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- Herausgeber: Packt Publishing
- Kategorie: Fachliteratur
- Sprache: Englisch
Adobe Premiere Pro has become synonymous with video editing, in the same way Photoshop has become a byword for image manipulation. To unlock the true potential of this powerful software you don't need you to take expensive training courses or spend hours trying to get your footage “just right”. Work through this practical guide and truly master Premiere Pro CS6 using real footage with engaging examples.Using the included source material (available via digital download), this book will help you discover a plethora of features and functionality hidden within Adobe Premiere Pro CS6 that can truly augment your skills and take your footage to the next level. By covering a diverse array of topics in a practical manner, you will gain a full understanding of how to approach pretty much any video editing project you want to tackle with Adobe Premiere Pro CS6.Starting off with an entry-level project to get both new and existing users up to speed, "Mastering Adobe Premiere Pro CS6 Hotshot" dives right into a series of engaging real-world projects that help you understand how you can harness Premiere Pro's full potential. With an explicit focus on practical real-world projects from concept to publication, this is the definitive guide for people who want to make the most out of this powerful software.As you progress through the book you'll encounter problems of poorly shot footage; news reporters who stumble over their dialog and camera crews who fail to deliver key scenes, leaving you to scavenge and then hide your trail. Not only will you develop a full understanding of how core features work, you'll also have a clear grasp on how to make your footage stand out from the crowd.
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Seitenzahl: 372
Veröffentlichungsjahr: 2013
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Table of Contents
Mastering Adobe Premier Pro CS6 HOTSHOT
Mastering Adobe Premier Pro CS6 HOTSHOt
Copyright © 2013 Packt Publishing
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews.
Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information.
First published: February 2013
Production Reference: 1110213
Published by Packt Publishing Ltd.
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Birmingham B3 2PB, UK.
ISBN 978-1-84969-478-0
www.packtpub.com
Cover Image by Eleanor Leonne Bennett (<[email protected]>)
Credits
Author
Paul Ekert
Reviewer
Chris Bryant
David Clarke
Acquisition Editor
Erol Staveley
Commissioning Editor
Llewellyn F. Rozario
Lead Technical Editor
Arun Nadar
Technical Editors
Devdutt Kulkarni
Kaustubh S. Mayekar
Project Coordinator
Anugya Khurana
Proofreaders
Amy Guest
Aaron Nash
Indexer
Rekha Nair
Production Coordinator
Nilesh R. Mohite
Cover Work
Nilesh R. Mohite
About the Author
Paul Ekert started getting interested in video editing during the mid 90s when various exciting but crude video editing devices came to market. He soon moved away from this somewhat unreliable technology and transferred to MiroMotion capture cards (Miro were later bought by Pinnacle), which took the radical approach of downloading video from a camera to a PC's hard drive. The default software for these cards was Adobe Premiere. In the late 90s, he started working for a computer supplier, who specialized in building bespoke systems for non-linear editing, predominantly using Adobe Premiere with various hardware combinations supplied by Pinnacle and Matrox. He left this firm to work in the QA department of Pinnacle, one of the leading suppliers of non-linear editing hardware, who were eventually bought by Avid.
In 2005, he left to pursue a career as a freelance writer. Since that time, he has written five books on video editing, one based on Premiere Pro CS3 and another on Premiere Elements 7 (special effects based book). He also wrote one book on Pinnacle Liquid (NLE software) and its follow up, Avid Liquid. During this time, he wrote, filmed, directed, and edited several short films, some of which can be seen on his website. In all, he has over two decades experience in using non-linear editing programs, in particular, Adobe Premiere. A recent (2012) edit that was created using Premiere Pro CS6 (an airshow in Brazil using two GoPro Hero2 cameras) can be seen on youtu.be/OoD9dSyAXC0.
He is interested in most things that come under the heading of geeky. He is never really content to look at something and be impressed with what it does; he always needs to lift the hood, look underneath, and work out exactly how everything works. Of late, he has become fascinated with low-cost animation products such as iClone, and low-cost special effects tools such as HitFilm. He also maintains a long running interest in PC hardware and is always fascinated with various cameras; usually the ones just out of his price range. Find him at trade fairs drooling over them!
He is also a writer of plays, films scripts, novels, short stories, non-fiction books, and the odd poem. Examples of all these can be found on his website, www.PaulEkert.com. During the last few years, he has felt privileged to live a life where he can create and write, and he values the sometimes painful months he spent creating Ordinary Monsters, his first published novel (now available for the Kindle). He believes that all writing involves equal amounts of pleasure and pain, just like life. The trick is to enjoy and embrace them both.
