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To learn more, view our Privacy Policy. To browse Academia. Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link. Need an account? The Titler includes standard pen tools that resemble those used in Adobe Illustrator and Adobe Photoshop.

In the Title Properties panel, click the triangle next to Properties to expand its list, and then choose an option from the Graphic Type menu. In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. Page You can either add the image as a graphic element or place it in a text box to become part of the text. The Titler accepts both bitmap images and vector-based artwork such as art created with Adobe Illustrator. For example, for a vertical distribution option, the selected objects are distributed between the highest and lowest selected objects.

These properties include strokes, fills, sheens, textures, and shadows. You can save a combination of properties as a style. Styles appear as buttons in the Titler Styles panel, allowing you to apply favorite property combinations to objects easily. To add a texture, specify a vector or bitmap file for example, an Adobe Photoshop file , or use one of several textures included with Adobe Premiere Pro.

Select the object. You can add both inner strokes and outer strokes. Inner strokes are outlines along the inner edge of your objects, and outer strokes are outlines along the outer edge. You can add up to 12 strokes to each object. Because Adobe Premiere Pro stores each style or set of styles as a separate file, you can share styles with other users.

If you share styles, make sure that the fonts, textures, and background files used are available on all systems. Titler Styles panel To create a style Select an object that has the properties you want to save as a style. All styles visible in the Styles section are saved. Specify a name and location for the style library file and click Save. Adobe Premiere Pro saves style library files with the extension. Start Off Screen Specifies that the roll continues until the objects are out of view.

End Off Screen Specifies the number of frames that play before the roll begins. Page Animating Effects Chapter Animation Animating effects About keyframes Keyframes are used to create and control animation, effects, audio properties, and many other kinds of change that occur over time.

A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. In the Timeline panel, you can see keyframes by expanding the track and choosing the appropriate track viewing options. Value graph B. For video and audio effects, the Timeline panel can display the keyframes specific to each clip.

Page A. Track effect properties B. Keyframe graph C. Audio track keyframes D. Video clip keyframes E. You can also drag the boundaries above and below the track name to increase the track height. Make sure you have a sequence with clips in the Timeline panel. By default, the Fixed effects Motion, Opacity, and Volume are applied to clips in the video and audio tracks. Keyframe navigator in Effect Controls panel B.

Current-time indicator C. Keyframe navigator in Timeline panel To select keyframes If you want to modify or copy a keyframe, first select it. Unselected keyframes appear hollow; selected keyframes appear solid. You increase or decrease values by dragging keyframes vertically. When working with keyframes graphically in the Timeline panel, be aware of how the With this option selected, Adobe Premiere Pro only creates keyframes at the points that represent an increase in value from the beginning 0 dB and ending —12 dB keyframes.

Page The keyframes remain selected after pasting, so you can fine-tune their location in the Timeline panel. You can paste keyframes only to a clip or track that displays the same property as the copied keyframes. Also, Adobe Premiere Pro can paste keyframes at the current-time indicator on only one clip or track at a time.

Because the In digital video and film, this usually means generating new values between two keyframes.

Creates a smooth rate of change through a keyframe. However, unlike the Auto Bezier interpo- Continuous Bezier lation method, Continuous Bezier lets you adjust direction handles manually. If you drag the handles, the keyframe changes to Continuous Bezier. Note: Do not confuse the anchor point of a clip with anchor points created with the Pen tool in the Adobe Title Designer.

When you click the Transform icon next to the Motion effect in the Effect Controls panel, handles appear on the clip in the Program Monitor that let you directly manipulate the clip and adjust the Motion effect properties. Page Working With Effects Working with effects Adobe Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program.

An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects. Page Bezier curves in the Effect Controls panel. You can expand the repertoire of effects by adding compatible Adobe plug-in files or plug-in packages available through other third-party developers.

If you purchased additional effects, purchased Adobe Premiere Pro as part of a hardware package, or removed files from the Plug-ins folder, you may have a different set of effects than those described in Adobe Premiere Pro Help. Effects bins B. Custom bin C. Audio effect D. Audio transition E. Video effect F. Video transition G. Effects panel menu H. Search text box I. Transitions bins J. New Custom bin K. Delete Custom Item If the clip is selected in the Timeline panel and the Effect Controls panel is open, you can drag the effect directly to the Effect Controls panel.

