R waveform C. G waveform D. Following the instructions for use is an essential prerequisite for protecting health and property during use, as well as recognition of liability on the part of the manufacturer for possible defects should you make a warranty claim. Manuals for all brands. This will take you through all of the important things you need to know. Page 50 Look In menu. August 23,
 
 

Adobe premiere pro cc user manual free download.Adobe Premiere Pro Manual (PDF)

 

Recorded sequence preview D. Camera 3 E. Camera 4 F. Record button The Multi-Camera Monitor includes the standard playback and transport controls and keyboard shortcuts. The Play Take care not to overwrite adjacent clips if you have multiple clips on the same track.

Select the clips you want to synchronize. The 1, 2, 3, and 4 keys correspond to each camera. When you are done recording, click the Stop button or the Record button to get out of recording mode. You can then use the playback controls to preview your sequence without recording over it. To edit an image file in Photoshop In an Adobe Premiere Pro project, you can open an image file in any format that Adobe Photoshop supports.

Select a clip in either the Project panel or Timeline panel. If you want to work with all clips or a single sequence from an Adobe Premiere Pro project, use the Import command to import the project into After Effects. Note: You can copy multiple layers into Adobe Premiere Pro. Each layer is placed on a separate track. The order in which Adobe Premiere Pro places the layers depends on the order in which you selected them in After Effects; Creating a dynamic link is as simple as importing any other type of asset, and dynamically linked compositions appear with unique icons and label colors to help you identify them.

When you add a linked composition that contains both footage and audio layers to a sequence, Adobe Premiere Pro inserts linked video and audio clips in the timeline. Page Transition Overview A transition moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to shot, but in some cases you might want to transition between shots by phasing out one and phasing in another.

Adobe Premiere Pro provides several transitions that you can apply to your sequence. For this reason, transitions work best with handles—the extra frames beyond the In and Out points set for the clip. Whatever is below the transition in the Timeline panel appears in the transparent portion of the transition the portion of the effect that would display frames from the adjacent clip in a two-sided transition.

Page The default duration of a transition, for either audio or video, is set to 1 second. If a transition contains trimmed frames, but not enough to fill the transition duration, Adobe Premiere Pro adjusts the duration to match the frames.

Play The Transition button B. Transition preview C. Edge selector D. Clip previews E. Start and End sliders F. Options G. Clip A first clip H. Transition I. Clip B second clip J. The pointer changes from the Slide Transition icon icon to the Ripple Edit icon Drag the cut as desired.

In the Effect Controls panel, adjust settings: Change the orientation or direction of the transition. In a gradient wipe, image B fills the black area of the grayscale image and then shows through each level of gray as the transition progresses until the white area becomes transparent. Page Working With Audio Working with audio About audio In Adobe Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle.

Tracks can contain mono, stereo, or 5. Page Adobe Premiere Pro creates a new audio track to match the channel format of a clip dragged to the Timeline panel. Tracks area B.

Controls area C. Playback controls In the Audio Mixer, you can adjust settings while listening to audio tracks and viewing video tracks. Page Viewing audio data To help you view and edit the audio settings of any clip or track, Adobe Premiere Pro provides multiple views of the same audio data.

You can view and edit volume or effect values for either tracks or clips in the Audio Mixer or in the Timeline panel. Page Making quick audio adjustments Although Adobe Premiere Pro includes a full-featured audio mixer, there are times when you may not need many of the options.

For example, you might be creating a rough cut from video and audio captured together from DV footage, output to stereo tracks. Page Track Format stereo, or 5. When you add the clip to the sequence, the clips on the separate mono tracks are linked together. Page Timeline panel. If the number of source channels is not in multiples of six, Adobe Premiere Pro creates a 5. Page Linking multiple audio clips In Adobe Premiere Pro, you can link one video clip to multiple audio clips or link multiple audio clips together.

Linked clips remain in sync as you move them or trim them in the Timeline panel. You can apply audio effects, including Volume and Panning effects, to all channels in the linked clips. You can record to an audio track in a new sequence or record to a new audio track in an existing sequence. See the documentation for the ASIO device and driver you are using. Audio output mapping Using the Audio Output Mapping preferences, you can specify how each device channel corresponds to an Adobe Premiere Pro audio output channel.

The Stereo and 5. Adobe Premiere Pro examines levels in the clip. In the Effect Controls panel, click the triangle next to Volume to expand the effect. Page Audio Transitions Working with audio transitions Adobe Premiere Pro lets you apply crossfades for audio transitions between clips. An audio fade is analogous to a video transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same track. Page Panning And Balancing When you output a stereo track to a stereo or 5.

A round knob appears when a mono or stereo track outputs to a stereo track. Page 2 channels or mono 1 channel. However, downmixing can also occur in your project when you assign track output to a track that has fewer channels.

Adobe Premiere Pro provides a 5. You can choose from various combinations of Front channels, Rear channels, and the LFE low-frequency effects, or subwoofer channel. You can output a track to any submix, but to prevent feedback loops, Adobe Premiere Pro allows a submix to be routed only to a submix to the right of it, or to the master track.

Page Audio Mixer. The Effects And Sends panel contains Effect Selection pop-up menus to apply up to five track effects. Adobe Premiere Pro processes effects in the order they are listed and feeds the result of an effect into the next effect in the list; Note: When you use a VST effect not provided by Adobe, the specific control layout and results of the plug-in are the responsibility of the plug-in manufacturer.

Off allows real-time use of Audio Mixer controls without interference from stored automation settings. For example, suppose you are automating a fade from 0 dB to —12 dB. With this option selected, Adobe Premiere Pro creates keyframes only at the points that represent an increase in value from the beginning 0 dB and ending —12 dB keyframes. Page In the Timeline panel, select a clip containing audio. The new audio file also appears in the Project panel. Titles are a valuable addition to a movie and can serve many purposes, from naming the people and places in your movie to providing movie-style credits at the beginning and end.

Page Click the down-pointing triangle in the Titler tab to open the panel menu. When you save a title, Adobe Premiere Pro adds it to the active bin in the Project panel automatically. Titles are saved as part of the project. However, you can export titles as independent files that use the.

If the title you want to use is on your hard disk but not yet part of the current project, you can import it as you would any other source file. The imported titles become part of the current project file.

The default template loads each time you open the Titler. If a text box is too small to contain the characters you type, you can resize the it to reveal the hidden text. The Font Browser remains open so that you can easily preview another. You can continue changing fonts until you find the right one. Page For vertical text, leading is measured from the center of one line of type to the center of the next line.

In Adobe Title Designer, the baseline is the line underneath the text. You can apply more than one leading amount within the same paragraph; The value indicates the percentage of character Tracking width between the specified range of characters.

The direction of the text tracking is based on the justification of the text. 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.

The Delay effect has the following settings: Specifies the amount of time before the echo plays. Gain Changes the functionality of the filter from shelving to cutoff.

Specifies the width of each filter band between 0. For example, use this control when Formant Preserve increasing the pitch of a high voice to prevent it from sounding cartoon-like. Reverb effect The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of the audio playing in a room. Page An alpha channel provides a way to store both images and their transparency information in a single file without disturbing the color channels.

When you view the alpha channel in the After Effects Composition panel or the Adobe Premiere Pro Monitor panel, white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial trans- parency. You can also ignore an existing alpha channel and use Adobe Premiere Pro transparency effects to create a new one. When you view the Page Clips on upper tracks cover clips on lower tracks except where alpha channels indicate transparency.

Adobe Premiere Pro composites clips from the lowest track up, and the final video frame is a composite of clips on all visible tracks. In the Effect Controls panel, click the triangle next to the Opacity effect to expand its settings. Your email address will not be published. FilterGrade is a digital marketplace for creators. Read more. Is Your Photography Business Overspending?

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Adobe Premiere Pro Manual (PDF) – Teaching & Learning Knowledge Base – Choose a region

 

We have listed some key features here for the beginners so they can know better about the Adobe Premiere Pro free version. Read first then download Adobe Premiere Pro free to get the best video editing experience.

By following some quick steps, you can download it free. Just follow the instructions below to download and install Adobe Premiere Pro free. It automatically gets patched during the installation. Except for some software, you can find crack versions for all the products of Adobe.

But you must choose the correct one to use for free. There is no alarming difference between the paid Premiere Pro and the crack version. If you choose to use the paid version, you will get all the facilities from the Creative Cloud. But using the Adobe Premiere Pro Free or crack versions, you may not get future updates for the application. Adobe provides updates every year to make their software a lot easier with tons of new features.

You will miss those new features if you use Adobe Premiere Pro for free. So, these are the ultimate differences between the Crack vs paid version. There is nothing to worry about the new features as you can install thousands of plugins and presets in it. So, there are some differences but these will not matter to your creative work.

You can edit videos and produce high-quality videos with the crack version too. Downloading files from unknown sources may harm your computer or devices. So, it is a simple matter to doubt the crack versions. But we can assure you that this file is safe. Our Premiere Pro experts used it and tested it again and again. 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. The Delay effect has the following settings: Specifies the amount of time before the echo plays. Gain Changes the functionality of the filter from shelving to cutoff. Specifies the width of each filter band between 0.

For example, use this control when Formant Preserve increasing the pitch of a high voice to prevent it from sounding cartoon-like. Reverb effect The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of the audio playing in a room.

Page An alpha channel provides a way to store both images and their transparency information in a single file without disturbing the color channels. When you view the alpha channel in the After Effects Composition panel or the Adobe Premiere Pro Monitor panel, white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial trans- parency.

You can also ignore an existing alpha channel and use Adobe Premiere Pro transparency effects to create a new one. When you view the Page Clips on upper tracks cover clips on lower tracks except where alpha channels indicate transparency.

Adobe Premiere Pro composites clips from the lowest track up, and the final video frame is a composite of clips on all visible tracks. In the Effect Controls panel, click the triangle next to the Opacity effect to expand its settings. Page Cutoff slider; doing so inverts gray and transparent pixels. Specifies the amount of anti-aliasing that Adobe Premiere Pro applies to the boundary between trans- Smoothing parent and opaque regions.

Anti-aliasing blends pixels to produce softer, smoother edges. Choose None to produce sharp edges, with no anti-aliasing. Black represents transparent areas, white represents opaque areas, Mask Only and gray represents partially transparent areas. Page Choose Green or Blue to remove a residual edge from green-screen or blue-screen footage, respectively. Specifies the amount of anti-aliasing softening that Adobe Premiere Pro applies to the boundary Smoothing between transparent and opaque regions.

This option is useful when you want to preserve sharp lines, such as those in titles. You can use matte keys to create superim- positions, including traveling mattes. Page Broadens or reduces the range of color that will be made transparent. Higher values increase the range. Similarity Specifies the amount of anti-aliasing softening that Adobe Premiere Pro applies to the boundary Smoothing between transparent and opaque regions.

Changes appear in the Preview view of the Program Monitor. In the Choose Name dialog box, type a name for the new matte and click OK. This tutorial PDF is packed with useful tips, in addition to step-by-step instructions with example clips! For people that learn visually, this is a good PDF to read. For a great middle ground in terms of length and detail, this PDF guide is perfect. At 28 pages, it covers all of the basics of Premiere Pro, as well as some level of detail in important areas.

This will take you through all of the important things you need to know. This was written by a band who recorded and edited a music video. They go through the process from that perspective. Which means there is a bit of bumbling around, and referencing other good tutorials.

This is a very human approach that opens the door to plenty of other lessons. Your email address will not be published. FilterGrade is a digital marketplace for creators.

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