Watch more at http://www.lynda.com/Premiere-Pro-tut.... This tutorial reviews the new supported file formats and codecs in Premiere Pro, including ARRIRAW and ProRes.
This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro.
Introduction
1. User Interface Improvements
2. Extending the Power of Premiere Pro
3. Quality and Format Improvements
4. A Better Timeline Panel
5. Project and Media Management
6. Improved Effects Workflow
7. Improved Audio Workflows
8. Improved Multicamera Workflows
9. Improved Closed Caption Workflow
10. Improved Export Controls
Conclusion
This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro.
Introduction
1. User Interface Improvements
2. Extending the Power of Premiere Pro
3. Quality and Format Improvements
4. A Better Timeline Panel
5. Project and Media Management
6. Improved Effects Workflow
7. Improved Audio Workflows
8. Improved Multicamera Workflows
9. Improved Closed Caption Workflow
10. Improved Export Controls
Conclusion
This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro.
Introduction
1. User Interface Improvements
2. Extending the Power of Premiere Pro
3. Quality and Format Improvements
4. A Better Timeline Panel
5. Project and Media Management
6. Improved Effects Workflow
7. Improved Audio Workflows
8. Improved Multicamera Workflows
9. Improved Closed Caption Workflow
10. Improved Export Controls
Conclusion
Here's a detailed Adobe CS5.5 Premiere workflow example I recorded with Vincent Laforet. He's been using over the past few months with solid success with both Canon HDSLR footage and RED Epic footage. It shows Dynamic linking with After Effects as well as REDCine X.
Go to the 24:51 mark to see the RED workflow specifically.
Looking for some great, free training about Adobe Premiere Pro? Don't miss this great webinar.
Ask a Video Pro for Switchers Part 2 — Tips & Tricks for Switching to Premiere Pro
Thursday, November 8, 2012 at 10 am Pacific Time | 1 pm Eastern Time
As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity.
Looking for some great, free training about Adobe Premiere Pro? Don't miss two great webinars taught by Robbie Carman and myself.
Ask a Video Pro for Switchers Part 1 — Getting Comfortable with Premiere Pro
Thursday, November 1, 2012 at 10 am Pacific Time | 1 pm Eastern Time
Join Robbie Carman as he guides you through the essential aspects of making the switch to Adobe® Premiere Pro. Designed for experienced editors, this webinar will help you get more comfortable and to work faster--allowing you to implement your current editing knowledge quickly. Specific topics will include: starting a project, setting up sequences, accessing essential preferences and keyboard shortcuts, ingesting media, marking and trimming clips in the timeline, and adding audio and effects. If you're new to Adobe® Premiere Pro be sure to check out this webinar to make your transition to this robust software even easier.
Ask a Video Pro for Switchers Part 2 — Tips & Tricks for Switching to Premiere Pro
Thursday, November 8, 2012 at 10 am Pacific Time | 1 pm Eastern Time
As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity.
Adobe Prelude CS6 offers a variety of new media management features. Rich Harrington will show you the best ways to import footage, set it to automatically copy to a new dimension, and powerful new transcoding options.
Adobe Premiere CS 6 makes it easier than ever to work with RAW files. Rich Harrington walks you through some of the advantages of Premiere's approach to RAW support, including ARRIRAW and such RED formats as 5K.
A popular shortcut in Final Cut Pro is the ability to increase or decrease audio levels with a keyboard shortcut. The closest you can come in Adobe Premiere Pro is a little customization. Choose Premiere Pro > Keyboard Shortcuts (Edit>Keyboard Shortcuts). In the search field enter Audio Gain. Map this command to an easy to remember shortcut (like Ctrl + =). Now you can press it to bring up the Audio Gain dialog box. The new dialog already has the Adjust Gain by field selected. Just enter a number and press Return or Enter. Yes, it's two steps instead of one, but its also more flexible.
A companion application in the Adobe Creative Suite is Adobe Prelude. This application can be used to organize footage in a simple, streamlined interface. The use of Adobe Prelude is beyond the scope of this book, but you will find extensive coverage in the application’s documentation on how to use it and best practices for organizing clips. Adobe Prelude is designed so producers or assistants can quickly ingest, log, and even transcode media for tapeless workflows. If you have an Adobe Prelude Project, here’s how to send it to Adobe Premiere Pro.
Launch Adobe Prelude.
Open the project you want to transfer.
