
FIGURE 14-25: Changes shown on the motion graphic.
FIGURE 14-26: Flipped version with a changed main color.
FIGURE 14-27: Text controls.
FIGURE 14-28: Final version with text.
Chapter 15
FIGURE 15-1: These two images would not go together.
FIGURE 15-2: Seems like the letters are transposed on this one, unless this cyb...
FIGURE 15-3: Turned off video track.
FIGURE 15-4: If the timeline wasn’t expanded, this gap could go unnoticed.
FIGURE 15-5: Audio levels.
FIGURE 15-6: Choose Render In to Out in the pull-down menu.
FIGURE 15-7: Choosing a codec.
FIGURE 15-8: The Media Cache section of the Preferences dialog.
FIGURE 15-9: The dreaded red frame of a missing link.
FIGURE 15-10: The Link Media dialog.
FIGURE 15-11: The Export Frame icon resembles a small camera.
FIGURE 15-12: The Export Frame dialog.
FIGURE 15-13: The bottom of the Export panel.
Chapter 16
FIGURE 16-1: Accessing the Export panel though the Main menu.
FIGURE 16-2: A view of the Export panel.
FIGURE 16-3: The many choices found in the Format pull-down menu.
FIGURE 16-4: There are so many preset choices for H.264, that you need to scrol...
FIGURE 16-5: Output and Source information in the Summary section of the Export...
FIGURE 16-6: Advanced adjustment tabs.
FIGURE 16-7: Inputting the proper name in the dialog.
FIGURE 16-8: Watch the movie in full screen.
FIGURE 16-9: The In and Out sliders in the Export panel.
FIGURE 16-10: Saving your preset.
Chapter 17
FIGURE 17-1: Movie clip shown on an iPhone.
FIGURE 17-2: Movie played on an Apple iPad.
FIGURE 17-3: Image projected onto a bed sheet screen.
FIGURE 17-4: The old formats included 8-millimeter film, VHS tapes, and DVDs.
FIGURE 17-5: The familiar YouTube interface.
FIGURE 17-6: The Upload Videos button.
FIGURE 17-7: The Upload Videos screen.
FIGURE 17-8: The Video Details screen.
FIGURE 17-9: The Vimeo interface.
FIGURE 17-10: The Vimeo splash screen.
FIGURE 17-11: The Upload Selected Videos button.
FIGURE 17-12: The Facebook Upload button.
FIGURE 17-13: Select interface.
FIGURE 17-14: Change aspect ratio.
FIGURE 17-15: WeTransfer interface.
FIGURE 17-16: iCloud Drive.
FIGURE 17-17: An external DVD burner comes in handy for playing old discs, or b...
FIGURE 17-18: Selecting Bars and Tone using the New Item icon.
FIGURE 17-19: Color bars.
Chapter 18
FIGURE 18-1: Multi-image composite.
FIGURE 18-2: Adding tracks to accommodate clips.
FIGURE 18-3: Establishing a shot for a montage edit.
FIGURE 18-4: Boosting contrast.
FIGURE 18-5: Cut pieces of voiceover arranged in the timeline.
FIGURE 18-6: The style choice for this one used cool undertones.
Chapter 20
FIGURE 20-1: Screengrab of video being captured using landscape orientation.
FIGURE 20-2: Screengrab of video being captured using portrait orientation.
FIGURE 20-3: Resting the camera on a railing helped keep the scene steady.
FIGURE 20-4: This composite image shows a wide, normal, and telephoto view of t...
FIGURE 20-5: Late-afternoon light allows the crowd and outdoor stage to pop wit...
FIGURE 20-6: A mini shotgun microphone can work wonders for capturing great aud...
Guide
Cover
Title Page
Copyright
Table of Contents
Begin Reading
Index
About the Author
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Introduction
Nonlinear editing programs like Adobe Premiere Pro CC have changed the game when it comes to making movies so much that it’s easy to take it for granted. Anyone with an Adobe Creative Cloud subscription and a dream can make a movie and show it to an audience that spans the globe. But it wasn’t always like that. Not that long ago, making a movie depended on a tabletop full of editing equipment with a severe lack of forgiveness. There was no undo in this world. Actually, there was its own version — it was called the do-it-over.
