32,99 €
Mehr erfahren.
- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Serie: Digital Classroom
- Sprache: Englisch
A book-and-DVD training package so you can learn Premiere Pro atyour own pace Premiere Pro is a powerful, timeline-based video editingsoftware, and this personal training course uses a full-color bookplus video tutorials on DVD to teach you how to use all itsfeatures. Fifteen self-paced lessons encourage you to discover thecreative possibilities that Adobe' s Premiere Pro presents.Step-by-step directions, lesson files, and an instructional videodemonstrate the many exciting features of Premiere Pro. You canlearn from leading instructors, and do it at your own pace. * Premiere Pro is an advanced video-editing program available atan affordable price; this book-and-DVD package offers step-by-steptraining on its abilities * Presents 15 lessons in full color, supported by videotutorials and lesson files on the DVD, all of which allow you towork at your own pace * Demonstrates how to work with a variety of popular film stylesfeaturing the latest in editing techniques at the highest qualitypossible Premiere Pro Digital Classroom is like having your ownpersonal instructor to teach you Premiere Pro right in your ownhome or office.
Sie lesen das E-Book in den Legimi-Apps auf:
Seitenzahl: 373
Veröffentlichungsjahr: 2011
Ähnliche
CONTENTS
Cover
Contents
Title Page
Copyright
About the Authors
Acknowledgments
Credits
Starting Up
About Adobe Premiere Pro CS5 and CS5.5 Digital Classroom
Prerequisites
System requirements
Windows
Mac OS
Requirements for all computers
Starting Adobe Premiere Pro
Windows
Mac OS
Resetting the Adobe Premiere Pro preferences
Loading lesson files
Downloading and copying the lesson files to your hard drive
Opening Premiere Pro files in version CS5.5
Locating missing media
Viewing the video tutorials
Additional resources
Book series
Training and Professional Development for Educators
Resources for educators
Lesson 1: Understanding Digital Video
Starting up
Understanding digital Non-Linear Editing
Understanding video settings
Editing vs. delivery formats
High definition vs. standard definition
Progressive vs. interlaced
Premiere Pro presets
DV NTSC, DV PAL, DV 24P
AVCHD
DVCPRO & DVCPROHD
HDV
XDCAM, XDCAM HD, XDCAM EX, XDCAM HD422
Overview of the post production workflow
Media acquisition
Editorial development
Graphics development
Audio development
Finishing
Mastering
Output and delivery
Self study
Review
Questions
Answers
Lesson 2: Understanding the Workspace
Starting up
Understanding the Premiere Pro interface
Understanding the default Editing workspace
Understanding the tools
Customizing the interface
Opening, closing, and moving panels
Creating custom workspaces
Setting application preferences
Using the Project panel
Understanding media management
Creating and organizing bins
Modifying the Project panel display
Adding/removing columns
Adding a clip description
Organizing content by columns
Locating missing media
Self study
Review
Questions
Answers
Lesson 3: Making the Cut
Starting up
The cuts-only editing methodology
A-roll vs. B-roll
Cut-ins and Cut-aways
Cutting on action
Trimming clips in the Source Monitor
Using multiple video tracks
Adding and deleting tracks
Renaming tracks
Adding clips to the Timeline
Trimming clips on the Timeline
Using the Razor tool
Making an Insert edit
Self study
Review
Questions
Answers
Lesson 4: Using Video Transitions
Starting up
Understanding Video Transitions
Dissolves
Wipes
Fades
Adding transitions to video clips
Changing the time code display
Preparing a clip to receive transitions
Adding a transition between clips
Editing transition settings
Creating an image slideshow
Setting the default video transition
Automatically adding clips to the Timeline
Self study
Review
Questions
Answers
Lesson 5: Working with Graphics
Starting up
Creating titles in Premiere Pro
Using the Titler
Creating a lower third
Adding text to the Titler
Formatting text boxes
Formatting text
Creating shapes
Adding images to a title
Saving a title style
Creating a title overlay track
Saving a title for later reuse
Creating an ending credit roll
Controlling the speed of a title roll
Editing titles
Working with Photoshop files
Importing layered Photoshop files
Animating the position of clips
Animating the opacity of clips
Self study
Review
Questions
Answers
Lesson 6: Using Video Effects
Starting up
What are video effects?