Fixed effects are included with every clip: the Motion and Opacity effects are listed in the Video Effects section and the Volume effect is listed in the Audio Effects section. Reset Effect button B. Page Eyedropper tool selects a one pixel area. Ctrl-clicking an Eyedropper tool samples a 5 x 5 pixel area. Page Note: If you have placed the same item in several different custom bins, and you delete that item from one bin, Adobe Premiere Pro deletes each occurrence of the item from the custom and preset bins, and deletes each item from all clips that it affects.

Adobe Premiere Pro nests each new presets bin in the root Presets bin. Page Video Limiter with the other Color Correction effects.

For a tutorial on correcting color, go to Resource Center on the Adobe website. To set up a Color Correction workspace The following is a suggested procedure for setting up your color correction workspace. If possible, choose Highest Quality.

If your computer performance suffers, then choose Automatic Quality instead. Move the Reference Monitor where you can see it and the Program Monitor easily. You can choose Tonal Range from the Output menu to view the tonal ranges you defined. Once defined, choose from the Tonal Range menu to restrict the color corrections to a specific tonal range.

Page Like using the White Balance control, these adjustments affect all the colors in the clip. Note: You can also click the color swatch next to the eyedroppers and use the Adobe Color Picker to select a sample color. Color balance is just what its name implies, balancing the red, green, and blue components to produce the desired color of white and neutral grays in the image. The same adjustments can be made by entering numeric values or using the slider controls in the Fast Color Corrector and Three-Way Color Corrector effects.

Note: The Three-Way Color Corrector effect lets you make separate adjustments to the three tonal ranges using individual wheels for the shadows, midtones, and highlights. Use the Eyedropper tool or the other Secondary Color Correction controls to specify the colors to correct. Page Black Level eyedropper Program Monitor that you want to be the darkest value in the image.

You can also click the color swatch to open the Adobe Color Picker and select a color to define the darkest shadow in the image. Page About the Adobe Color Picker You select a color in the Adobe Color Picker either by choosing from a color spectrum or by defining the color numerically.

You can use the Adobe Color Picker to set target colors in some color and tonal adjustment effects. Selected color B. Color field C. Color slider D. Original color E. Adjusted field F. Color values To define the tonal ranges in a clip The Luma Corrector, RGB Color Corrector, and Three-Way Color Corrector effects let you define the tonal ranges for the shadows, midtones, and highlights so you can apply a color correction to a specific tonal range in an image.

Page Select the Eyedropper tool and click the color you want to select in the Program Monitor. You can also click anywhere in the workspace to select a color, or click the color swatch to open the Adobe Color Picker and select a color.

These controls fine-tune the range of color specification. Optional Choose Mask from the Output menu to view the areas selected for adjustment. Page Master. Note: You can also click the color swatch next to an eyedropper tool and use the Adobe Color Picker to select a color. Select the Target eyedropper with the same parameter as the Sample eyedropper.

Click an area in the Program Monitor that represents the color information or attribute that you want to correct. Set up your workspace for color correction. Page Move the pointer into the Clip Sample the pointer turns into an eyedropper and click to select a color. The selected color appears in the Output Sample. Page Shines light in all directions from directly above the image—like a light bulb over a piece of paper. Omni Casts an elliptical beam of light.

You can directly manipulate the position, scale, and rotation of a light by dragging its handles and Center circle Note: If you have more than one light, Center circles for each light appear in the Program Monitor. Page About the vectorscope and waveform monitors Adobe Premiere Pro has a vectorscope and waveform monitors YC Waveform, YCbCr Parade, and RGB Parade to help you output a video program that meets broadcast standards and also assist you in making adjustments based on aesthetic considerations, such as color corrections.

Saturation is measured from the center of the chart outward. Saturated, vivid colors produce a pattern some distance from the center of the chart, while a black-and-white image produces only a dot at the center of the chart. IRE units B. Luminance green waveform C. Chrominance blue waveform D. Range of signal components The YC Waveform has the following controls: Adjusts the brightness of the waveform display. It does not affect the video output signal. Values B. R waveform C.

G waveform D. B waveform E. Page Gallery of effects Gallery of effects The samples below illustrate just some of the video effects included with Adobe Premiere Pro. To preview an effect not in this gallery, apply it and preview it in the Program Monitor.