As for editing costs, the passion of putting a movie together in the last millennium could make you broke faster than an online gambling site. Unless you were fortunate to be working in the industry, and had access to state-of-the-art equipment, chances are you were making quality sacrifices. So, without a suitcase filled with cash, putting the finishing touches on your movie project was as far off as a walk-in membership to a snooty country club. Even if you could afford the most basic equipment, the disparity between the consumer and professional level was far beyond a professional-quality movie. Instead of providing the look of a Hollywood movie, the end-result would be of significantly lesser quality.
Nowadays, that glass ceiling has been broken and all that should matter is how well you shot and edited your movie. Nonlinear applications like Premiere Pro CC are leading the way by allowing average Joes access to professional-style editing tools. Video content creators have access to the tools to create a real movie — be it long, short, really short (looking at you TikTok) or anything in between.
Premiere Pro CC puts the creative power at anyone’s fingertips. Not even Nostradamus could have imagined the power in the hands of the average user, who was long on passion and short on accessibility, to now make a movie with limited resources and deliver to a potentially wide global audience.
About this Book
I’m making no allusions that this book is the oracle to understanding everything about Premiere Pro. To adequately cover every feature, function, and technique, in addition to tips, workarounds, and other tricks, I would need far more than a few hundred pages. Rather, this singular Adobe Premiere Pro CC For Dummies serves as a reliable resource to familiarize you with the software and get you editing quickly.
So, what exactly does that mean? It means you get the dollar tour of the workspace with the basics of setting up your project, importing various types of content, and making magic in the Timeline — otherwise known as the place to arrange your movie assets. This is what’s important when dipping your toe into Premiere Pro.
If you’re not sure how important editing is to the filmmaker, just check out some classic films like the shower scene from Alfred Hitchcock’s Psycho, or the Odessa Steps scene from Sergei Eisenstein’s seminal 1925 film, Battleship Potemkin. Brian DePalma paid homage to that classic scene in the 1987 film, The Untouchables.
Versatility is the name of the game with Premiere Pro. Much like the special way you take your latte at a particular coffee chain, Premiere Pro is quite versatile. Plus, making a movie with it won’t get your name spelled wrong on the cup. So, whether you’re capturing a documentary with your new Sony F7 professional camcorder system, using your Canon 5D (of any mark you choose), a consumer-level camcorder, or more than likely, your smart phone, you can easily ingest that footage and begin making a movie after a quick perusal this handy guide.
How this book is organized
Reading this book should make you feel like living in the no commitment zone. That means you will not have to read it cover to cover; instead, you’ll consume the information that you need and apply it with hands-on ease.
Premiere Pro CC For Dummies is divided into five parts, each detailing an aspect of preparing, editing, and delivering your movie. Depending on your level of understanding and your needs, you may prefer a particular area over another. Feel free to read it start to finish if that’s your thing. But chances are you want to spend more time editing. So also feel free to jump around.
PART I: Getting Familiar with the Adobe Premiere Pro Universe
Think of this set of chapters as the appetizer to the big meal — you know, if the big meal were a pro-quality movie. Complex in what it can do, yet easy to learn, Premiere Pro CC essentially consists of a collection of individual windows called panels that together create its powerful interface. This section prepares you with a swift overview of setting up your workspace and customizing it for your needs.
PART II: Gathering Content
With features and functions that transform old school linear video editing from the suite to a nonlinear powerhouse on your laptop or desktop computer, the following chapters explain fundamental techniques for bringing content from a variety of sources into the workspace. These include the previously mentioned collecting, managing, and organizing movie assets.
PART III: Editing Your Masterpiece
If the past sections were the appetizer, then think of the following chapters as the main course. Whether you’re a beginner looking to make a short video, a working professional looking to understand the program’s newest and most powerful features, or anyone in between, this group of chapters takes you through the ins and outs of editing your movie with sublime simplicity.
PART IV: Finishing Off Your Project
Now that your movie is edited, it’s time to give a quality control once-over and export it as a movie file. After that, you can upload it to a social media site with your sights set on viral video victory. Maybe festivals or public showings are in the cards — then you could have a full house. Sharing your movie through a file transferring service is another option, or you could go old school by transferring to a DVD (or an even older school, like transferring to videotape) if that’s your thing. Whatever you choose, your movie is ready to live outside the program.
PART V: The Part of Tens
The For Dummies version of the top ten list provides insight into tools and techniques that take your Premiere Pro moviemaking skills to the next level. And by including a trio of lists, think of your progress increasing three times as much.
Icons Used in the Book
What’s a For Dummies book without icons pointing out pertinent information that quickly gives you what you need and lets you get on your way? Here’s a brief description of the icons used in book.
