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Click Open Project. In the file navigation dialog box that appears, navigate to the Lessons folder; then double-click the Lesson Leave the file open for the next exercise. After you open an existing project file, a dialog box may open asking where a particular media file is. Select Locate, at the bottom right. Premiere Pro will locate the missing file and highlight it on the right side of the window.

Select the file, and click OK. Premiere Pro will remember this location for other missing files and relink them automatically without your needing to link each one individually.

With Lesson Save a copy of the project with the name Lesson 01 Working. This project contains a number of video clips. Note Unlike other panels, the Timeline panel does not include its own name in its heading. Instead, the name of the current sequence is shown. This works the same way as the playhead when viewing video files in a player.

Drag the playhead to the far left of the Timeline panel. Press the spacebar to play the current sequence.

The Program Monitor top-right corner of the Premiere Pro interface displays the contents of the sequence. In the lower-left corner of the Premiere Pro interface, you will find the Project panel, which contains clips and other assets associated with the current project. The panel name includes the current project name, Project: Lesson 01 Working. The lower-left corner of the Project panel holds a series of buttons that you use to select different ways of viewing the contents of the panel.

Icon View makes it easier to identify clips based on their contents. Drag the clip with the name JD. Be sure to drag it by the thumbnail image and not the clip name.

Release the new clip at the end of the existing series of clips already in the Timeline panel. Scroll down in the Project panel and find several more clips of your choice to add to the sequence. Drag each one into the sequence. At any time, you can position the Timeline playhead at the beginning of the sequence at its left end , and use the spacebar to start and stop playback.

When you have finished adding several clips to the sequence, play through it to see the result. You can place the Timeline playhead anywhere and play from that moment. There is one item you will not be able to drag from the Project panel into the sequence: the sequence itself, called Desert Montage. The Project panel contains both clips and sequences.

You can have as many sequences as you like in a project, and they are identifiable by the icon in the lower-right corner of the clip thumbnail , which shows multiple clips combined. You edited a sequence!

Exploring workspaces The Premiere Pro interface is divided into panels. Each panel has a particular purpose. For example, the Effects panel lists all the effects available for you to apply to clips, while the Effect Controls panel gives you access to the settings for those effects. A workspace is a preset arrangement of panels, organized to make particular tasks easier. Every panel is accessible from the Window menu, but workspaces are a quicker way to access several panels and have them laid out exactly as you need them, in a single step.

Then, to reset the Editing workspace, click the small panel menu icon next to the Editing option on the Workspaces panel, and choose Reset To Saved Layout. Notice the various workspace names displayed in the Workspaces panel. Things become simpler when you know what the buttons are for. The interface is designed to make video editing easy, so commonly used controls are immediately accessible. Workspaces consist of panels, and you can save space by gathering several panels into a panel group.

The names of all the panels in the group are displayed across the top. When many panels are combined, you may not be able to see all their names. If this is the case, a list of all the panels in the group becomes available. Click the chevron in the upper-right corner of the panel group to access a panel.

The principal elements are shown here. Some of the important interface elements include: Project panel: This is where you organize your clips these are the links to your media files , sequences, and graphics in bins. Bins are similar to folders—you can place one bin inside another for more advanced organization of your project. You view and work on sequences the term for video segments edited together in the Timeline panel.

One feature of sequences is that you can nest them place one sequence inside another sequence. Combining sequences this way, you can break up a production into manageable chunks or create unique special effects. Tracks: You can layer—or composite—video clips, images, graphics, and titles on an unlimited number of tracks. Video and graphic clips on upper video tracks cover whatever is directly below them on the timeline. Therefore, you need to give clips on higher tracks some form of transparency or reduce their size if you want clips on lower tracks to show.

Monitor panels: Use the Source Monitor on the left to view and select parts of clips your original footage. To view a clip in the Source Monitor, doubleclick its icon in the Project panel.

The Program Monitor on the right shows the contents of your current sequence, displayed in the Timeline panel. Media Browser: This important panel allows you to browse your storage to find media to import into your project. Libraries: This panel gives access to custom Lumetri color Looks, motion graphics templates, graphics, and shared libraries for collaboration.