Original image Page Adjust Effects For example, if you set Temporal Smoothing to 1 second, Adobe Premiere Pro analyzes the frames 1 second before the displayed frame to determine the appropriate adjustments. If you set Temporal Smoothing to 0, Adobe Premiere Pro analyzes each frame indepen- dently, without regard for surrounding frames.

The center point of each slider is neutral and indicates no change. Page For example, if you set Temporal Smoothing to 1 second, Adobe Premiere Pro analyzes the frames 1 second before the displayed frame to determine appropriate shadow and highlight adjustments.

If you set Temporal Smoothing to 0, Adobe Premiere Pro analyzes each frame independently, without regard for surrounding frames. Shadow Tonal Width and Highlight Tonal Width Lower values restrict the adjustable range to only the darkest and lightest regions, respectively.

Higher values expand the adjustable range. You can specify that the blur is horizontal, vertical, or both. Use this effect for glow effects or if you want a blur that does not become transparent near the edges of the clip. Gaussian refers to the bell-shaped curve that is generated by mapping the color values of the affected pixels.

You can use images from 3D programs or stereoscopic cameras as sources for each view. The method you use to create the combined images dictates how you view them. Setting a high value reduces the overall contrast. If this option is not Clip Result Values selected, some color values may wrap around from on to off, or vice versa.

Page Cineon Converter effect The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames. To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence. The Compound Arithmetic effect is intended only to provide compatibility with projects created in earlier versions of After Effects that use the Compound Arithmetic effect.

This creates traveling matte effects. Note: The Set Matte effect was originally from After Effects and intended only to provide compatibility with projects created in earlier versions of After Effects that use the Set Matte effect. You can also click the color swatch to open the Adobe Color Picker and select a color to define the white balance. You can also click the color swatch to open the Adobe Color Picker and select a color to define the black, midtone gray, and white.

Page — Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color. Specify the color range to be corrected by hue, saturation, or luminance. Click the Page – Eyedropper tool to subtract from the color range. Defines the tonal range of the shadows, midtones, and highlights in a clip.

Drag the square Tonal Range Definition sliders to adjust the threshold values. Click the Hue, Saturation, and Luma triangle next to the option name to access the threshold and softness feathering controls to define the hue, saturation, or luminance range.

You can produce a number of different wave shapes at various sizes and rates. Specifies the background color. Fill Color Makes the background transparent so that underlying tracks are visible. Soft works well at large magnification amounts. Page Specifies the degree of transparency of the image, in percentages. Both controls are adjusted only in Adobe After Effects. Turbulent Displace effect The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image.

Turbulent, Bulge, and Twist warp the image in slightly different Displacement directions. The amount of time allowed between evolution keyframes determines the timing or speed of these evolution cycles. The back of the image is actually a mirror image of the front. This effect is most useful as a transition where you would like to have a high-quality, textured page peel effect to reveal an underlying frame.

You cannot keyframe this effect. Change Color effect The Change Color effect adjusts the hue, saturation, and lightness of a range of colors. These options include tolerance sliders for hue, lightness, and saturation for exact color matching, and the ability to select the exact RGB values of the target color that you wish to change to.

Specifies the brightness of the image. Negative values Saturation decrease saturation, with converting the clip to grayscale. Page When loaded into Adobe Premiere Pro, the specified arbitrary map is applied to the clip or to one or more channels of the clip, depending on how it was created. If you do not select an arbitrary map, Adobe Premiere Pro applies the Original image B. Blue color keyed out C. Image on second track D. This effect modifies only the alpha channel of a clip.

The resulting color is never brighter than the original. At low values, this effect reduces noise. Note: The Threshold slider gives greater control for values between 0 and —the most common range for images— Specifies how you animate noise. You can rotate your image around horizontal and vertical axes and move it toward or away from you.

With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface. Edge locations are determined by the alpha channel of the source image. Unlike Bevel Alpha, the edges created in this effect are always rectangular, so images with nonrectangular alpha channels do not produce the proper appearance.

If Regular is chosen, the Color Influence control is disabled. The control specifies sharpness for any of the Plate or Crystallize options. The default None mode renders the checkerboard pattern only. Circle effect The Circle effect creates either a customizable solid circle or ring. In addition to width and height, you can specify the thickness, softness, and color of the ellipse. Render this grid in a color matte or as a mask in the alpha channel of the source clip.

This effect is good for generating design elements and mattes within which other effects can be applied. Brightness Specifies a location for the center of the flare. Flare Center Selects the type of lens to simulate.