This icon marks a generally interesting and useful fact — something you may want to remember for later use.
This light bulb points out helpful suggestions and useful nuggets of information.
When you see this icon, you know that techie stuff is nearby if you're not feeling very techie feel free to skip it.
The warning icon alerts you of lurking danger. With this icon I'm telling you to pay attention and proceed with caution.
Beyond the book
In addition to what you’re reading right now, this book comes with a free access-anywhere Cheat Sheet that includes tips to help you use Adobe Premiere Pro CC. To get this Cheat Sheet, simply go to www.dummies.com and type Adobe Premiere Pro For Dummies Cheat Sheet in the Search box.
Part 1
Getting Familiar with the Adobe Premiere Pro Universe
IN THIS PART …
Learn how you can use Premiere Pro for video editing projects.
Become familiar with the Premiere Pro workspace.
Learn about hardware requirements.
Identify what accessories you’ll need to capture video.
Learn how to tweak settings for you needs and customize windows.
Chapter 1
Perusing the Premiere Pro Landscape
IN THIS CHAPTER
Getting to know the workspace
Introducing the panels
Describing each tool
Briefing on the libraries
Way back in the early 20th century, the only way to edit a videotape package was to put it together in linear order. You know, the first scene first, then the second, blah, blah, blah. Nowadays, Adobe Premiere Pro lets you randomly drag clips (parts of a movie file) around and put them in any order you like. This is known as nonlinear editing. The really cool thing is that you can shuffle clips around as many times as you like until you’re happy with the results.
As with any software, learning how to navigate the Premiere Pro features is extremely important. This chapter introduces you to the Premiere Pro workspace, including the panels, tools, and libraries.
In the workspace, various configurations of panels allow you to control various aspects of making a movie: audio mixing, controlling effects, and managing project assets. One of the key panels here is the timeline, which is the place you arrange, and often rearrange your clips to make your movie.
Understanding What Premiere Pro Can Do
Premiere Pro brings the creative power of post-production moviemaking from the editing suite to the convenience of your computer screen. Tape-to-tape editing, film splicing, and workprint are a few of the antiquated terms now in the rear-view mirror thanks to nonlinear editing.
That’s quite a contrast from the way things used to be. For years, putting a movie together involved a series of steps that had to occur in sequential order. Imagine splicing pieces of film from different reels and putting them together and then realizing that you missed an entire scene. That’s not a good feeling, and you get little forgiveness for skipping parts of the order.
Premiere simplifies the process of telling stories visually by making it more affordable, more flexible, and allowing you to change your mind and experiment with placing clips in the timeline without penalty. Change your mind and see how it plays out without any worry. You also don’t get your fingers sticky with film cement, and you won’t get cut with a razor blade. While the software is intuitive, it’s important to have a lay of the land to fully understand its potential.
Premiere Pro lets you to place elements in a timeline, a long panel that appears at the bottom of the screen where you add video clips. The order in which you add the clips doesn’t matter; you can drop in the last scene first, and the first scene later on, or in any other combination. It still plays out in linear fashion, regardless of when you add the clips. Yet, while Premiere Pro is intuitive, it’s important to have a lay of the land to fully understand what the software can do.
Dissecting the Workspace
Premiere Pro makes you feel like a video-editing superhero whose special powers transform your movie project from appalling to appealing. Not quite as cool as x-ray vision or web-slinging, but producing effective, clean edits is a power in its own way.
Before you can create an award-winning masterpiece, you need to get familiar with the workspace. C’mon, even Batman had to know his way around Gotham City, right? So think of yourself as Batman (your choice on which actor…okay, Christian Bale, no wait, Robert Pattison, or go old school with Michael Keaton or Adam West). No matter. You should learn your way around Premiere Pro so when you see the Bat-Signal — or most likely a text message on your iPhone — to edit an important package, you intimately know the Premiere Pro tools and functions that are at your disposal. The following sections give you an overview of what you see when you open Premiere Pro.
Breaking down the interface
The Premiere Pro interface looks overwhelming at first glance because so many choices make it hard to focus on anything specific. Yeah, there’s a ton of great stuff; it’s just a matter of focusing on what’s necessary. I’ll address the points of contention, taking it from the top — of the screen, that is, where you’ll find nine menu headers whose deep nesting make it feel like “bursting” nest syndrome. Consider the overwhelming screen real estate, shown in Figure 1-1.
FIGURE 1-1: Premiere Pro showing the editing workspace.