About the Reviewers
Chris Bryant, after standing in line for hours to watch Jurassic Park on opening night, was instantly hooked on motion pictures. He also realized at an early age that if you don't want to be filmed, you needed to be the one holding the camera. One of his first paychecks went to purchase an 8 mm camcorder, and his passion for video production has grown ever since. He edited his first video back in high school by chaining together two VCRs to create a thematic introduction to his Senior Project, and was a Media Arts major at Western Connecticut State University.
He eventually went on to start his own company in 2004 (look for Bryant Productions on Facebook) and films a range of promotional and internal training videos for companies nationwide.
For fun, he produces short films, including The Other Half, the first place winner of the 2009 Connecticut Film Festival's "24 Hour Cup 'O Joe Filmmaking Competition". He has experience as a voiceover artist and event videographer.
When he isn't shooting video or editing, he enjoys spending time with his beautiful wife at their home in New York City.
David Clarke started DVC Ltd in 1995, retailing custom-built computer editing systems using Adobe Premiere 1. DVC has expanded to deal with all the major editing programs. He has also produced many training videos on Adobe Premiere Pro and Adobe Encore. He has also run Premiere training courses for Buckingham Palace press office, Fulham football club, and the BBC.
He has directed, edited, and produced effects on the epic, 6-part-adventure-based BBC TV series Dr Who, which included a guest appearance from Jon Pertwee, his last time to play the role of the Doctor.
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Preface
Adobe Premiere Pro is one of the most popular video editing programs on the market. Its lineage stretches back a number of decades to when the program was given away free with a FireWire or analogue to digital converter card. Since then the program has gone through a number of radical overhauls, not least being CS6, which changed a number of key workflows and altered the main layout to create a very clean looking interface. If you are new to Premiere Pro, or if you have just started to explore the program, or indeed you are coming from a previous version, this book will detail everything you need to know in order to get you up and running as a Hotshot video editor. Take a look at the eight project areas to get an idea of the skills you will be learning. Here you can see that pretty much every aspect of video editing with Adobe Premiere Pro CS6 is covered, often more than once in order for you to practice those new found editing skills. From automatically creating a movie montage, through to editing a short film, a news article, all the way to adding special effects to your Timeline, this book really will make a Hotshot editor out of you.
What this book covers
Project 1, Creating a Movie Montage – The Easy Way, shows you how to take the hard work out of adding many hundreds of clips to a Timeline, and create a montage to the beat of a music track.
Project 2, Cutting a Short Film Without Getting Stung, builds on workflows learned in Project 1, but uses those skills to cut a short film using a variety of techniques including three and four-point edits.
Project 3, Protect the Innocent – Interview Edit Techniques, looks at various techniques you will find useful when editing news or documentary footage, such as the J- and L-cuts, and the Extract and Lift functions.
Project 4, See the Bigger Picture – Edit Multiple Cameras, shows you how to synchronize footage that was recorded on nine different cameras, as well as demonstrating a Picture-in-Picture (PiP) effect.
Project 5, Visual Effects – Muzzle Flashes, Laser Beams, and Clones, takes you through the steps necessary to create these effects using only the filters and effects found in a standard install of Premiere Pro CS6.
Project 6, Visual FX Using Real Media, builds on Project 5, but shows you how to replace the effects with real explosions sourced free from the Internet.
Project 7, The Ultimate Do-over – Correcting Visual and Audio Problems, takes a look at just what's involved when someone says, "We'll fix it in post"!
Project 8, Reach the World – Export to DVD, the Internet, and Beyond, looks at the practical steps needed to get your finished project out onto YouTube, or DVD, or wherever else you want to send it.
What you need for this book
This book assumes that you have some familiarity with how PC and Mac programs work. For example you should be comfortable with how to drag-and-drop using the mouse, and how to activate secondary options by holding down the Shift, Alt (PC) or option (Mac), and Ctrl (PC) or command (Mac) keys. If you are using a Mac with a single button mouse, you should also be aware of the alternative to right-clicking. If you have any doubts about these conventions, you should take a look at your PC or Mac handbook, or if you lack one of those, make a few well-informed searches for some basic "computer usage" tutorials using the search engine of your choice.
This book also assumes that you have installed Adobe Premiere Pro CS6 to your computer and that you are at least capable of launching the program and understanding how to access some of the basic menus. You won't need to know anything further about Premiere Pro CS6, as this book develops along a gentle learning curve, with lots of help and hand holding occurring in the first two projects, and then slightly less help in each of the following ones. Eventually, as you reach the last few projects, you should be able to tackle each task without referring to any of the hints or tips given throughout this book.