Page The Paint Bucket effect is a non-destructive paint tool that fills a selected area with a solid color. It works much like the paint bucket tool in Adobe Photoshop. Use Paint Bucket for colorizing cartoon-type outlined drawings or replacing selected areas of color in an image. This value is based upon the option Tolerance chosen in the Fill Selector menu. Higher values expand the range of similar pixel values that the effect fills.

Lower tolerance values restrict that range. Higher settings produce larger glows Glow slider and can cause very slow processing before playback or export. The Color Emboss effect has the following settings: Specifies the apparent direction in which the highlight source is shining, in degrees. If you choose an option that uses color, such as Edge Type Photocopy Color, specify the color using the Edge Color control.

For example, two identical states of the fractal will not appear the same if viewed with different Size or Offset settings. For example, you can simulate the writing of cursive text or create snakelike movement for a stroke. Using the Write-on effect, you can animate the brush size, color, hardness, and opacity of a stroke. It has a variety of uses, from a simple visual echo to streaking and smearing effects.

This effect is visible only when there is motion in the clip. By default, any previously applied effects are ignored when you apply the Echo effect. Page Transform Effects Use the slider controls to crop each edge of the clip separately. You can crop by pixels or image percentage. Page Transition Effects The Ramp effect is a good starting point because it can generate a variety of grayscale gradients.

To make completely custom gradients, paint them in a program such as Adobe Photoshop, or draw them in a program such as Adobe Illustrator. The gradient layer must be in the same sequence as the clip to Gradient Layer which you apply Gradient Wipe. Computers represent colors as combinations of red, green, and blue.

Consumer video equipment repre- sents colors using different composite signals. Page Audio Effects Most of these effects are available for mono, stereo, and 5. This effect is available for 5. The Bandpass effect has the following options: Specifies the frequency at the center of the specified range.

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Table Of Contents. Quick Links. Table of Contents. Chapter Previous Page. Next Page. Page 2 The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo- rated.

Page 4: Table Of Contents Page 5: Table Of Contents Designing titles for television Page 6: Table Of Contents Exporting to files Page 7: Installation And Registration Registering your product also gives you access to the wealth of tips, tricks, and tutorials in Resource Center and access to Adobe Studio Exchange, an online community where users download and share thousands of free actions, plug-ins, and other content for use with Adobe products.

You can easily obtain these updates through Adobe Help Center. An active Internet connection is required. Page 9: Using Help The complete documentation for using your Adobe product is available in Help, a browser-based system you can access through Adobe Help Center. Help topics are updated periodically, so you can always be sure to have the most recent information available. Page 10 To search Help topics Search using words or phrases to quickly find topics.

If you find a topic that you may want to view again, bookmark it for quick retrieval. Page 12 Resource Center provides a wealth of tips, tricks, tutorials, and instructional content in video, PDF, and HTML formats, authored by experts from Adobe and its publishing partners.

You can search the entire collection or sort by product, topic, date, and type of content; new content is added monthly. Resource Center is available in English, Page 13 Adobe software certification programs; and more. User forums are available in English, French, German, and Japanese from the main Support page of your local Adobe website.

Page 15 Adobe Premiere Pro. Send edited videos embedded in PDF files to your clients, and read their timecode-specific comments Clip notes from markers that appear in the timeline of Adobe Premiere Pro. Start or open project 2. Capture and import assets 3. Assemble and refine sequence 4. Add titles 5. Add transitions and effects 6. Mix audio 7. Each file you capture to your hard disk automatically becomes a clip in your project. Project panel and Capture panel Using the Project panel, you can import a variety of digital media, including video, audio, and still images.

Page 18 Using the Adobe Premiere Pro full-featured Titler, create stylish still titles, title rolls, or title crawls that you can easily superimpose over video.

If you prefer, you can modify any of a wide range of provided title templates. As with any Page Mix Audio For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects.

Adobe Premiere Pro saves your adjustments in real time, on the fly. With the proper sound card, you can record audio through the sound mixer, or mix audio for 5. Page 22 As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors.

Application window B. Grouped panels C. Panels To display menus In addition to choosing from the menus at the top of your screen, you can choose from context menus, which display commands relative to the active tool or selected item. When you select a tool, the pointer generally changes shape according to your selection. For example, when you select the Razor tool and position the pointer over a clip in the Timeline panel, the icon changes to a razor.