Applying Video Effects
Creating a Black & White effect
Animating the opacity of clips
Adjusting the tonality of clips
Working with Track Mattes
Preparing the clip for a Track Matte
Applying and editing the Track Matte Key effect
Using the Ultra Keyer
Creating a garbage matte
Applying the Ultra Key
Self study
Review
Questions
Answers
Lesson 7: Working with Audio
Starting up
Understanding digital audio
Mono, stereo, and 5.1 surround sound
Stripping audio from a video file
Audio channel mapping
Adding audio tracks to the Timeline
Making a Three-Point Edit
Setting volume keyframes
Improving audio in Premiere Pro
Self study
Review
Questions
Answers
Lesson 8: Advanced Editing Techniques
Starting up
Creating subclips
Using Automate to sequence
Making a Three-Point edit
Setting an In Point on the Timeline
Setting In and Out Points on a clip
Ripple and Roll Edits
Slip and Slide Edits
Adjusting the clip speed
Self study
Review
Questions
Answers
Lesson 9: Outputting Your Video
Starting up
Output for the Web and desktop
Flash video and the Flash player
Windows Media and the Silverlight player
QuickTime video and the QuickTime player
HTML5 Video
Understanding formats and codecs
Understanding temporal and spatial compression
Understanding bit rate
Understanding frame rate and resolution
Understanding aspect ratio and pixel aspect ratio
Progressive display vs. interlacing
Exporting an H.264 file for mobile devices
Creating a custom export preset
Exporting with the Adobe Media Encoder
Self study
Review
Questions
Answers
Lesson 10: Capturing and Transferring Footage
Starting up
Creating a new project
Creating a new sequence
Creating a capture bin
Capturing from a tape-based camera
Using the Capture panel
Transferring from a non-tape based camera
Backing up a project with Project Manager
Self study
Review
Questions
Answers
Lesson 11: Using Adobe Encore
Starting up
Understanding the DVD/Blu-ray/Flash authoring process
Understanding DVD formatting
Understanding Blu-ray formatting
About the project
Exporting an MPEG-2 DVD file
Creating a new Encore project
Using Adobe Dynamic Link in Encore
Creating a Timeline
Renaming chapter markers
Organizing the Project panel
Creating Menus
Linking buttons to chapter markers
Linking menus with buttons
Setting a first play item
Previewing a DVD
Setting End and Override actions
Outputting the project
Self study
Review
Questions
Answers
Appendix A: The Premiere Pro Panels
Audio Master Meters
Audio Mixer
Capture
Effect Controls
Effects
Events
History
Info
Media Browser
Metadata
Multi-Camera Monitor
Options
Program Monitor
Project
Reference Monitor
Resource Central
Source Monitor
Timeline
Titler
Tools
Trim Monitor
VST Editor
Extensions
Appendix B: Adobe Premiere Pro Keyboard Shortcuts
Appendix C: Premiere Pro Input and Output formats
Supported formats for input
Supported Video and Animation File Formats
Supported Audio File Formats
Supported Still Image Formats
Supported Video Project Formats
Supported file formats for export from the Adobe Media Encoder
Supported Video and Animation File Formats
Supported Still Image Formats
Supported Audio File Formats
Appendix D: Recording Audio in Premiere Pro
Appendix E: Cleaning up Audio in Adobe Soundbooth
Cleaning up audio files in Adobe Soundbooth
Cleaning up noise in Soundbooth
Appendix F: Premiere Pro CS5.5 New Features
Ability to merge clips
Enhanced format support
Enhanced keyboard shortcuts panel
Enhanced Insert and Overwrite features
5: Improved Mercury Playback Engine
64-bit Adobe Media Encoder
Adobe Audition returned to Creative Suite
Integration with Adobe Story
End User License Agreement
Guide
Cover
Contents
Begin Reading
Pages
iii
iv
v
vi
vii
1
2
3
4
5
6
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
315
316
317
318
319
320
321
322
323
325
326
327
329
330
331
332
333
334
335
336
Adobe® Premiere® Pro CS5 and CS5.5 Digital Classroom
Jerron Smith and the AGI Training Team
Adobe® Premiere® Pro CS5 and CS5.5 Digital Classroom
Published by
John Wiley & Sons, Inc.10475 Crosspoint BoulevardIndianapolis, IN 46256
Copyright © 2011 by John Wiley & Sons, Inc., Indianapolis, Indiana
Published by John Wiley & Sons, Inc., Indianapolis, Indiana. Published simultaneously in Canada
ePub Edition © 2011
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, John Wiley & Sons, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions.
Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Neither the publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or website is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information the organization or website may provide or recommendations it may make. Further, readers should be aware that Internet websites listed in this work may have changed or disappeared between when this work was written and when it is read.
For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (800) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002.
Please report any errors by sending a message to [email protected]
Library of Congress Control Number: 2009936395
Trademarks: Wiley and related trade dress are registered trademarks of John Wiley & Sons, Inc., in the United States and other countries, and may not be used without written permission. The AGI logos are trademarks of American Graphics Institute, LLC in the United States and other countries, and may not be used without written permission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc. is not associated with any product or vendor mentioned in this book.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of Wiley.
About the Authors
Jerron Smith is an Editor, Animator & Educator. A multi-faceted artist and video producer with nearly two decades of experience, Jerron works with a wide variety of media. He has experience in both digital video/television production, and post-production as well as extensive experience in the multi-media and print design industries. He teaches professional development classes at American Graphics Institute and serves as an adjunct instructor in the Communication Arts department at the New York Institute of Technology, where he instructs courses in computer graphics, animation and video editing. He holds undergraduate degrees in Art and Education and a Masters degree in Communication Arts where he specialized in Computer Graphic technology.
The AGI Creative Team is composed of Adobe Certified Experts and Adobe Certified Instructors from American Graphics Institute (AGI). They work with many of the world’s most prominent companies, helping them use creative software to communicate more effectively and creatively. They work with design, creative, and marketing teams around the world, delivering private customized training programs, and teach regularly scheduled classes at AGI’s locations. The Digital Classroom authors are available for professional development sessions at companies, schools and universities. More information is available at agitraining.com.
Acknowledgments
Thanks to my wife, Monique, and daughters Kerowyn and Lauryn for their support during the many months of writing this book as well as the New York Institute of Technology, Terry Snyder and Dr. Michael Banks for teaching me not only how to make a cut, but more importantly why to do so. Thanks also to Cheri, Chris and the whole team at AGI for keeping me focused during this project. Special Thanks to Jeff Jacobs, Kurt Zisa and Donna Betancourt for the use of their video footage. Thanks to the following for permission to use their content in this book:
Jeff Jacobs music video footage courtesy of Jeff Jacobs and Kurt Zisa
Werewolves of Central Park and Travelogue New York video footage courtesy of Donna Betancourt and Silver Cheese Productions
Travelogue Boston video footage courtesy of Chris Leavey at American Graphics Institute
Credits
Writing
Jerron Smith
President, American Graphics Institute and Digital Classroom Series Publisher
Christopher Smith
Executive Editor
Jody Lefevere
Acquisitions Editor
Aaron Black
Technical Editors
Christopher Leavey, Jason Beaudoin
Editor
Karla Melendez
Editorial Director
Robyn Siesky
Business Manager
Amy Knies
Senior Marketing Manager
Sandy Smith
Vice President and Executive Group Publisher
Richard Swadley
Vice President and Executive Publisher
Barry Pruett
Senior Project Coordinator
Lynsey Stanford
Project Manager
Cheri White
Graphics and Production Specialist
Jason Miranda, Spoke & Wheel
Media Development Project Supervisor
Chris Leavey
Proofreading
Jay Donahue, BarnOwl Publishing
Indexing
Michael Ferreira
Starting Up
About Adobe Premiere Pro CS5 and CS5.5 Digital Classroom
Adobe® Premiere Pro lets you edit and create video for a variety of platforms. Premiere Pro provides you with the editing tools to express your creative ideas for video, film and online broadband delivery. Premiere Pro is also tightly integrated with other Adobe products such as Photoshop , Illustrator, and After Effects so that you can integrate graphics and special effects into your projects. Because Premiere Pro is a professional tool, there is a great deal you will need to understand to use it effectively for creating great video content. Fortunately the Digital Classroom provides everything you need to get up-and-running quickly.