It also acts as a browser and store for the Adobe Stock service. For more information, go to helpx. Effects panel: This panel contains most of the effects you will use in your sequences, including video filters, audio effects, and transitions. Once applied, the controls for these effects are displayed in the Effect Controls panel.

Effect Controls panel: This panel displays the controls for any effects applied to a clip you select in a sequence or open in the Source Monitor or Project panel.

If you select a visual clip in the Timeline panel, Motion, Opacity, and Time Remapping controls are automatically available. Most effect settings are adjustable over time. Audio Clip Mixer: This panel is based on audio production studio hardware, with volume sliders and pan controls. There is one set of controls for each audio track on the timeline.

The adjustments you make are applied to audio clips. Tools panel: Each icon in this panel gives access to a tool that performs a specific function in the Timeline panel. The Selection tool is context-sensitive, which means it changes function depending on where you click.

Several tools have a small triangle icon, indicating a menu of additional tools. Press and hold on one of these tools to see the menu of options. Info panel: The Info panel displays information about any item you select in the Project panel or any clip or transition you select in a sequence.

History panel: This panel tracks the steps you take and lets you easily undo a series of changes. When you select a previous step, all steps that followed it are also undone.

Most panels display their name at the top. When a panel is displayed, the name is underlined, and the panel is outlined in blue. Most panels have a menu next to the name with options particular to that panel. Using the Learning workspace Although other workspaces are intended to facilitate a particular creative activity, the Learning workspace is an exception.

This workspace includes the Learn panel, which offers tutorials to help you build familiarity with the Premiere Pro interface and learn important skills. You will find the tutorials complement the exercises in this book well, and you may find it helpful to practice first with this book and then explore the relevant tutorials to reinforce the lessons you have learned.

Customizing a workspace In addition to choosing between the default workspaces, you can adjust the position and location of panels to create a workspace that works best for you.

You can create multiple workspaces for different tasks. As you change the size of a panel or panel group, other panels change size to compensate. Every panel within a panel group is accessible by clicking its name. All panels are movable—you can drag a panel from one group to another. You can drag a panel out of a group to become a separate floating panel. You can double-click the name of any panel to toggle it between full screen and its original size.

In the Project panel, double-click the icon for the clip AO. Be careful to double-click the icon and not the name, as clicking the name selects the text, making it ready for renaming. Position your pointer on the vertical divider between the Source Monitor and the Program Monitor.

Drag left and right to change the sizes of those panels. You can choose to have different sizes for your video displays, which is useful at different stages of post-production.

Now place the pointer on the horizontal divider between the Program Monitor and the Timeline panel. Drag up and down to change the sizes of these panels. Click the name of the Media Browser panel at its top , and drag it to the middle of the Source Monitor until a blue rectangle appears the drop zone. Release the Media Browser panel to dock it in that panel group. The drop zone is displayed as a center highlight. Drag the Effects panel which is grouped with the Project panel by default by its name to a point just inside the right edge of its current panel group until a blue trapezoid-shaped area the drop zone is highlighted.

Release the Effects panel; it is now alone in its own panel group. When you drag a panel by its name, a drop zone is displayed. If the drop zone is a trapezoid, it will create a new panel group. You can also pull panels into their own floating windows. Note You may need to resize a panel to see all of its controls. Drop the Source Monitor anywhere, creating a floating panel. You can resize the panel by dragging a corner or a side. As you gain experience, you might want to create and save the layout of your panels as a customized workspace.

Type a name, and click OK. Now, to return to a recognizable starting point, choose the preset Editing workspace, and reset it. Premiere Pro has several types of settings. For example, panel menus , which are accessible by clicking the menu button next to a panel name, have options that relate to each panel, while individual clips in a sequence have settings you can access by rightclicking them. The panel name, displayed at the top of each panel, is often referred to as the panel tab. This is the area of a panel you use to move the panel, almost like a handle you can grab the panel by.

There are also application-wide user preferences, which are grouped into a single dialog box for easy access. Preferences will be covered in depth as they relate to the individual lessons in this book.

Drag the Brightness slider to the right to suit your preference. The default brightness is a dark gray to help you see colors correctly human perception of color is influenced by surrounding colors. There are additional options for controlling the brightness of interface highlights. Experiment with the Interactive Controls and Focus Indicators brightness sliders. The difference in the onscreen sample is subtle, but adjusting these sliders can make quite a big difference to your editing experience.