While complex, the workspace actually makes sense. You just need to look at it as a series of individual components that work together as a single entity. The Project panel (lower left in Figure 1-1) shows the ingested movie files, and the timeline (lower right in Figure 1-1) has an edited clip. On top, the Source Monitor panel shows clip content while the Program Monitor panel plays out clips on the timeline.
Ingesting and Editing
Ingesting refers to transferring your video content from the camera of card into Premiere Pro. Editing is the means of putting that ingested content into some cohesive order.
The screen is far less scary when viewing the workspace as individual sections, or panels, each with its own special function. Although the panels have specific functions, they all work together. For example, the Projects panel stores your assets and sequences that you could drag into the timeline and then view on the Program Monitor panel before deciding to color-correct the video by making a selection in the Effects panel and fine-tuning it in the Effect Controls panel.
Understanding the panels
The panels in Premiere Pro are stylish, functional, and easy to navigate once you get the hang of working with them. You can click on one panel and interact that action with another panel. So, you can be in the Projects panel, select a clip, set its In and Out points, and drag the clip into the timeline. Once there, you can click on the clip, activate the Audio Meters, and make adjustments to the sound. Need to be more focused? Then for precise work, fill the screen with a single panel by highlighting it and pressing the accent key.
While each panel is a stand-alone, they all work together to create your video. It isn’t necessary to understand every panel to do great work. The more you know, the more you can do, but you can easily get started by simply learning how a few panels work.
When you click in a particular panel, the area becomes activated, as indicated by a blue borderline. This allows you to perform whatever task that panel offers. For example, when selecting the Timeline panel, you can move clips around, change their length, or delete them altogether.
Getting around the workspace
Unlike a lot of software that folks use (I’m looking at you, Office 365), you can customize where different elements of the Premiere Pro interface live. Think of the interface of what you see on the screen, and the workspace, the particular way they are arranged.
Timeline on the bottom, monitors on top enjoys popularity; but so does the reverse. And even then, some users tuck the timeline to get a better view of the Project panel. Other users like a deep timeline to see multiple audio and video channels. Still others keep it compact so they have more monitor real estate. It’s all about freedom of choice, and Premiere Pro makes it like a buffet where you get to choose what fills your plate and how much.
Some users may opt for one of the preset workspaces found at Windows ⇒ Workspaces. Again, it’s all about personal choice, and Premiere Pro makes the available choices unlimited. Any time you choose, you can toggle between various layouts (see Chapter 3 for more information) to perform specific actions to get the job done.
The panels operate independently depending on the one you highlight. Navigating to a particular panel is just a matter of clicking on it (a blue borderline lets you know it’s active). The pull-down menus supplement the workflow by providing you with another way to access an action or effect, or to provide more choices.
Having a Panel Discussion
With Premiere Pro, most of your work will be done in three panels:
The
Project panel
where your video resides
The
Timeline panel
where the clips are placed
The
Program and Source Monitor panels
that shows the playback
When you’re getting familiar with Premiere Pro, you need to know what each panel allows you to do when you’re editing video. When you move into a new house, you need to understand the layout. Otherwise, it may take opening a closet door or two before you find the bathroom. In the following sections, I walk you through these primary panels in Premiere Pro.
Knowing the Project panel
Think of Premiere Pro as an office building, and the Project panel as a large office space with several rooms leading off of it. This panel, shown in Figure 1-2, holds media assets like your movie clips, still photos, and audio files, as well as all the sequences you’ve created. The panel is much like a self-contained room where the pieces are organized, and is completely customizable regarding size and display.
You can also control how panel information displays on the bottom of the palette. The palette allows you to view the contents as icons of various sizes, or view each element and its vital stats in list view Freeform view allows you to also make minor changes. The functions are found in the bottom-left corner of the panel.
FIGURE 1-2: The Project panel.
Here’s how the views compare:
In
List view
, the Video and Audio Info shows vital stats, when you scroll horizontally, like frame rate, clip duration, and In and Out points. Audio Info shows duration, compression, and format. Navigate this information by using the slider on the bottom of the panel. Switching from these views at your leisure is fairly simple.
Icon view
shows mini thumbnails of clip content, and comes in handy when you need to quickly find the right clip in a busy folder.
Freeform view
lets you to organize footage, like the Icon view, but with a little more oomph. It’s perfect if you’re a visual thinker, and the thumbnails help you find the right asset. You can preview thumbnails, set In and Out points, and reorder your clips directly in the Project panel. This view allows you to drag clips and group them in different order than either Icon or List view. It’s the most flexible, but takes up the most space.