Finally, this book also assumes that you have a computer capable of video editing. The minimum specifications for Adobe Premiere Pro CS6 can be found on the Adobe website; however, you should also have at least one extra hard drive attached to your system that is dedicated to storing your video source files. This dedicated video drive can be an internal hard drive, or it can be an external USB or FireWire drive. Whatever it is, it should be as big and as fast as you can afford in order to cope with the large amount of space that video clips demand. All of the source clips that you will download from the Packt Publishing website for use with this book should be stored on your dedicated video drive using the instructions given in each project.
Editing on a computer with just a single drive (a laptop for example) is not recommended as you will experience dropped frames, which appear on screen as a juddering, stuttering playback. If you are undecided about the capabilities of your system, then it's best to ask one of the various dedicated nonlinear video editing dealers for their advice. A good example of a firm with a great deal of knowledge on this subject is DVC based in the UK (www.dvc.uk.com). Take a look at their site even if you are not in the UK, as this is the sort of firm you should be looking for where you live.
Who this book is for
This book is aimed at anyone who wants to edit with Adobe Premiere Pro CS6. You might know very little about the program, or you might have the basic skills and are looking to take them to the next level, or you may be a more experienced user looking to learn how the new workflows in CS6 can be easily accessed. Using these projects, and the sample footage that you can download from the Packt Publishing website, you will learn techniques that can be adapted for use on any type of video project. Using this system it's possible to complete this book in just under a day, assuming you drink plenty of coffee and don't get distracted. Whoever you are, whatever your motives are for learning Premiere Pro CS6, this book will teach you all you need to know in order to improve your workflows. In turn, this will allow you to deliver a accurate frame edit that will really make your projects stand out.
Conventions
In this book, you will find several headings appearing frequently.
To give clear instructions of how to complete a procedure or task, we use:
Mission Briefing
This section explains what you will build, with a screenshot of the completed project.
Why Is It Awesome?
This section explains why the project is cool, unique, exciting, and interesting. It describes what advantage the project will give you.
Your Hotshot Objectives
This section explains the major tasks required to complete your project.
Mission Checklist
This section explains any pre-requisites for the project, such as resources or libraries that need to be downloaded, and so on.
Task 1
This section explains the task that you will perform.
Prepare for Lift Off
This section explains any preliminary work that you may need to do before beginning work on the task.
Engage Thrusters
This section lists the steps required in order to complete the task.
Objective Complete - Mini Debriefing
This section explains how the steps performed in the previous section allow us to complete the task. This section is mandatory.
Classified Intel
The extra information in this section is relevant to the task.
You will also find a number of styles of text that distinguish between different kinds of information. Here are some examples of these styles, and an explanation of their meaning.
Code words in text are shown as follows: "Browse to your Images folder on your designated video drive and import your images."
New terms and important words are shown in bold. Words that you see on the screen, in menus or dialog boxes for example, appear in the text like this: "Once Premiere Pro CS6 has finished launching, the Recent Projects splash screen appears."
Note
Warnings or important notes appear in a box like this.
Tip
Tips and tricks appear like this.
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To send us general feedback, simply send an e-mail to <[email protected]>, and mention the book title via the subject of your message. If there is a topic that you have expertise in and you are interested in either writing or contributing to a book, see our author guide on www.packtpub.com/authors.
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Downloading the example code
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Errata
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Questions
You can contact us at <[email protected]> if you are having a problem with any aspect of the book, and we will do our best to address it.
Chapter 1. Creating a Movie Montage – the Easy Way
A movie montage can be used for a variety of purposes; from creating a preview of a wedding video to setting out a trailer for your next film project. Essentially, it's a bunch of clips placed on the Timeline, usually accompanied by some "mood" music that gives an instant taster of the full product. This might sound easy enough, but it's a simple explanation that hides a terrific amount of work needed to create a well-executed montage.
The secret (like most things in life) is in the timing. Premiere Pro CS6 has a number of tricks to help with this and to smooth out the movie montage workflow.
Tip
Downloading the example code
You can download the example code files for all Packt books you have purchased from your account at http://www.PacktPub.com. If you purchased this book elsewhere, you can visit http://www.PacktPub.com/support and register to have the files e-mailed directly to you.
Mission Briefing
Your objective in this project is to place a music file on the Timeline, create markers to the beat, organize a rough running order of your clips and photos, and then automate the whole thing to the Timeline, creating edit points at each of the Markers. You'll then fine-tune your sequence using motion effects and the default Adobe transition (Cross Dissolve). At the end of the project, you should have created a Timeline that looks as busy as the following screenshot:
Why Is It Awesome?