Set all three settings to Default by clicking the Default buttons when you have finished. Switch to the Auto Save preferences by clicking Auto Save on the left. Imagine if you had worked for hours and then there was a power outage. With these options, you can decide how often you would like Premiere Pro to save an automated backup of your project file and how many versions you would like to keep in total.

Auto Save backups have the date and time they were created added to the filename. Note Premiere Pro allows you to open multiple projects at the same time.

This option creates an additional backup of your project file in your Creative Cloud Files folder. If you suffer a total system failure while working, you can log in to any Premiere Pro editing system with your Adobe ID to access the backup project file and quickly carry on working.

If you have a sudden system failure like a power outage , this is the file you will most likely want to open to continue working. Click Cancel to close the Preferences dialog box without applying any changes.

These are usually faster and easier than clicking—once you know them. Several keyboard shortcuts are shared universally by nonlinear editing systems. The spacebar, for example, starts and stops playback—this even works on some websites.

Some standard keyboard shortcuts come from celluloid film-editing traditions. The I and O keys, for example, are used to set In and Out points for footage and sequences: These special marks indicate the start and end of a desired section and were originally drawn on celluloid directly. Many shortcuts are available, but not all are assigned a key by default.

This allows flexibility when setting up your editing system. It can be a little daunting to see the number of keyboard shortcuts available, but by the end of this book you will recognize most of the options displayed here.

Some keyboard shortcuts are specific to individual panels. Open the Commands menu at the top of the dialog box, and choose the name of a panel to create or edit shortcuts for that panel. Specialized keyboards are available with shortcuts printed on them and color-coded keys. These make it easier to remember commonly used shortcuts.

The keyboard shortcut display updates to show the results of combining the modifier key with the character keys. Notice there are many keys without shortcuts assigned when you use a modifier key. These are available for you to assign your own shortcuts. You can set keyboard shortcuts with any combination of modifier keys. If you press a character key, or character and modifier key combination, that particular shortcut information is displayed.

To change a keyboard shortcut do one of the following: 1. Having found an option you would like to assign to a key, drag it from the list onto the key you would like to use in the upper part of the dialog box. To remove a shortcut, click the key, and choose Clear at the bottom right. For now, click Cancel. Close the project file and save any changes. Moving, backing up, and syncing user settings User preferences include a number of important options.

For example, you might prefer the interface to be brighter than the default. Premiere Pro includes the option to share your user preferences between multiple computers: When installing Premiere Pro, you will enter your Adobe ID to confirm your software license.

You can use the same ID to store your user preferences in Creative Cloud, allowing you to synchronize and update them from any installation of Premiere Pro. You can sync your preferences while on the Home screen by choosing Sync Settings. If a dialog box appears asking if you would like to save changes you have made, click Yes. Why is Premiere Pro considered a nonlinear editor? Describe the basic video-editing workflow. What is the Media Browser used for?

Can you save a customized workspace? What is the purpose of the Source Monitor and the Program Monitor? How can you drag a panel to its own floating panel?

Premiere Pro lets you place video clips, audio clips, and graphics anywhere in a sequence; rearrange items already in a sequence; add transitions; apply effects; and do any number of other video-editing steps in any order that suits you. Transfer media to your computer; create a sequence by combining video, audio, and still-image clips in the Timeline panel; add effects and transitions; add text and graphics; mix your audio; and export the finished product as a video file.

The Media Browser allows you to browse and import media files without having to open an external file browser. You can view and select part of your original footage in the Source Monitor and use the Program Monitor to view the contents of the current sequence displayed in the Timeline panel. Choose video rendering and playback settings. Choose video and audio display settings. Create scratch disks. Use sequence presets. Customize sequence settings. You will not need any of the downloadable lesson files.

Luckily, Adobe Premiere Pro gives you easy shortcuts. To help you plan and manage your projects, this lesson contains information about formats and video technology. You may decide to revisit this lesson later, as your familiarity with Premiere Pro and nonlinear video editing develops. A Premiere Pro project file stores links to all the video, graphic, and sound files you have imported. Each item is displayed in the Project panel as a clip. The name clip originally described a section of celluloid film lengths of film were literally clipped to separate them from a roll , but these days the term refers to any item in the project, regardless of the type of media.