The Adobe Premiere Pro CS5 and CS5.5 Digital Classroom is like having your own personal instructor guiding you through each lesson while you work at your own speed to gain an understanding of essential Premiere Pro skills. Adobe Premiere Pro CS5 and CS5.5 Digital Classroom includes 11 self-paced lessons that let you discover essential skills and explore the new features and capabilities of Premiere Pro on either a Mac OS or Windows computer. Each lesson includes step-by-step instructions, lesson files, and video tutorials, all of which are available on the Digital Classroom website at www.digitalclassroombooks.com/epub/premierecs5_5.5. This book has been developed by the same team of Adobe Certified Experts and Premiere Pro professionals who have created many official training titles for Adobe Systems.
Prerequisites
The Premiere Pro CS5 and CS5.5 Digital Classroom is designed to give you the essential skills you need so you can quickly get up-and-running with video editing. Before you start the lessons in this book, you should have a working knowledge of your computer and its operating system. You should know how to use the directory system of your computer so that you can navigate through folders. You need to understand how to locate, save, and open files. You should also know how to use your mouse to access menus and commands. If you need help getting started with your operating system, the Digital Classroom series includes books covering Mac OS X and Windows. Learn more at DigitalClassroom.com.
Before starting the lessons in the Adobe Premiere Pro CS5 and CS5.5 Digital Classroom, make sure that you have installed Adobe Premiere Pro CS5 or CS5.5. The software is sold separately, and not included with this book. You may use the 30-day trial version of Adobe Premiere Pro available at the adobe.com web site, subject to the terms of its license agreement.
System requirements
Before starting the lessons in Adobe Premiere Pro CS5 and CS5.5 Digital Classroom, make sure that your computer is equipped for running Adobe Premiere Pro, which you must purchase separately. The minimum system requirements for your computer to effectively use the software are listed on the following page.
System requirements for Adobe Premiere Pro CS5.5
Following are system requirements for Windows and Mac OS computer systems to use Premiere Pro.
Windows
Intel
®
Core
™
2 Duo or AMD Phenom
®
II processor; 64-bit support required
64-bit operating system required: Microsoft
®
Windows Vista
®
Home Premium, Business, Ultimate, or Enterprise with Service Pack 1 or Windows
®
7
Adobe-certified card for capture and export to tape for SD/HD workflows
OHCI-compatible IEEE 1394 port for DV and HDV capture, export to tape, and transmit to DV device
Sound card compatible with ASIO protocol or Microsoft Windows Driver Model
Mac OS
Mac OS X v10.5.8 or v10.6.3; Mac OS X v10.6.3 required for GPU-accelerated performance
Multicore Intel processor with 64-bit support (MacOS)
Core Audio–compatible sound card (MacOS)
Requirements for all computers
2GB of RAM with 4GB or more recommended
10GB of available hard-disk space for installation; additional free space required during installation with much more space required for working with video files.
7200 RPM hard drive for editing compressed video formats; RAID 0 for uncompressed
1280 × 900 display with OpenGL 2.0-compatible graphics card
Adobe-certified GPU card for GPU–accelerated performance; visit www.adobe.com/go/premiere_systemreqs for a list of supported cards
Adobe-certified card for capture and export to tape
DVD-ROM drive compatible with dual-layer DVDs (DVD+-R burner [Win] or SuperDrive [Mac] for burning DVDs; Blu-ray burner for creating Blu-ray Disc media)
QuickTime 7.6.2 software required for QuickTime features
Adobe
®
Flash
®
Player 10 software required to play back projects exported as SWF files
An Internet connection is required for Adobe’s online services.
Starting Adobe Premiere Pro
As with most software, Adobe Premiere Pro is launched by locating the application in your Programs folder (Windows) or Applications folder (Mac OS). If necessary, follow these steps to start the Adobe Premiere Pro application:
Windows
1
Choose Start > All Programs > Adobe Premiere Pro. If you have the Creative Suite installed, you may have to select and start Adobe Premiere Pro from within the Creative Suite folder.
2
Close the Welcome Screen when it appears. You are now ready to use Adobe Premiere Pro with the Digital Classroom.
Mac OS
1
Open the Applications folder, and then open the Adobe Premiere Pro folder.
2
Double-click on the Adobe Premiere Pro application icon. You may also wish to drag it to the dock for easy access as you start each lesson, and use it for editing your video files.