Switch to Adobe Premiere Pro and make sure the project that you want to receive the media is open.
Switch back to Adobe Prelude and click on the Project Panel.
Select the individual clips you want to send by Command-clicking (Ctrl-clicking) or select all clips.
Choose File > Send to Premiere Pro.
Switch to Adobe Premiere Pro. The files should appear in the Project panel
You can now quit Adobe Prelude and close the project.
I was very happy to sit down with Bill Roberts at Adobe to discuss what's new in CS6 as well as what the company thinks are important trends for the future. If you want to see what's coming up, don't skip this video.
If you're in the process of adding Adobe Premiere Pro to your video workflow, I have a Facebook group that may be helpful Lots of good discussion in it, as well as a good cross section of folks.
In this installment of Video Adrenaline for Premiere Pro, Richard Harrington demonstrates how to use the replace edit command in Premiere Pro so that you can swap out one take for another. In this example, the actor delivers his line a little late, and with low energy. Take the clip in the source monitor, use the current time indicator to create a sync point and automatically create the correct in and out points.
I share why RHED Pixel has switched to Adobe Premiere Pro. Forgive the rough audio… but the content and the logic are good (especially if you've been sitting on the fence wondering where to go about your video editing needs).
Richard Harrington, Founder RHED Pixel, presents Adobe Premiere Pro CS 5.5. From the Atlanta Cutters Post Production User Group Meeting July 27, 2011. Sign up today to be a member or register for our next event. atlantacutters.com
Lead Camera: Michael Fulcher 2nd Camera: Kevin Olson Media Management: Chris Fenwick
In this installment of Video Adrenaline for Premiere Pro, Richard Harrington explores the Media Browser in PP and talks about features that you might not know exist.
Here's an archive of my free class sponsored by Adobe – Mastering the Adobe Premiere Pro Timeline Panel
You can view the hour-long class here https://seminars.adobeconnect.com/_a227210/p84tcyvjq2f/?launcher=false&fcsContent=true&pbMode=normal The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition.
In this installment of Video Adrenaline for Premiere Pro, Richard Harrington talks about the powerful features of customizing your keyboard using Premiere Pro CS5.5.
The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The class is taught by Richard Harrington of RHED Pixel. Bio: Richard Harrington is the founder of RHED Pixel in Washington, DC (www.RHEDPixel.com). Richard is the co-author of the new book and DVD, An Editor's Guide to Adobe Premiere Pro. He is also the host of Creative COW's Premiere Pro video podcast. Rich is the author of numerous resources for the video industry. To find out more follow Rich on Twitter @rhedpixel or visit his blog (www.RichardHarringtonBlog.com).
More and more editors are switching to Adobe Premiere Pro CS5.5 to make them more efficient. If you’re wondering if Adobe Premiere Pro is right for you, join us for a free Webinar. Two long-time industry pros, Richard Harrington and Abba Shapiro, made the switch to Adobe Premiere Pro and will show you why it is now their preferred editing application. You’ll get the real story on the Mercury Playback Engine, what it means to edit footage natively, how you can remove bottlenecks in your pipeline when transferring projects from other applications, and how to work with Adobe After Effects and Photoshop.
Important Update:
To showcase Adobe video streaming, we will be hosting the event on Adobe Connect.
In case you haven't picked up An Editor’s Guide to Adobe Premiere Pro, you can now check out a bunch of the book for free. This is the most detailed book on video editing that I've ever worked on, I literally wrote it to retrain my own staff. It is all about realistic workflows and maximizing the entire Production Premium Creative Suite.
Todd Kopriva of Adobe says: “This book is an excellent resource for experienced editors to learn Adobe Premiere Pro. It begins from an assumption that you already know about video editing in general and only need to learn the details of the features and workflows specific to Adobe Premiere Pro and its companion applications.” Here are two free chapters and two appendixes:
The power is in the trim (PDF): details of basic editing and trimming functions, including ripple, roll, slip, and slide edits, as well as use of the Trim Monitor
Importing media (HTML): several methods for importing media, as well as an introduction to integration with other applications in the Adobe Production Premium suite
Are you looking to push the "film look" even further for your DSLR footage? A quick trip to Adobe After Effects can enhance your clips.
Duplicate your current sequence in Adobe Premiere Pro in case you change your mind.
Select the clips in the current timeline that you want to process.
Choose File > Adobe Dynamic Link > Replace With After Effects Composition.