You could have an audio clip or an image sequence clip, for example. Clips displayed in the Project panel appear to be media files, but they are actually only links to those files. You can delete one without affecting the other more on this later. When working on a project, you will create at least one sequence—that is, a series of clips that play, one after another, sometimes overlapping, with special effects, titles, and sound, to form your completed creative work. The beauty of nonlinear editing with Premiere Pro is that you can change your mind about almost anything, at any time.

Premiere Pro project files have the file extension. Starting a new project is straightforward. You create a new project file, import media, choose a sequence preset, and start editing. To speed things up, you can use a sequence preset to choose the settings and then make adjustments if necessary. You need to know the kind of video and audio your camera records because your sequence settings will usually be based on your source footage to minimize conversion during playback. In fact, most Premiere Pro sequence presets are named after cameras to make it easier to choose the correct option.

Launch Premiere Pro. You should see Lesson Notice that you can thin out the list of recent project files by typing some text into the Filter text box, where it says Filter Recent Files—only project files whose filenames contain the text will be displayed. There are a couple of other items in this window: 1. Magnifying glass button: Click the magnifying glass at the top right of the Home screen to open a multipurpose Search screen.

You must be connected to the Internet to access the tutorials. User button: Next to the magnifying glass is a thumbnail of your Adobe ID profile picture. If you have just signed up, this may be a generic thumbnail. Click the button to manage your Creative Cloud account online. Click New Project to open the New Project dialog box. Below the new project name and file location fields, this dialog box has three tabs: General, Scratch Disks, and Ingest Settings.

Click in the Name box, and name your new project First Project. Note When choosing a location for your project file, you may want to choose a recently used location from the Location menu. Click Browse, and browse to the Lessons folder. Click Choose to establish this new folder as the location for the new project. Click OK to create your new project.

Just like media files, sequences have settings that specify such things as the frame rate and image size. This is called conforming. Each sequence in your project can have different settings.

Matching the settings reduces the work your system must do to play your clips, improving real-time performance, and maximizes quality. If the first clip you add to a sequence does not match the settings of your sequence, Premiere Pro checks if you would like to change the sequence settings automatically to fit. Premiere Pro can work natively with a wide range of video and audio formats and codecs and will often play mismatched formats smoothly.

However, when Premiere Pro has to adjust video for playback because of mismatched sequence settings, your editing system must work harder to play the video, and this will impact real-time performance you might see more dropped frames. Note The Preset Description area of the Sequence Presets tab often describes the kind of camera used to capture media in this format.

The essential factors are always the same: the number of frames per second, the frame size the number of pixels in the picture horizontally and vertically , and the audio format.

If you were to turn your sequence into a media file without applying a conversion, then the frame rate, audio format, frame size, and so on, would all match the settings you chose when creating the sequence. Premiere Pro can create a sequence based on your clip. Use this menu to create new items for your project, including sequences, captions, and color mattes full-screen color graphics useful for backgrounds. To automatically create a sequence that matches your media, drag any clip or multiple clips in the Project panel onto the New Item menu.

A new sequence will be created with the same name as the first clip selected, and a matching frame size and frame rate. You can also select one or more clips, right-click the selection, and choose New Sequence From Clip. Using this method, you can be confident your sequence settings will work with your media. If the Timeline panel is empty, you can also drag a clip or multiple clips into it to create a sequence with matching settings. Choosing the correct preset If you do know the settings you need for a new sequence, you can configure the sequence settings exactly.

Click the New Item button at the lower-right corner of the Project panel now and choosef When you choose a preset, Premiere Pro applies settings for the new sequence that closely match a particular video and audio format. After choosing a preset, you can adjust these settings on the Settings tab if necessary. These settings are organized based on camera formats with specific settings inside a folder named after the recording format.

You can click the disclosure triangle to see specific formats in a group. These are typically designed around frame rates and frame sizes. Click the disclosure triangle next to the group Digital SLR. You can now see three subfolders, based on frame sizes. Remember that video cameras can often shoot video using different frame sizes, as well as different frame rates and codecs.