3
From the Premiere Pro Welcome Screen you can choose to either create a new project or open an existing project. If you close the Premiere Pro Welcome Screen, it will close the application.
Menus and commands are identified throughout the book by using the greater-than symbol (>). For example, the command to save a document would be identified as File > Save.
Resetting the Adobe Premiere Pro preferences
When you start Adobe Premiere Pro, it remembers certain settings along with the configuration of the workspace from the last time you used the application. It is important that you start each lesson using the default settings so that you do not see unexpected results when working with the lessons in this book. Use the following steps to reset your Adobe Premiere Pro CS5 or CS5.5 preferences.
Steps to reset Adobe Premiere Pro preferences
1
Quit Premiere Pro.
2
Start Premiere Pro. and immediately press the Option key (Mac OS) or Alt key (Windows). Continue to hold down the key until you see the Premiere Pro Welcome Screen.
When resetting the Premiere Pro preferences there is no confirmation message that you have been successful. Your first indication that the task has been accomplished will be the empty list of Recent Files on the Welcome Screen.
Loading lesson files
The Adobe Premiere Pro CS5 and CS5.5 Digital Classroom uses files for the exercises with each of the lessons. These files are available for download at www.digitalclassroombooks.com/epub/premierecs5_5.5. You may download all the lessons at one time or you may choose to download and work with specific lessons.
For each lesson in the book, the files are referenced by the file name of each file. The exact location of each file on your computer is not used, as you may have placed the files in a unique location on your hard drive. We suggest placing the lesson files in the My Documents folder (Windows) or at the top level of your hard drive (Mac OS).
Downloading and copying the lesson files to your hard drive
1
Using your web browser, navigate to
www.digitalclassroombooks.com/epub/premierecs5_5.5
. Follow the instructions on the web page to download the lesson files to your computer.
2
On your computer, navigate to the location where you downloaded the files and right-click (Windows) the .zip file you downloaded, then choose Extract All or double click on the .zip file (Mac OS).
3
If using a Windows computer, the Extract Compressed (Zipped) Folders window appears. In this window, specify the location where you want to save the files, and click Show Extracted Files When Complete. Mac OS users will find the files extracted to the same location as the original .zip file.
Opening Premiere Pro files in version CS5.5
To make this book compatible with users of both Premiere Pro CS5 and CS5.5, all the project files used here have been saved from the CS5 version of the application. This presents an additional step that users of CS5.5 must undertake when opening these files. When opening project files you will be informed that they were saved with an older version of the application and must be converted to the newest version. You will then be prompted to choose a location and name for your new project file.
By default the application will attempt to save your new file in the same folder as the original. The files’ name will also be appended to include “_1.”
Locating missing media
Premiere Pro creates a link between your project files and the files that you import into the Project panel. This linkage system allows you to have a very small project file, but at the same time requires that you manage the media you are using in your projects. If you move, rename, or delete files that you are using in a project you will receive a missing media warning when Premiere Pro starts up. You should always locate any missing files before attempting to proceed with your project.
The process for locating missing files is automatic and will help you find video, audio, still images, and even preview files.
1 When presented with a file browser, verify the file name at the top of the dialog box. This is the file that you are currently trying to locate.
Premiere Pro requests that you locate any missing files at the time a project is opened.
2 Navigate to the missing file, highlight it, and then press the Open button to re-link the file. After locating all missing files, the project will open.
If you are missing files are still in the same relative folder structure as when they were first imported into your project, then Premiere Pro should locate them all once it knows the location of the first one. If it cannot automatically find other missing files, you will have to locate them manually. Once all missing files have been found or skipped, the project will open.
There are technically three options when attempting to locate missing files; you can find the file and open it, skip the specific file, or set the file as offline. Offline files can be brought online by right-clicking on them in the Project panel and choosing Link Media from the menu that appears. In addition to the ability to skip and offline individual files, you also have buttons to skip and offline all files the application is currently attempting to locate.
Unlocking Mac OS files
Macintosh users may need to unlock the files after they are downloaded. This applies only to Mac OS computers and is because the Mac OS may view files as being locked for writing.
If you are a Mac OS user, and have difficulty saving over the existing files in this book, you can use these instructions so that you can update the lesson files as you work on them and also add new files to the lessons folder
Note that you only need to follow these instructions if you are unable to save over the existing lesson files, or if you are unable to save files into the lesson folder.