The Project panel has a few other nifty features that will come in handy as you create a video.
The
Search field
atop the panel lets you find specific clips. This comes in handy when you are working with lots of clips.
The New Bin feature allows you to tidy up the Project panel by creating a bin, naming it, and dragging files into it. You can make a bin by clicking in the panel and selecting New Bin, or you can go through the File menu (File ⇒ New ⇒ Bin).
Everything in this Panel or subsequent bins can be used in a sequence (for more on sequences, see Chapter 5), or not at all.
Spending some time with the Timeline panel
The magic happens in the Timeline panel, as clips are dragged, probed, and prodded (and that’s just to get started) while you create the right order to construct your movie. Think of this panel as the queue for what plays on the screen. In the meantime, you can change the order of the clips, and trim, tweak, or expand them to get them right. This is also where you turn audio and video tracks on and off to affect what plays back. And you can also make adjustments to audio levels directly in the timeline, as shown in Figure 1-3. While the timeline acts as the panel that you perform your edit, the individual edits within the timeline are the sequences.
FIGURE 1-3: Video clips in the timeline.
Consider the following:
The Timeline panel is the staging area for your video and audio assets to play out in chronological order.
You can create additional video and audio tracks to support effects, mixing, and layout.
You can trim or expand video or audio clips directly in the Timeline panel.
Tracks can be enabled or disabled to allow you to focus on a specific clip in the sequence.
Making the most of the Source and Program Monitors
Think of the Source and Program Monitors as a dynamic duo that allow you to see what you’re doing. They’re like the twin TV sets of your Premiere Pro workspace. While each panel performs a different task, they basically accomplish the same function. You can view your clips in the Project panel through the Source Monitor, where you can decide if they’re going in the timeline, and then set In and Out points (that’s the portion of a longer clip you wish to include) before dragging the clips into the timeline. Once your clips are in the timeline, you can view their playback in the Program Monitor, which plays the content in linear order. As you can see in Figure 1-4, the monitors in each panel share similarities.
FIGURE 1-4: Monitors from the Source and Program panel shown side by side.
Use the Source Monitor to preview clips by double-clicking their icon, or filename if that’s your preference, in the Project panel. Both monitors play and pause when you tap the spacebar.
The bottom of each panel displays buttons that resemble traditional playback controls, including the right-pointing triangle that signifies playback. But these buttons do more than just play the clip. They allow you to scrub the video (take a quick look through it), look at it frame-by-frame to make precise adjustments, add markers, insert, and much more.
Grasping the Effects and Effect Controls panels
Just like Batman and Robin, the Effects and Effect Controls panels are two individual panels that go together. The Effects panel, shown in Figure 1-5, offers six folders that include video and audio presets, effects, and transitions. Among these functions are a myriad of correction tools. These include audio levels, color correction, scaling, and numerous other issues.
FIGURE 1-5: The Effects panel.
After you make your selection, the Effect Controls panel, shown in Figure 1-6, displays the applicable settings to fine-tune the effect, as opposed to nesting a bunch of other effects that are not applicable. This makes it less confusing to adjust settings, as you have dedicated controls that only deal with that particular effect.
FIGURE 1-6: The Effect Controls panel.
Here is a breakdown of the folders, and some of the subfolders in which particular effects are nested, in the Effects panel.
Presets:
While the folder is populated with some effects such as Bevel, Mosaics, and Lens Distortion Removal (also found in Effects bins), this is also where you can save adjusted effects you’ve used in the past, so that you can easily use them again.
Lumetri Presets:
After applying color correction to your footage, you can save the correction preset in this folder, and then apply it to a similar clip later.
Audio Effects:
This folder contains a healthy selection of controls that can enhance or alter the audio quality of your video clips.
Audio Transitions:
These include several crossfade options to smooth the transition between two audio clips.
Video Effects:
Color correction, blurs, and borders are just a few of the powerful video effects at your disposal in Premiere Pro.
Video Transitions:
This folder provides a series of transitions ranging from Dissolve and Zoom to Slide and Wipe. The latter three were popular in the
Star Wars
series, while Dissolve is used most frequently.
Feeling out the other panels
If Premiere Pro were a baseball team, the previously mentioned panels would be in the starting lineup. But let’s not forget those players coming off the bench. You know, the ones acclimated to more defined roles. That’s pretty much the same for the remainder of the Premiere Pro panels.