A movie montage is a lot of work, but what if you could create the basics with just a few mouse and keyboard clicks? Using Premiere Pro's built-in ability to automate clips to the Timeline is just what this project will teach you to do. Instead of manually dragging or sending a clip to the Timeline, then fiddling around to get it on the beat, you'll use Timeline markers to work out where those beats should be, and subclips to create a little army of media material to send to those beat markers. In all, you should be able to create the basic starting point for a movie montage in a fraction of time it would take to do it manually. Along the way, you'll be introduced to a great editing function, the trim tool, and learn how to alter the flow of time with the Rate Stretch tool.
A secondary objective of this project is an attempt to persuade you to use the keyboard shortcuts as much as possible. As useful as the mouse is, it can often lack a degree of accuracy when it comes to video editing. Sometimes, it is the easiest way to do something, but other times, it's a workflow that can slow you down. Sometimes, it can even ruin the look of our project through microscopically inaccurate edit decisions that irritate audiences on a subliminal level. Assign the keyboard shortcuts now, and you will be glad that you did.
At the end of this project, you should have the skills and knowledge that will make creating a movie montage a joy to complete, and not an intense labor of video-editing pain.
Your Hotshot Objectives
The project will be split into eight parts; each one teaching you an essential Premiere Pro CS6 workflow. This project will benefit you more if you follow each task in the following order:
Mission Checklist
Before you launch Premiere Pro CS6, you need to make some initial preparations. Begin by gathering together all the various assets you want to include in your movie montage. Assets can be any kind of media that's being used on the Timeline, such as images, audio, and of course, video.
Your first task is locating a musical clip for your montage, and you'll need to think carefully about what sort of music you should use. Most wedding montages will make use of a slow melodic beat, while action montages will have a faster tempo (although you can turn this idea on its head by showing your action sequences in slow motion).
Note
For an example of music used in a counterintuitive way, take a look at the following aerobatic video edited in November 2012 by the author of this book, at tinyurl.com/cnfvjng.
Whichever creative direction you decide to go in, your next decision should be where to obtain the music from. If the montage is for some kind of public consumption (and let's face it, if it's not why are you bothering?), then you will need to source a clip from one of the many copyright-free sources available on the Internet. Don't even think about using music of your favorite band unless you have a license to use it, which is unlikely.
Tip
In the UK, creators of wedding videos can apply for an MCPS Limited Manufacture License; this allows the video maker to use most popular music in their films but for distribution on DVD only. The license assumes, the DVD will not be used at public events, and so it doesn't cover the video being uploaded to YouTube or video-sharing websites. Variations on this type of license are available in most countries around the world.
Pond5 was used as the source of copyright-free music for this project ("i like" by SimilarD at www.Pond5.com, and also, search for item 10768631). This evocatively inspirational musical arrangement costs just $10, lasts for four minutes, and proves in keeping with the material being used in this movie montage. When tracking down the optimal musical arrangement for your movie montage, remember to consider the overall duration; a preview of wedding footage should be around 3 to 4 minutes, while a film trailer will only need to be 60 to 90 seconds. If you have very specific requirements, you might need to consider creating your own music, with pre-composed loops from sources such as Video Copilot's ProScores (tinyurl.com/blp88p).
Note
Pond5 has recently developed a plugin especially for Premiere Pro CS6. Known as a Partner Panel, this plugin will allow you to browse and sample (sometimes even before you buy) video and audio clips available from the Pond5 website.
The next screenshot shows the Pond5 Partner Panel docked to the left-hand side of the interface, with the song "i like" (recommended for this project) highlighted—with the Partner Panel open, just clicking on the file you want will import a sample copy into your Project panel for you to add to the Timeline and try before you buy.
Go to www.pond5.com/adobe, where you will find a short video tutorial on how to install the plugin. This video also contains a short demonstration on how to use the plugin inside Premiere Pro CS6, and how to create a docked Partner Panel.
Once you have your music, and with it a clear idea of how long the montage will last (the length of the music clip), you will need to gather together enough assets needed to fill that time effectively. These assets will be the video clips you have previously captured or imported using Premiere Pro CS6 or other applications. You may also want to consider using still images, such as photographs, drawings, and any compositions you have created in other applications, such as After Effects.
Once you have identified the various assets you would like to use, create a new folder on your computer's designated video hard drive; the folder should have a logical name, such as The_Smiths_Wedding_Montage_2012. Once this is done, use your computer's file browser to copy and paste your assets into three separate folders – Audio, Video, Images, as shown in the following screenshot:
With these steps completed, you are ready to go.
Note
For more information on designated hard drives and the necessity of creating the copies of assets in a separate folder, specifically, when working with Premiere Pro CS6, please see Preface, Basic Video Editing Tips in this book.
Users of Mac OS should also read the section of Preface that details mouse commands on the PC, and how they translate to the Mac world.
Streamlining Premiere Pro
In this section, you will customize Premiere Pro CS6 to streamline the editing workflow for the project used in this chapter, and many of the others in this book. Specifically, you will customize the general layout of Premiere Pro CS6 to encourage you to use keyboard shortcuts, create new Bins (folders) in the Project panel, and finally save this all as a template for use in the future. This task is designed as an Easy in feature for you to get used to the style of the book and to double-check whether you have Premiere Pro CS6 set up correctly.
Prepare for Lift Off
Once you are sure all the assets you need are gathered together in three separate folders on your designated video drive, launch Premiere Pro CS6 in the normal way.
Engage Thrusters
You will now set up your interface for easier editing, and save these settings as a reusable template. To do so, follow these steps:
Tip
While you have the previous window open, you should also click the General tab, and check if the Mercury Playback settings are correct for your computer. Generally speaking, you will get better performance if Mercury Playback is set to take advantage of your graphics card.
Note
When you created your own custom workspace, it will have been assigned a keyboard shortcut. Go to Windows | Workspace to see which shortcut combination your workspace has been given.
Note
By saving this layout as separate Premiere Pro CS6 projects file, it will be available to you whenever you want to create a new montage.
Objective Complete - Mini Debriefing
In this task, you have confirmed that the scratch disks are set for optimal video editing and customized as the workspace towards an optimal editing workflow. You have also created three new bins into which you will later import your assets. More importantly, however, you have begun using keyboard shortcuts to control Premiere Pro CS6. It is important that you at least try to break the habit of using the mouse all the time. Sometimes, it is of course unavoidable or simply easier to use the mouse instead of the keyboard, but overall, keyboard shortcuts can often prove to be more accurate in use than the mouse.
New keyboard shortcuts covered in this task are as follows:
Classified Intel
Although item 4 of this section asked you to select a video standard that matched the majority of your video assets, it's not going to be a problem if you get this wrong. A new feature of Premiere Pro CS6 is that it will offer to change the Timeline settings of any empty sequence to match the settings it detects in the first clip added to that sequence. However, you need to make sure the first clip on the Timeline represents the majority of clips used in the rest of the sequence; otherwise, you will have to endure unnecessarily long render times.
Music markers matter
You are now ready to do some actual video editing. Let's get started by importing and placing the music clip on the Timeline. You will then create markers to the beat of the music. These will be used in a later step to automatically place your clips on the Timeline to that beat. The audio track is the core of a good montage, so this section may appear relatively simple; it's worth spending some extra time executing the techniques described here.
The first step of this project is also important; there you will use Save As to turn your saved Montage-Template into a Montage-Project. It is a simple step, but one that allows you to keep your original Montage-Template for future use.
Engage Thrusters
You will now add markers to the Timeline and edit their position:
Tip
Expanding the audio track will allow you to see the dips and rises of the music you have selected, creating a handy visual cue for placing your markers. If you want a bigger waveform, place the cursor over the bottom line of the Audio 3 track (so that it displays a double-headed vertical cursor), and drag-and-drop the track downwards to the required height.
Tip
If you make a mistake, press K to stop playback and use Ctrl + Z or command + Z to undo the last few markers that you placed. Press J to rewind back down the Timeline and L again to resume playback.
Use of the keys J, K, and L is very important when it comes to frame accurate editing. It's true that playback can be started with the Spacebar key and rewinding is accomplished with the cursor keys; however, the position of your fingers on the keyboard is important for a smooth editing experience.
The ideal keyboard position is with the index finger of your right hand hovering over the M and J keys, with your middle finger over the K and I keys, and your ring finger over the L and O keys. Your left hand should be hovering over the Ctrl or command key (for Ctrl + Z (Windows), or command + Z (Mac) to quickly erase mistakes) and the Tab, Shift, and the Alt or option keys , which add extra functions to various workflows.
If you work like this for just a short amount of time, you will find that your editing will benefit dramatically. And if you have trouble remembering the keyboard shortcuts, various specially color-coded keyboards can be bought for Premiere Pro, with the more expensive models including a Jog/Shuttle, although at four times the price this is a luxury that you probably need to think about.