1
After copying the files to your computer, click once to select the prlessons folder, then choose File > Get Info from within the Finder (not Premiere Pro).
2
In the prlessons info window, click the triangle to the left of Sharing and Permissions to reveal the details of this section.
3
In the Sharing and Permissions section, click the lock icon (), if necessary, in the lower-right corner so that you can make changes to the permissions.
4
Click to select a specific user or select everyone, then change the Privileges section to Read & Write.
5
Click the lock icon to prevent further changes, and then close the window.
Viewing the video tutorials
The www.digitalclassroombooks.com/epub/premierecs5_5.5 site provides Adobe Premiere Pro CS5 and CS5.5 Digital Classroom book readers with video tutorials that enhance the content of this book. The videos use the popular Silverlight player for viewing on your desktop or notebook computer, or use iPad-compatible video if you are using an iPad to read an electronic version of this book. Most other ePub devices are not optimized for playing video, and you should use a notebook, desktop, or tablet computer for viewing the video tutorials if you are using a dedicated e-reader such as a nook, Kindle, kobo, or Sony e-reader. An Internet connection is necessary for viewing the supplemental video files.
The videos enhance your learning as key concepts and instructions are discussed by the book’s authors. The video tutorials supplement the book’s contents, and do not replace the book. They are not intended to cover every item discussed in the book, but will help you gain a better or more clear understanding of topics discussed in many lessons of the book.
Additional resources
The Digital Classroom series goes beyond the training books. You can continue your learning online with training videos, or at seminars, conferences, and in-person training events.
Book series
Expand your knowledge of creative software applications with the Digital Classroom training series which includes books on Photoshop, Flash, Dreamweaver, Illustrator, and more. Learn more at DigitalClassroom.com.
Training and Professional Development for Educators
The authors of the Digital Classroom seminar series frequently conduct in-person seminars and are available for in-person training and professional development for your organization, school, or university. Learn more at DigitalClassroom.com
Resources for educators
Visit DigitalClassroom.com to access resources for educators, including instructors’ guides for incorporating Digital Classroom into your curriculum or contact your Wiley higher education representative.
Lesson 1:Understanding Digital Video
Before you begin editing in Premiere Pro it is beneficial to become familiar with some of the concepts and principles that define the art and craft of video editing.
What you’ll learn in this lesson:
The difference between editing and delivery formats
The difference between high-definition and standard-definition video formats
The digital post-production workflow
Starting up
You will not need any files for this lesson.
Understanding digital Non-Linear Editing
Premiere Pro is a digital NLE (Non-Linear Editor) that gives you direct and immediate access to any frame in a digital video clip at any time. In an NLE process, you use computer data instead of a physical linear medium, such as film or tape, and you can jump back and forth along your timeline at any point in the editing process. Unlike traditional graphic image processes, this is a non-destructive process because the original source footage is never lost or altered. The media links that you import or capture in Premiere Pro are only references to the original footage stored on your hard drive.
The video and audio footage that you edit in Premiere Pro can be digitized from an analog source, such as a VHS or cassette tape, or recorded directly to a digital format, as is the case with modern video cameras as well as other hard drive and compact flash-based recording devices.
Understanding video settings
In Premiere Pro, you generally work by building sequences to match the standards of the media you are going to work with instead of the intended output. There are many types of video files you can work with in Premiere Pro. The various formats, aspects ratios, codecs, and other settings used to describe video files will be explained in this book. The following terms will help you:
Dimensions: specifies the pixel dimensions of a video file; in other words, the number of pixels horizontally and vertically that compose an image or video frame. This value is usually written as a pair of numbers separated by an X, where the first number is the horizontal value and the second represents the vertical; for example, 720 × 480. Pixel is a conjunction of the words “picture” and “element” and is the smallest individual component in a digital image.
Frame rate: specifies the number of individual images that compose each second of video. Frame rate is displayed as a value of fps (frames per second).
Pixel Aspect Ratio: specifies the shape of the pixels that compose an image. Pixels are the smallest part of a digital image and different display devices (televisions, computer monitors, etc.) have pixels with different horizontal and vertical proportions.