As you drag a panel over a drop zone, the zone becomes highlighted to provide a visual reference for the drop. Page 26 You can open a panel in a floating window. You can add panels to the floating window or otherwise modify it, as you do the application window. You can use floating windows to create a workspace like those in earlier versions of Adobe applications, or to make use of a secondary monitor.

For example, you may prefer to lower the brightness when working in a darkened editing suite or when making color corrections. Once saved, new and edited workspaces appear in the Workspace menu on the local computer. If a project with a custom workspace is opened on a system other than the one on which it was created, the application looks for a workspace with a matching name.

Page Project Basics Project basics About projects A project is a single Adobe Premiere Pro file that contains sequences and references to the assets clips, still images, and audio files associated with the sequences. A project stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. These contain the correct project settings for the most typical project types.

When creating a new project, you can either select from among the standard presets or customize a group of project settings and save the customized group as a custom preset.

You can also choose whether to disable video output when Adobe Premiere Pro is in the background, and whether to enable aspect ratio correction on external devices.

It assumes a rate of 30 frames per second and does not drop frame numbers. Page 33 Uses still images efficiently in sequences. Deselect this option if sequences exhibit playback problems when displaying still images. Page 34 Select the file and choose Select.

Note: Do not delete source files while you are using them as clips in an Adobe Premiere Pro project unless they were captured using device control and you plan to recapture them. After you deliver the final movie, you can delete source files. Once they are set, you cannot change them for that project. You can, however, use assets created with different aspect ratios in that project. In Adobe Premiere Pro, you can implement either technique by using Motion effect properties such as Position and Scale.

Page 38 For example, if a square-pixel asset generated by a graphics or animation program looks distorted in Adobe Premiere Pro, you can correct its pixel aspect ratio to make it look right.

Page 39 For example, suppose you generate a square-pixel asset at x and import it into an Adobe Premiere Pro DV project with an aspect ratio of x In this case, the asset will be wider than the screen when it is conformed. Page P Projects About 24P footage Because support for 24P footage is built into Adobe Premiere Pro, you need to make only minor preparations to capture, import, and export 24P projects.

Adobe Premiere Pro includes project presets for 24P; after you create a 24P project, you import and capture your footage as usual. Page 41 Pro recognizes 24P modes, you can perform your capture and edits within the program. Page Improving Performance About scratch disks When you edit a project, Adobe Premiere Pro uses disk space to store files required by your project, such as captured video and audio, conformed audio, and preview files that you create manually or that are created automatically when exporting to certain formats.

Page Correcting Mistakes To correct mistakes In case you change your mind or make a mistake, Adobe Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window. Page The Basics Of Bridge Bridge to organize, browse, and locate the assets you need to create content for print, the web, television, DVD, film, and mobile devices.

In Full mode, the Bridge window can move behind application windows. This floating window is useful because it is always visible and usable as you work in different applications. Page 49 You can save the current Bridge layout that is, the work area configuration as a workspace and reuse it later. By saving Bridge in various configurations, you can work in and quickly switch between different layouts of the work area.

For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign files. Page 50 Look In menu. Sets the language used in the Bridge interface. Places the two cache files created for each folder you view in a centralized folder. A Use A Centralized Cache File centralized cache is generally easier to use than a distributed cache. Page 52 Show Folders to display folders as well as individual files. You can create and manage revisions to files kept in Version Cue projects.

Version Cue is also a convenient environment for collaborative file management in workgroups. Then, enter a name when the folder appears in the content area. Page 55 Optional Select Include All Subfolders to expand the search to any subfolders in the source folder. Page 56 The Tools menu contains submenus for various commands available in the different Adobe applications. XMP is built on XML, and in most cases the information is stored in the file so that it cannot be lost.

If it is not possible to store the information in the file itself, XMP metadata is stored in a separate file called a sidecar file. Page 58 Displays settings applied by the Camera Raw plug-in.

Camera Raw Keeps a log of changes made to images with Photoshop. Version Cue Note: Depending on the applications you are using, custom panels for various properties may appear here as well. Page 59 Displays read-only information about the camera and settings used to take the photo, such as make, Camera Data 1 model, shutter speed, and f-stop.

Lists read-only file information about the photo, including pixel dimensions and resolution. Page 60 You can modify the metadata in the File Info dialog box and save it as a template for use with other files.