Click the disclosure triangle next to the p subgroup. Choose the DSLR p30 preset by clicking its name. For this sequence, use the default settings. Take a moment to familiarize yourself with the description displayed on the right. Click in the Sequence Name box, and name your sequence First Sequence. Click OK to create the sequence. You have made a new project and sequence with Premiere Pro. Formats and codecs A format is a frame rate, frame size, audio sample rate, and so on.

Codec is a shortening of the words coder and decoder. The media file is referred to as the wrapper, and the video and audio inside the file, stored using a codec, are sometimes referred to as the essence. Tip You created a new sequence using the File menu this time.

There are often several ways to achieve the same goal in Premiere Pro. Choose the DSLR p30 preset again by clicking its name. This lets you view the settings while reading about them. Click Settings at the top of the dialog box. Premiere Pro will automatically conform footage you add to your timeline so that it matches your sequence settings, giving you a standard frame rate and frame size, regardless of the original clip format.

This makes the sequences settings a critical part of your project configuration. Creating a sequence preset Although the standard presets usually work, you may sometimes need to create a custom preset. To do so, first choose a sequence preset that matches your media closely, and then make custom selections in the Settings and Tracks areas of the New Sequence dialog box.

Having adjusted the settings, you can save your custom preset for future use by clicking the Save Preset button near the bottom of the Settings area. When you save a preset, you can give your customized project settings preset a name in the Save Settings dialog box, add notes if you want, and click OK. The preset will appear in a Custom folder with the other sequence presets.

The new sequence is intended for online distribution only, so change this to 30 fps to accurately measure playback speed. Tip For now, leave the settings as they are, but review the way the preset configures the new sequence.

Look at each setting from top to bottom to build familiarity with the choices required to configure a sequence. For complete flexibility, choose Custom from the Editing Mode menu. For many effects, this means bit floating-point color, which allows for trillions of color combinations. This is the best possible quality for your effects but is more work for your computer, so you may get lower performance in real-time playback.

Without this option, you might see minor artifacts or noise in the picture when making images smaller. Both of these options can be turned off or on at any time, so you can edit without them to maximize performance and then turn them on when you output your finished work. Even with both options enabled you can use real-time effects and expect good performance from Premiere Pro.

Tracks are horizontal areas in the Timeline panel that hold clips in a particular position in time. There is more than one video track, and video clips placed on an upper track will appear in front of clips on a lower track. The Tracks tab in the New Sequence dialog box allows you to preselect the track types for the new sequence.

This is perhaps most useful when creating a sequence preset with names already assigned to audio tracks. All audio tracks are played at the same time to create a complete audio mix. To create a mix, simply position your audio clips on different tracks, lined up in time.

Narration, sound bites, sound effects, and music can be organized by putting them on different tracks. You can also rename tracks, making it easier to find your way around more complex sequences. Premiere Pro lets you specify how many video and audio tracks will be included when the sequence is created.

For now, choose Stereo. An audio track can be one of several types. Each track type is designed for specific types of audio clip. When you choose a particular track type, Premiere Pro shows the right controls to make adjustments to the sound, based on the number of audio channels in the track. For example, stereo clips need different controls than 5.

The types of audio tracks are: Standard: These tracks are for both mono and stereo audio clips. Adaptive: Adaptive tracks are for mono, stereo, or multichannel audio and give you precise control over the output routing for each audio channel. For example, you could decide the track audio channel 3 should be output to your mix in channel 5. This workflow is used for multilingual broadcast TV, where precise control of audio channels is used at the point of transmission.

Mono: This track type will accept only mono audio clips. The Submix options available in the Track Type menu are used in advanced audio mixing workflows. Premiere Pro makes sure clips go to the right kind of track. You will usually configure the project settings when creating the new project, but all of the options can be modified at any time.

Some special effects can be played immediately, combining your original video with the effect and displaying the results as soon as you click Play. Real-time playback is desirable because it means you can watch the results of your creative choices right away, staying in your creative flow without waiting.

If you use lots of effects on a clip or if you use effects that are not designed for real-time playback, your computer may not be able to display the results at the full frame rate. That is, Premiere Pro will attempt to display your video clips, combined with the special effects, but it will not show every single frame each second.