Editing vs. delivery formats
While working through the many lessons presented in this text you are going to encounter many new concepts and terms, especially when you are dealing with video footage. When working with video in Premiere Pro you will encounter many different video formats and the codecs (compressor/decompressor) used to compress them while editing the video files throughout the lessons in this book and when working on your own. Most computer users are familiar with the term “format” used to describe files, for example, jpeg and tiff formats for images, or doc and ppt formats for Word and PowerPoint files. However, for video files, formats such as Quicktime and AVI are only containers that hold video information; much like a file folder holds paper. You can describe the relationship between formats and codecs this way: formats are the containers; codecs are the language the contents are written in.
Codec is a conjunction made from the words “compressor” and “decompressor.” Codecs are mathematical algorithms used to shrink audio and video files to manageable sizes. Video files are very large; for example, 20 minutes of NTSC DV video (from a standard definition miniDV camcorder) is over 4 GB in size, which is the capacity of one single-layer DVD. Without video codecs, you could not easily save and store archived video footage; video would also never be small enough to watch online, by e-mail, or on a mobile device. To view an audio or video file, you must have a player compatible with the format and have on your computer the codec used to compress the video file, so you can decompress it.
Traditionally, the codecs used to capture and edit footage were uncompressed or offered very little compression, while the codecs used to deliver the final files to the viewers were far more compressed. With the use of high-definition video equipment this has changed: many cameras now use MPEG-2 or MPEG-4 codecs to reduce files to manageable sizes for storage and editing.
High definition vs. standard definition
Standard definition footage adheres to the NTSC (National Television Standards Committee) or PAL (Phase Alternating Line) standards, which are the standards for video used in the United States of America and Europe, respectively. Standard definition footage has an aspect ratio of 4:3; in other words, there are four horizontal units for every three vertical units of measure. Prior to the invention of high-definition television, NTSC was the only standard for broadcast video in the United States. NTSC included settings for both 4:3 and 16:9 aspect ratios. In the age of Digital Television broadcasts, the NTSC has been replaced by the ATSC (Advanced Television Systems Committee) standards; however, the term NTSC is still used by most video cameras, editing, and graphics applications to refer to standard definition broadcast quality video.
There are other aspect ratios used in video, but 4:3 and 16:9 are the most common.
NTSC & NTSC Widescreen: The NTSC presets include settings for standard (4:3) and widescreen (16:9) aspect ratios. The dimensions for both are 720 x 480, but the pixel aspect ratio is different, which accounts for the difference in shape. Pixel aspect ratio (PAR) is the ratio or shape of the pixels that compose each part of a single video frame. Both versions of the NTSC standard use a frame rate of 30 fps.
PAL & PAL Widescreen: PAL is the standard for broadcast television used throughout Europe and much of the rest of the world. PAL differs from NTSC in several key ways; such as dimensions and frame rate. It uses a frame rate of 25 fps, which is closer to the 24fps used in film and according to some video professional produces more realistic imagery. Similar to NTSC, PAL has standard (4:3) and widescreen (16:9) settings. A frame size of 720 × 576 is shared by both, and the pixel aspect ratio gives each their unique frame shape.
High Definition: High Definition (HD) television technology has existed for decades, but it was during the early 21st century that it became popular with average American television viewers. The term HD describes video with a higher resolution than traditional television systems, now called SD or standard definition. There are two main high definition standards for broadcast television: 720P and 1080i; many televisions and Blu-ray disk players support a third standard: 1080P.
720P: the 720P format has a resolution of 1280 pixels wide by 720 pixels high and supports a variety of frame rates, from the 24 fps used by film and the 30 fps that was part of the old NTSC standard, to 60 fps.
1080P & 1080I: the 1080 formats exist in Interlaced and Progressive versions; as with other modern digital standards, these formats support a variety of frame rates between 24 fps to 30 fps.
Progressive vs. interlaced
The two methods of displaying images on a video screen are Progressive display and Interlacing. In the United States, and before changing to a digital broadcasting system, televised images were sent as interlaced signals in which every frame of video was made by combining two half-images called fields.
Before the advent of high-definition LCD and Plasma screens, televisions were made by wrapping a plastic or wooden frame around a large glass device called a Cathode Ray Tube (CRT). These CRT television screens were composed of a series of even and odd numbered lines called scan lines, and each frame of video was displayed by illuminating these lines starting at the top of the screen. Interlacing was created to display video signals on this type of TV set and worked by illuminating one set of lines first (even or odd numbered), and then moving back to the top of the display to illuminate the other set. In this way, the display would show the second set of lines when the first set of began to fade; the result was a complete picture for the viewer. This process occurred 60 times a second with NTSC broadcast television. Unlike Interlacing, Progressive display illuminates the scan lines sequentially from top to bottom.
Most modern televisions can display in interlaced and progressive mode, and the ATSC includes broadcast standards for both, while all computer monitors use progressive display only. The difference between the two display methods occurs in video camera formats as well; older NTSC or PAL cameras can only shoot interlaced video, but many newer cameras let you choose between interlaced and progressive shooting modes, for example, 50i (25 fps), 60i (30 fps), 30p (30 fps), and 24p (24 fps). When working in Premiere Pro, we highly recommend that you use the sequence settings that match the settings of the footage you are working with.
Premiere Pro presets
Adobe Premiere Pro includes pre-built settings for video sequences called presets. With the recent proliferation of high-definition video equipment and non-tape based recording media (cameras that store video on hard drives or flash drives instead of traditional tape) you can use a wide variety of formats and specifications. Tapeless camcorders, also known as file-based devices, usually record to hard-disks, optical media, or flash memory media, instead of to videotape, and save video and audio files using formats and codecs often specific to each device. Tapeless formats supported by Premiere Pro include Panasonic P2 camcorders, Sony XDCAM HD and XDCAM EX camcorders, Sony CF-based HDV camcorders, and AVCHD camcorders.
In this section, you will learn about some of the common standards as they apply to working in Premiere Pro.
DV NTSC, DV PAL, DV 24P
The DV (Digital Video) standard comes in three varieties: NTSC, PAL, and 24P, all of which should be used in conjunction with IEEE1394 (FireWire/i.LINK) DV equipment. All three varieties of video come in standard (4:3) and widescreen (16:9) aspect ratios and have variations to support two standard rates for audio sampling: 32 and 48 kHz.
AVCHD
AVCHD is an acronym for Advanced Video Coding High Definition, a video format developed for the recording and playback of high-definition digital video. This tapeless format was created primarily for use in consumer and prosumer level camcorders, but it has also been adopted for use in some professional level equipment. The AVCHD presets in Premiere Pro support 720p, 1080i, and 1080p video footage, each at a variety of frame rates.
DVCPRO & DVCPROHD
Panasonic developed DVCPRO as a variation of the standard DV format. This tape-based format was developed to improve the standard definition DV format by increasing its robustness and feature set, and is an alternative to the DVCAM format developed by Sony. DVCPROHD was created as an enhanced version of the preceding DVCPRO format. The DVCPRO50 presets in Premiere Pro can create sequences compatible with 480i (NTSC) and 576i (PAL) video formats; the DVCPROHD presets can create sequences for footage recorded at 720p, 1080i, or 1080p in a range of frame rates from 24fps to 60fps.
HDV
HDV is high-definition digital video. The format can store up to 1 hour of high-definition video on a standard mini-DV tape by compressing the video using the MPEG-2 codec, which is the same type of compression used to create DVDs. The HDV presets in Premiere Pro can create sequences for footage recorded at 720p, 1080i, or 1080p.
XDCAM, XDCAM HD, XDCAM EX, XDCAM HD422
The XDCAM format was introduced by Sony as a tapeless solution for professional level video recording and storage. The XDCAM family of products differs in everything to other formats, from recording media, frame size, and codec. The presets in Premiere Pro contain support for the range of XDCAM formats: you can work with standard definition projects using the DV NTSC sequence presets, while XDCAM HD, XDCAM EX, and XDCAM HD422 have their own presets. The XDCAM EX and XDCAM HD422 presets include support for 720p, 1080i, or 1080p footage; the XDCAM HD presets support 1080i and 1080p in a range of frame rates from 24fps to 60fps.
Overview of the post production workflow
Once a video project has been recorded, the work of the post-production professionals (editors, graphic designers, composers) begins. Large studio or production companies hire different individuals or outside contractors for post-production work. Smaller post-production teams share multiple positions or have one person perform the post-production work. A general post-production workflow is shown in the following figure.
Specific post-production workflows vary depending on the production company and project.