The selected clips are sent to After Effects. If its not running already, the program will open. Name the project and click Save.
Double-click the composition to ensure it is open, then click in the Timeline panel.
In After Effects, choose Layer > New Adjustment Layer. You can use an adjustment layer to affect all clips below.
Choose Effect > Blur > Fast Blur and crank the filter up to a radius between 15 and 90 pixels. Don’t worry if it looks over-done.
Click the Repeat Edge Pixels checkbox.
Switch to modes in the Timeline and try different blending modes such as Add, Overlay, Soft Light, or Multiply. In fact you may want to try all of the different modes to see which one you like best. Depending on your source, you may need to use different modes, to get results.
Adjust the opacity of the adjustment layer to taste.
Choose File > Close Project. Save your changes.
Return to Adobe Premiere Pro to see the updated effect. If you want to update the effect, highlight the linked composition and press Cmd+E (Ctrl+E).
I keep hearing from folks who are looking for the Add Edit tool in Adobe Premiere Pro. It's there, just under a different name. As you edit in the timeline, you may want to change the length of a shot.
Here are a few quick editing techniques you should know:
Razor – Press Cmd+K (Ctrl+K) to split a clip at the playhead.
Razor All Tracks – Press Shift+Cmd+K (Shift+Ctrl+K) to split all tracks at the playhead.
Clear – Press the Forward Delete key to remove a selected segment and leave a hole behind.
Ripple Delete – Press Shift + Forward Delete to remove a selected segment and close the gap in the sequence.
Be sure to check out the Adobe CS5.5 Production Premium Road Show. The event is a free, in-depth seminar in LA, SF, and NYC: http://bit.ly/lcfJnT
Join Creative Suite video experts for a free, in-depth seminar that features the new Adobe® Creative Suite® 5.5 Production Premium, the high-performance leader in video production software. Learn how you can produce your best work with game-changing innovations like the blazing fast Adobe Mercury Playback Engine in Adobe Premiere Pro, the new Warp Stabilizer in After Effects, and a high-performance audio tool, Audition—now included in CS5.5 Production Premium.
Registration now open for these training dates and locations:
June 2, 2011 - REGISTER NOWLos Angeles, LA Film School, 5:00pm to 9:00pm
June 14, 2011 - REGISTER NOWSan Francisco, Adobe Headquarters, 4:00pm to 9:00pm
June 21, 2011 - REGISTER NOWNew York City, The New Yorker Hotel, 4:00pm to 9:00pm
You’ll find seven ways to move media to and from Adobe Premiere Pro. Be sure you understand all of your options so you can make the right decision for your workflow.
Dynamic Link – You can hand off media between Adobe Premiere Pro, Adobe After Effects, Adobe Encore, and Adobe Audition. The media exchanges seamlessly and you can easily switch between the two applications as needed as the to projects become linked.
Copy & Paste – The easiest way to move media between After Effects and Adobe Premiere Pro is the standard Copy and Paste commands in the Edit menu.
Export PRPROJ – From After Effects you can choose File > Export Adobe Premiere Pro project to send to Adobe Premiere Pro.
Capture In Adobe Premiere Pro – Use this command in After Effects to switch to Adobe Premiere Pro and capture media files.
Import PRPROJ – You can import an entire Adobe Premiere Pro project into After Effects. This brings an individual or all sequences in as media files. All edits are preserved, but After Effects treats the Adobe Premiere Pro sequence as a single media file. Changes in Adobe Premiere Pro will update the corresponding media file in After Effects.
XML – Using the XML format, Adobe Premiere Pro can both import and export an XML file that links to media assets.
AAF – You can import the Advanced Authoring Format from Avid editing systems. You can also export using this format to send a project onto an Avid.
Keep your eyes out for our new Premiere Pro books that's in the works.
As you watch your video are you noticing that almost every person in it is looking in the same direction? Unfortunately, this seems to happen a lot unless you consciously pay attention when shooting and remember to adjust lighting and backdrops between interviews.
Don’t worry; a simple built-in effect can save you. Use a Vertical Flip effect to reverse screen direction. You don’t need to maintain a L-R-L-R-L-R visual order throughout, but try to get some visual intercutting by changing the direction your subject looks.
Be careful not to flip a screen with text, recognizable logos, or a clock in it. Also be sure to be consistent with all appearances of a person throughout the edit.
Reply
Like