Premiere Pro displays colored lines along the top of the Timeline panel, where you build sequences, to tell you when extra work is required to play back your video. No line, a green line, or a yellow line means Premiere Pro expects to be able to play without dropping frames. A red line means Premiere Pro may drop frames when playing that section of the sequence.

Real-time playback can make a difference to your editing experience and your ability to preview the effects you apply with confidence. If frames are being dropped, there is a simple solution: preview rendering. When you render, Premiere Pro creates new media files that look like the results of your effects work and then plays back those files in place of the original footage. The rendered preview is a regular video file, so playback is at reasonable quality and full frame rate, without your computer having to do any extra work.

You render effects in a sequence by choosing a render command from the Sequence menu. Many menu items display a keyboard shortcut on the right. What do rendering and real time mean? As something is visualized, it takes up paper and takes time to draw.

Imagine you have a piece of video that is too dark. You add a visual effect to make it brighter, but your video-editing system is unable to both play the original video and make it brighter at the same time. When your edited sequence plays, sections that are rendered display the newly rendered video file instead of the original clip or clips.

The process is invisible and seamless. In this example, the rendered file would look like the original video file but brighter.

When the part of your sequence with the brightened clip is finished, your system invisibly and seamlessly switches back from playing the preview file to playing the other original video files in the sequence. The downside of rendering is that it takes up extra space for media storage, and it takes time. The upside with rendering is that you can be confident your system will be able to play the results of your effect at full quality, with all the frames per second.

Real-time playback, by contrast, is immediate! When using a real-time special effect, your system plays the original video clip combined with the special effect right away, without waiting for the effect to render. The only limitation with real-time performance is that the amount you can do without rendering depends on how powerful your system is. More effects are more work to play back, for example. Back in the Project Settings dialog box, in the Video Rendering And Playback settings, if the Renderer menu is available, it means you have graphics hardware in your computer that meets the minimum requirements for GPU acceleration and it is installed correctly.

The menu has two types of setting you will choose between: Mercury Playback Engine GPU Acceleration: If you choose this rendering option, Premiere Pro will send many playback tasks to the graphics hardware on your computer, giving you lots of real-time effects and smooth playback of mixed formats in your sequences.

Performance can vary and some graphics hardware configurations allow multiple types of acceleration, so you may need to experiment to find the best option for your system. You may also see an option described as deprecated in the Renderer menu.

This uses an approach to hardware acceleration that will work but is less efficient than the other options. You will almost certainly want to choose GPU acceleration and benefit from the additional performance if you can.

However, if you experience performance or stability issues using GPU acceleration, choose the Software Only option in this menu. You can change these options at any time— including in the middle of working on a project.

Playback performance: Premiere Pro plays back video files with great efficiency, even when working with the types of video that are difficult to play back, such as H. The results are even better performance and responsiveness when working with sequences, and many special effects will play in real time, without dropping frames.

For more information about supported graphics cards, see helpx. Setting the video and audio display formats The next two areas of the General tab in the Project Settings dialog box allow you to choose how Premiere Pro should measure time for your video and audio clips. The correct choice for a given project largely depends on whether you are working with video or celluloid film as your source material.

The choices are as follows: Timecode: This is the default option. Timecode is a universal system for counting hours, minutes, seconds, and individual frames of video.

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Bestselling Series. Harry Potter. Books By Language. Books in Spanish. Description The fastest, easiest, most comprehensive way to learn Adobe Premiere Pro Classroom in a Book R , the best-selling series of hands-on software training workbooks, offers what no other book or training program does-an official training series from Adobe, developed with the support of Adobe product experts.

Adobe Premiere Pro Classroom in a Book release contains 17 lessons that cover the basics and beyond, providing countless tips and techniques to help you become more productive with the program. You can follow the book from start to finish or choose only those lessons that interest you.

Purchase of this book includes valuable online features. Follow the instructions in the book’s “Getting Started” section to unlock access to: Downloadable lesson files you need to work through the projects in the book Web Edition containing the complete text of the book that walk you through the lessons step by step What you need to use this book: Adobe Premiere Pro release software, for either Windows or macOS.

Software not included. Note: Classroom in a Book does not replace the documentation, support, updates, or any other benefits of being a registered owner of Adobe Premiere Pro software.

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