Here’s a brief description of the other panels.
Audio Mixer panel:
The virtual version of the studio mixer lets you make critical adjustments to audio, with each track in the timeline individually controlled in the mixer. Each sequence offers a separate mixer that only affects only that sequence, so be sure to select the correct one. With this panel, shown in
Figure 1-7
, it’s easy to alter audio levels, add effects, mix tracks, and directly record audio.
Audio Meters panel:
One of the most useful tools in your setup, this VU (Volume Units) meter shows the audio level of clips in the timeline.
History panel:
Consider this panel the visual version of the Edit ⇒ Undo function, as it shows you all the actions performed since the project was opened. That could refer to everything you’ve done since reopening it from the previous session. This comes in handy after you’ve made a series of changes to your sequence that you’re not satisfied with and you wish to revert to a previous state in the current work session. Like the Undo function, it automatically resets when you close and reopen the project.
Info panel:
As a tab in the Project panel, the Info panel shows information, such as track arrangement and duration, about the currently selected item in the Project panel or timeline.
Marker panel:
Markers come in handy when you need to find a specific part of a video clip. Maybe it’s the best take, a poignant expression, or some embarrassing moment; marking them is as simple as hitting the M key. This helpful panel lets you see the markers in an active clip or sequence and make comments for description purposes, as well as change the color coding.
Essential Graphics panel:
Offers an accessible place to find specific titles and motion graphics available through the program, and enables access to Adobe Stock to download some others. More about this useful panel in
Chapter 14
.
Media Browser panel:
This nifty feature allows you to browse and preview files on all drives connected to your workstation or server. It provides direct access to all assets while you’re editing.
Metadata panel:
This is where properties of each clip are stored, including file size, format, creation date, and clip duration. Through this panel you can add other vital information such as location, scene info, or whatever else you need for optimal organization.
FIGURE 1-7: The Audio Mixer.
Using the libraries
Adobe products communicate incredibly well with one another. Premiere Pro kicks it up a notch through a new feature, the Library panel, which provides the ability to add and share media between Creative Cloud (or CC) apps such as Photoshop, Illustrator, InDesign, and others.
Library assets are shared through cloud access, making this feature invaluable for workgroups. Think of the Library panel as an interface for moving image files between applications on the same server.
At this point, the Library panel has limited use for video editing. Still, more intense projects that require enhanced titling, grabbing Adobe Stock images, or the need for grading by a colorist make it a useful tool.
Tooling Around the Toolbar
Back in the day, editing your 8mm film required a tabletop full of clutter that included an editing console with an illuminated viewer, a splicer, glue, and the essential lint-free gloves. Now many of those tools reside in a slim panel that generally lives next to the timeline.
Here’s what the toolbar, shown in Figure 1-8, has to offer.
Selection tool:
This tool lets you grab and move clips in the timeline. In addition, you can expand and contract clips by rolling over their edges and grabbing to push or pull them. To activate this tool, you click on its icon or press the
V
key.
Track Select Forward/Backward tool:
This tool grabs all the clips to the right (or to the end of the timeline) of the selected clip and allows you to move them. In the Backward mode, it selects all clips to the left (or closer to the beginning) of the clip. You click on the icon to activate the Forward tool, or hold down on the icon to choose the Backward tool. You can quickly access these tools by pressing
A
or Shift-
A
, respectively, to toggle between them.
Ripple Edit tool:
Trim a clip by grabbing its edges and pushing or pulling to show more or less of the clip while preserving edits of adjacent clips. You can trim the clip, and the rest will “ripple,” hence its name.
Rolling Edit tool:
This tool is nested with the Ripple Edit tool, so you access it by holding the mouse button while selecting the Ripple Edit tool. The Rolling Edit tool works like the Ripple Edit tool, but it lets you move the Out point of the first clip and the In point of the second, thus allowing you to adjust both clips in a single swoop. The keyboard shortcut is
N
.
Rate Stretch tool:
Also nested with the Ripple Edit tool, this tool lets you change the clip speed without affecting In and Out points. You quickly access it by pressing the
R
key.
Razor tool:
Defined by its “old school” razor icon, this tool does pretty much what it says. Basically, you move over the desired area of the clip you wish to separate, and click on it. You can then use the Select tool to select the clip, and then delete it, copy it to paste it somewhere else, or move it. The letter
B
acts as the keyboard shortcut.
Slip tool:
