COW Library : Premiere Pro Techniques (CS6 & above) with Andrew Devis
Andrew Devis looks at the newly released Premiere Pro from the Adobe Creative Suite 6. The content of the series will be suitable for all from beginner to advanced, and the viewer will be introduced to the new interface and CS6-specific material.
Play Video In this tutorial, Andrew Devis goes through a new option that will be coming with the next release of Adobe Premiere Pro called Lumetri Looks - which gives you the option to apply .Look files created in Adobe SpeedGrade directly to your footage in Premiere Pro.
While this option at first glance seems to only offer the ability to apply presets already created, there is also a way in which you can create your own grades in SpeedGrade, save them as .Look files and then apply those custom grades to your footage or to an adjustment layer in Premiere Pro CS_Next.
In this tutorial, Andrew shows the new option and how it may be used with SpeedGrade CS_Next to create, save and apply your own custom looks.
Play Video In this short tutorial for Premiere Pro's new CC version, Andrew Devis goes over some of the changes and improvements to the timeline panel for the next version of Premiere Pro so that you can get up and running with it quickly and smoothly.
Play Video In this tutorial, Andrew Devis looks at the next version of Premiere Pro and shows how it can now automatically synchronise footage in a bin by various options including timecode and AUDIO!
Andrew uses multiple clips and allows Premiere Pro to synchronise these clips using audio and shows us in real time how long this process takes based on a 48 min talk and 11 clips!
Andrew also goes on to show some of the changes that have taken place in the headers for video and audio tracks as well as a change in how to make multi-cam edits in the up-coming next version of Premiere Pro - valuable information for anyone working with multiple cameras.
Play Video In this tutorial Andrew Devis demonstrates a relatively new plug-in by RE:Vision Effects called RE:Match and how it can very quickly and accurately deal with the very common problem of non-matching cameras in Premiere Pro.
A typical approach to dealing with say a white balance issue would be to apply the fast color corrector and use the white balance picker, but this can be very hit and miss, while RE:Match deals with the whole image using another image or clip as the reference to match too.
This very powerful effect can save a great deal of time for an everyday problem and so earn its cost back very quickly as well as giving excellent and fast results.
There is another tutorial showing how this effect works in After Effects as there is a slightly different way the two applications deal with reference images.
Play Video In this final tutorial in this Premiere Pro Basics (CS6 & above) series, Andrew Devis shows how to use the Rolling Shutter Repair effects which deals with the problem of footage from a camera phone or a DSLR (CMOS sensors) which look wobbly or jelly-like when panned quickly. The obvious solution is to avoid fast pans with this type of camera, if possible. However, sometimes you have no choice and then need to clean up the end result to stop your audience from feeling sea-sick! The Rolling Shutter Repair is a very powerful tool to deal with this issue and make sure your footage looks more like you originally intended it to look.
Play Video In this tutorial, Andrew Devis goes through the new and improved multi-camera work-flow in Premiere Pro CS6, which includes the option to use as many cameras as your system can cope with! Andrew shows how to use three clips in this tutorial, how to set them up with a synchronizing point and then how to trim footage back into the multi-camera sequence if the synchronizing points weren't in a good place. He then shows how to change between cameras and how to modify the edits created.
Play Video In this tutorial, Andrew Devis shows how to use the 'Warp Stabilizer' effect in Premiere Pro. This powerful effect can be used to stabilize hand help or shaky footage so that the end result will be smooth motion or even no motion for the clip it is applied to. While being very powerful, the warp stabilizer works best with a good CUDA graphics card so that clips can be played back with the effect applied without the need to render the clips to see updates to any changes made.
Play Video In this tutorial, Andrew Devis shows how to use the Speech Analysis function inside of Premiere Pro. Andrew starts by showing how to find and download speech modules for languages other than English US and then goes on to analyze two clips, one with stylized English and one with normal English to show how well Premiere Pro copes. Andrew also shows how you would attach an Adobe Story Script for greater accuracy and also how to use some of the tools to change text once created and then how Premiere Pro is frame perfect for each spoken word in the Source monitor.
Play Video In this tutorial, Andrew Devis explains how to use the 'Find Faces' function in Premiere Pro which can be a useful function to search/filter in the project panel to display only clips showing people. Although a useful function, it does take a while to analyze the clips, so it isn't always a fast solution.
Play Video Video Transitions vs Video Effects Transitions: In this tutorial, Andrew Devis explains the difference between 'video transitions' and the 'video transitions' category in 'video effects'. Andrew shows how the two work and some of the advantages of using the 'video effects' as opposed to the transitions to create more organic transitions.
Play Video In this tutorial, Andrew Devis goes through an under-used effect in Premiere Pro which can be a real shot-saver by giving you the option to completely re-light a scene with multiple lights if needed. In this tutorial, Andrew shows how to use the effect to create a volumetric lighting effect for one shot and then to save a shot which suffers from being taken in a very bright environment and lastly a shot what has issues with being too dark in places. As well as being able to re-light a shot this effect also offers an exposure control which although somewhat linked to an ambient light is still a very useful feature to have in Premiere Pro.
Play Video Although there are some obvious ways to create black and white footage in Premiere Pro, the usual approaches can often leave a lot to be desired in terms of creativity and artistic influence. So, in this tutorial, Andrew Devis shows how to use an little known effect to make stunning and creative black and white productions in Premiere Pro which can add a great deal to the artistic credibility of your work.
Play Video The Ultra Key in Premiere Pro is a way of quickly and efficiently 'Green/Blue Screening' or 'Chroma Keying' footage elements shot against a colored background. In this second tutorial, Andrew Devis goes on to show how to use the Ultra Key settings and how you can use presets to help understand how certain parameters work. Andrew goes on to show how to deal with edge issues and then how to use another effects to simulate a 'light wrap' effect which brings the color of the background into the edge/alpha channel of the keyed object. Andrew finishes by showing how to deal with parts of the matte that have become semi-transparent during the keying process.
Play Video The Ultra Key in Premiere Pro is a way of quickly and efficiently 'Green/Blue Screening' or 'Chroma Keying' footage elements shot against a colored background. In this tutorial, Andrew Devis shows a slightly more advanced way to set up to use the Ultra Key in Premiere Pro which involves matting out areas of the footage that either have items to be removed or have nothing but the chroma color in them (i.e. no action in those areas). Andrew goes through the process of creating a matte that just has the item to be keyed while keeping a good soft edge to the footage by using other effects in Premiere Pro. He then creates the final matted piece and applies the Ultra Key and goes on to shows how to adjust that matte after the Ultra Key has been applied.
Play Video In this tutorial, Andrew Devis shows how to use the Track Matte Key effect to pixel out a face to keep a character anonymous. Andrew also shows how to use the circle effect with fast blur to create a soft matte to use with the Track Matte Key effect.
Play Video The timecode effect is often used to generate lower quality versions of footage with timecode 'burnt in' so that producers can give exact times for specific edits and selections. In this tutorial, Andrew Devis shows how to use the 'Timecode' effect to generate timecode for a sequence and to show both media and clip timecodes for a piece of footage in the sequence.
Play Video In this tutorial, Andrew Devis shows how to use the Echo effect and goes through its settings showing how to get the best out of this powerful effect. Andrew also talks a little about filming with the aim of using the Echo effect on the final product.
Play Video The 'Posterize Time' effect can be used to set a frame rate for a piece of footage or a nested sequence. However, in this tutorial, Andrew Devis shows how to use it as a special effect to create dramatic looks for your footage or to give the impression that the footage was taken on an older camera which worked at a different (usually lower) frame rate. (Note: Although it is possible to animate this effect, it can cause unpredictable results and so any keyframes created will be hold key frames giving instant transitions rather than gradual changes).
Play Video Time remapping is hands-down the most powerful time changing effect in Premiere Pro and also great fun to work with once you know how to use it. In this tutorial Andrew Devis shows how to vary the time of a clip, how to ease that change, how to ease into a hold keyframe and then ease back out again. He then goes on to show how to make the whole clip carry on to play backwards and how to ease the change between playing one direction and the next.
Play Video In this tutorial, Andrew Devis shows another of the time options inside of Premiere Pro (having previously shown the rate-stretch tool in an earlier tutorial). Starting with the Speed/Duration option Andrew goes through the various ways to apply it and the advantages and limitations that it has.
Play Video In this third tutorial on Media Encoder, Andrew Devis shows how to create and use 'Watch Folders' which are folders linked inside of Media Encoder which 'watch' for any footage item that is dropped into them and then encodes that footage item to any other output type of your choice. Andrew shows how to create and set up your watch folders as well as explaining some of the limitations of watch folders as they presently work.
Play Video In this second tutorial on Media Encoder, Andrew Devis shows how to create preset groups for customers to ensure that you always export the same file types and minimize the risk of choosing the wrong presets when outputting multiple different sequences. Andrew also shows how to customize a preset to meet specific needs such as different frame rates or frame sizes etc and save that preset and add it to a preset group for the customer you created it for. Andrew then shows how to quickly select a smaller portion of the sequence so that you can test your output settings on a much smaller section of the sequence you want to export.
Play Video In this tutorial, Andrew Devis shows how to use the Media Encoder to render out several different versions of a Premiere Pro sequence using easy to find and select presets. Andrew shows how to add sequences without even having to have Premiere Pro open and then change the preset to another one of your choice and add extra outputs to suit your customers' needs.
Play Video In this tutorial, Andrew Devis starts by talking about the 'Send to SpeedGrade' option and then moves on to discuss the selection settings (left hand side) in the Export Settings dialogue box.
Play Video In this tutorial, Andrew Devis shows how to get a sequence from Premiere Pro into either Encore or After Effects using the 'dynamic link' function. Dynamically linking a sequence to either Encore or After Effects will mean that any changes made to the sequence in Premiere Pro will be automatically updated in the program it is linked to (Encore or After Effects). Andrew demonstrates both a simple 'drag and drop' as well as a menu driven approach to setting up dynamic link.
Play Video In this second tutorial in his occasional series on audio basics, Andrew Devis explains what bit depth is and how the right choice of bit depth can effect the accuracy of your recording. Although Andrew uses Adobe Audition CS6 the information given in this tutorial is valid for any digital audio recording software package.
Play Video In this occasional series on audio basics by Andrew Devis, Andrew explains what audio samples are and how they can effect the accuracy of you recording. Although Andrew uses Adobe Audition CS6, the information given in this tutorial is valid for any digital audio recording software packed.
Andrew also shows how to create new audio files in Audition and how to specify the sample rate and then how to create tones.
Play Video In this tutorial, Andrew Devis explains how to create and use submixes in Adobe Premiere Pro. Andrew shows how to create a submix from both the timeline and the audio mixer panels and the how to route channels either fully through a submix or proportionally to get a more controlled result.
Play Video In this tutorial, Andrew Devis talks about the difference between frames and audio samples in video and shows how you can work with audio samples to deal with things like lip-sync problems with video shot at some distance from the original speaker.
Play Video In this tutorial, Andrew Devis goes through the right-click gain options for audio waveforms in Premiere Pro. These often overlooked options are very powerful when used to either maintain the relationship between clip volumes or break that relationship such that the volume of each of the clips in amplified to the maximum. Understanding these options will give you some quick and powerful tools for dealing with problem audio in your projects. Note: Gain should be sorted out before changes to volume for best results.
Play Video In this tutorial, Andrew Devis shows some work-flows for processing audio from Premiere Pro in Adobe Audition. First, Andrew shows how to use powerful but simple EQ tools and then how to make sure that the volume is maximized whilst not going into 'the red'. Andrew then goes on to show how to match the volume of multiple clips with an automated function in Premiere Pro.
Play Video In this tutorial, Andrew Devis shows how to use Adobe Audition to separate the 2 channels of a clip already in the timeline so that they become 2 mono tracks. Although this is a potential work-flow for this problem of separating stereo to dual mono, it is not the best way of dealing with it and should only be done when there isn't really the option to go back and start with the clips from scratch once again.
Play Video In this tutorial, Andrew Devis deals with one of the most common problems when dealing with audio in Premiere Pro - how do you change a stereo clip into a dual mono clip? Andrew will show how to change your preferences so that any imported clip will be seen as being dual mono in Premiere Pro as well as how to change a clip that is already imported into your project. Please note that it is not easy to change a clip AFTER it has been put in the timeline. However, Andrew goes on to show one option for muting one channel of a stereo pair in your timeline which can in some cases be helpful.
Play Video In this tutorial, Andrew Devis goes through the 'Automation Modes' for animating audio volumes in Premiere Pro. Andrew explains the different options available as well as showing how to thin out keyframes and change the timing of the 'Touch' automation mode. This is an essential tutorial for anyone working with the spoken word and music as it will save a great deal of time with simple but effective audio animation.
Play Video In this tutorial Andrew Devis shows how to manually keyframe changes to the volume of specific clips in your timeline. This method can be useful for problems that don't respond well to automation but is not ideal for changing the volume over a whole production.
Play Video In this tutorial, Andrew Devis demonstrates how to record audio directly into Premiere Pro, having a closer look at the preferences as well as discussing some of the issues that can be had with distortion and low signal to noise ratios when recording.
Play Video In this tutorial, Andrew Devis briefly goes through some audio FX that may prove useful in your work. This is not an in-depth tutorial but simply points out some of the more useful or powerful audio FX inside Premiere Pro.
Play Video In this tutorial, Andrew Devis shows how to apply FX to clips and separately to whole tracks which is a very different process and there are some important things that you need to know so that you can find the effects and then how to modify them. Andrew also shows how to use the EQ FX.
Play Video In this tutorial, Andrew Devis goes over the various types of audio tracks available in Première Pro including a look at the new 'Standard Track' as well as multi-channel masters and 'Adaptive Tracks'.
Play Video In this tutorial, Andrew Devis shows how to use the filmic blend technique that helps to make video look more like film thus making your final production look much richer. This technique is a must for wedding videotographers.
Play Video In this tutorial, Andrew Devis starts off by showing how to add and change a 'Lens Flare' and then how to use a colored gradient to colorize your footage for added interest. Andrew then goes on to show how to use the 'Cell Pattern' effect as a way to add gentle movement below an image to create more interest - because the eye is drawn to movement.
Play Video In this tutorial, Andrew Devis starts by showing how to animate an effect from the 'generate' category of effects and then shows how to use 'blend modes' to blend a reasonably flat piece of footage with the animated effect below to give a little more life or interest to the shot.
Play Video In this tutorial, Andrew Devis shows how to use the 'Change to Color' effect while also showing the importance of masking out the area of the footage that you wish to effect. Once again, the same effect can be had by using secondary color correction in the three way color corrector and once a mask has been created the hue can then be changed. The advantage of the three way version is a greater degree of control while the advantage of the 'Change to Color' effect is speed and ease of use.
Play Video In this tutorial, Andrew Devis shows how to use the 'Leave Color' effect as well as a simple compositing technique to be able to focus on just the item needing to be shown without having to worry about similar colors in other parts of your shot. While the 'Leave Color' effect is powerful, it is also a simple approach which may or may not work for you depending on the footage you are working with. If you are not getting the results you want with the 'Leave Color' effect, then you may wish to use the secondary color correction techniques shown in previous tutorials to obtain a similar and slightly more controllable result.
Play Video In this tutorial, Andrew Devis shows a simple method for using footage shot during the day to make a it look like the shot was filmed in the early morning or late evening. Andrew uses a couple of effects to colorize the shot and change its contrast.
Play Video In this tutorial, Andrew Devis shows that there is a levels effect in Premiere Pro which you may have used if you are a Photoshop or After Effects user. However, the levels effect in Premiere Pro can be both hard to find and hard to use, and according to Andrew, should not be your first port of call for brightness & contrast adjustments. That said, Andrew demonstrates how to use the level effect in Premiere Pro as well as showing its short-comings.
Play Video In this tutorial, Andrew Devis continues to demonstrate the RGB Curves effect showing how it can be used to colorize a shot and quickly change the 'temperature' of a shot. Andrew shows how this effect can be a little hard to control and how multiple points are needed to control the curve and limit the pixels being affected if a specific pixel range needs to be worked on.
Play Video In this tutorial, Andrew Devis explains the difference between Luma Curve and RGB Curves and shows how to use the RGB Curves to increase the brightness & contrast of a show while also affecting the color channels. In the next tutorial Andrew will show how the RGB Curves effect can be used to colorize a shot.
Play Video In this tutorial, Andrew Devis shows how to use the Luma Curve to achieve very similar results to the Luma Corrector. Both these effects will produce good results for both brightness & contrast although it could be said that the Luma Curve will give some better visual feedback for those who like visual feedback for what they are doing.
Play Video In this tutorial, Andrew Devis shows how to use the Luma Corrector to change the brightness and contrast of your shot without flattening the shot. The temptation is to use the 'Brightness & Contrast' effect in Premiere Pro which is a very old effect and shouldn't really be used as it tends to squash or reduce the luma range of a shot thus lowing its quality over all. The Luma Corrector is a much more powerful tool and will work with the shot to improve it and increase the luma range giving you much more control.
Play Video In this tutorial, Andrew Devis shows how to import an image sequence into Premiere Pro and also how to help Premiere get the interpretation of the image sequence correct. Particularly with non-square pixel images Premiere will make assumptions that mean the footage will not display properly. Andrew shows how to help Premiere get the interpretation correct, assuming of course that you know what the original frame rate and pixel aspect ratio should be!
Play Video In this tutorial, Andrew Devis shows another method for creating a custom shaped vignette. This approach uses several effects on a layer of black video to allow you to mask the black video to a custom shape to fit the exact area you wish to add a vignette to.
Play Video In this tutorial, Andrew Devis shows one method of how to create a vignette in on your sequence to darken down distracting areas of the footage so that you can concentrate your audience on the action and not on distracting elements away from the action. This technique is good for well centered footage but not so good if you have action at the side of the screen.
Play Video In this tutorial, Andrew Devis shows how to use the tools in the secondary color corrector to perform some secondary color correction on an over saturated item in the shot. Andrew shows how to create and view a mask that is specific to the color of the item in question and then how to finesse that mask with the various tools in the secondary color correction section. Secondary color correction is an option in quite a few color tools in Premiere Pro, so learning how to use this tool will prove very useful to your editing and color correction and color grading work-flow.
Play Video In this tutorial, Andrew Devis demonstrates the newly redesigned for CS6 Three Way Color Corrector showing it's functionality (with the exclusion of Secondary Color Correction which will be covered in the next tutorial). Andrew shows how to change highlight, midtone and shadow pixels and even how to customize which pixel are included in each range.
Play Video In this tutorial, Andrew Devis shows how to select just a small section of your shot so you can evaluate just that area with the vectorscope. He then goes on to show how to use a second instance of the Fast Color Corrector in conjunction with the vectorscope to change the hue of the shot so that the final color is more real-life.
Play Video In this tutorial, Andrew Devis explains the level sliders in the 'Fast Color Corrector,' which help us to set up the contrast of a shot as well as change the brightness of a shot. This way of dealing with brightness and contrast is significantly better than using the 'Brightness & Contrast,' effect which tends to crush your luminance ranges and so degrade your shot. Andrew explains both the input and output sliders and show what a difference they can make to a poorly lit shot.
Play Video In this tutorial, Andrew Devis starts to deal with color problems on a shot by introducing some tools within the fast color corrector - specifically looking at the issue of white balance and color cast.
Play Video In this tutorial, Andrew Devis introduces the vectorscope and explains what information it gives and how to select specific parts of a shot to see if the color is within legal (broadcast-able) limits.
Play Video In this tutorial, Andrew Devis introduces the YC Waveform graph, showing how to select it and explaining what information it gives. Andrew also briefly discusses the IRE 7.5 setup and also shows the difference between NTSC and PAL measurement as well as how PAL mV are shown differently in Premiere Pro (incorrectly) compared to After Effects (correctly).
Play Video In this tutorial, Andrew Devis starts by explaining the difference between Color Correction and Color Grading, and then goes on to show the reference monitor, the Color Correction workspace and how to find the various scopes available in Premiere Pro CS6.
Play Video In this tutorial, Andrew Devis shows how to animate in the timeline with the pen tool. Andrew shows how to select different fixed effects in the timeline and shows how they can be animated as well as discussing the potential problems of using this method.
Play Video In this tutorial, Andrew Devis shows how to use the corner pin effect to replace a sign which is in perspective with a Photoshop image using the corner pin effect. Andrew also shows how to nest multiple layers such that Premier Pro sees them as a single laying meaning that they can be animated with a single set of motion controls. Lastly, Andrew also show how to smooth the animation by changing the keyframe type to a keyframe that gives a much smoother and more professional animation.
Play Video In this tutorial, Andrew Devis continues to show how to animate various fixed effects in Premiere Pro and then goes on to show how to apply and modify 'Picture in Picture' (PiPs) presets to your clips.
Play Video In this tutorial, Andrew Devis starts to show how to set up animation for a property. As well as setting property values in the 'effect controls' panel, these properties can be animated and, in the case of the animated position property, can even have the path they follow adjusted with handles to create interesting and stylized looks.
Play Video Fixed effects are the basis of all animation in Premiere Pro. In this tutorial, Andrew Devis starts to introduce these fixed effects which include Position, Scale, Rotation, Opacity and Anchor Point (as well as Anti-Flicker). Andrew explains how to use each of these controls using a previously created title of an arrow. In a future tutorial, Andrew will show how to animate each of these properties in Premiere Pro.
Play Video In this tutorial, Andrew Devis starts be going over resetting your workspace to the default CS6 workspace if your project was created in a previous version of Premiere Pro. Andrew then goes on to show how to remove unused footage from your project and then how to create both trimmed and copied versions of your final project either to move to another machine or for archiving.
Play Video In this tutorial, Andrew Devis shows how to create a simple but effective arrow with the title design window. Although there are other alternatives to adding arrows to a sequence such as creating an arrow in another program and importing it into Premiere Pro, using a title can be a quick solution when short of time. Andrew will show how to animate assets such as the arrow in a future tutorial.
Play Video In this tutorial, Andrew Devis shows how to create and finesse professional looking crawling titles that typically scroll along the bottom of your screen as in a news feed. There are several things that it really helps to know when creating crawling titles to save time and which are covered in this tutorial.
Play Video In this tutorial, Andrew Devis shows how to create and finesse professional looking rolling titles or 'credits' for your productions. There are several things that it really helps to know when creating rolling titles to save a lot of frustration and time which Andrew covers in this tutorial.
Play Video In this tutorial, Andrew Devis shows how to create paths or splines in the title creation window (title designer) which can form the path for any text you create. As well as showing how to create text on a path, Andrew also demonstrates how to create and customize shapes that can be used as backgrounds to the text you create so that you can combine them together to make stunning lower (or upper) thirds (or whatever else you may wish to create).
Play Video In this tutorial, Andrew Devis shows how to export a title so that it can be used in another version of Premiere Pro (demonstrated by importing into CS5.5). Andrew also shows how to save a title as a template so that it can be the starting point for other titles in future projects as well as going through the templates that are available for you to use and customize as needed. (Due to using an earlier version of CS6 Andrew demonstrates the title templates with CS5.5).
Play Video In this tutorial, Andrew Devis explains how to save your current title as both a title style to instantly use on new titles as well as how to produce a new title which is based on the exact settings of your current title to ensure a coherent and consistent look between all the titles in your project.
Play Video In this tutorial, Andrew Devis briefly goes through the 3 types of audio transitions in Premiere Pro - Exponential Fade, Constant Gain and Constant Power. Andrew will be covering audio in Premiere Pro in more detail in future tutorials.
Play Video In this tutorial, Andrew Devis shows how to apply and edit transitions as well as showing what happens when you don't have sufficient 'head' or 'tail' footage on one of your clips going into a transition. Andrew also shows how to view and dynamically edit a transition in the timeline whilst watching it play back.
Play Video In this tutorial, Andrew Devis show how Premiere Pro deals with mismatches between sequences and footage and also a 'gotcha' about if and when you will get a warning from Premiere Pro (which depends on how you bring your footage into the Premiere sequence in the first place). Following this, Andrew talks briefly on the importance of a naming convention if you are going to be working on a longer project that may require you to back-track at some point or other and you wish to keep your auto-saves available for earlier version of the project.
Play Video In this tutorial, Andrew Devis explains all the options and icons in the track headers as well as going through some of the options for the clips in the timeline. Andrew then goes on to show how to bring just video or just audio to the timeline from a clip in the source monitor or the project panel.
Play Video In this tutorial, Andrew Devis demonstrates how to insert a clip at any point you want with the mouse and a modifier key and then goes on to show the various options to replace a piece of footage in your timeline with another piece of footage so that in and out points are respected in the timeline and even frames matched at a point of your choosing.
Play Video In this tutorial, Andrew Devis demonstrates 3 & 4 point editing - a technique used a great deal in video editing. Three point editing forces clips to match a sequence in or out point whilst allowing the clip to remain the length it has been specified. Four point editing forces a clip to fit into a specified length in the timeline even if that means the clip must be sped up or slowed down.
Play Video In this tutorial, Andrew Devis shows how to quickly export a single image from either your source monitor or your program monitor and save them as any of a variety of image types to a destination of your choice to either use in your project or anywhere else such as printed documents of for DVD menus in Encore (which will require them to be re-saved as a PSD). After that, Andrew also shows how to quickly and accurately remove unwanted parts of your timeline such that it either leaves a gap in the timeline or the item is removed and the gap closed up.
Play Video In this tutorial, Andrew Devis explains how to select just the audio or just the video portion of a clip so that they can be edited separately whilst still keeping the audio and video linked. Andrew also shows how to completely unlink the video and audio and how to re-link them again if needed. Lastly, Andrew demonstrates the 'Sync Lock' option which can be used to stop tracks in your timeline being 'cut' when you drop in insert edits on other tracks.
Play Video In this tutorial, Andrew Devis looks at a couple of options that can help you to see your edits dynamically as you edit them. Andrew shows how to use and edit the 'Play Around' function as well as using the 'Loop' function so that the play-head will play a specified amount of time before and after it was placed allowing you to place it over (and edit) transitions on the fly.
Play Video In this tutorial, Andrew Devis demonstrates one of the big new features for Adobe Premiere Pro CS6 - dynamic timeline trimming of edit points. Andrew shows how to enter the trim mode, to change to different types of trim tool, how to use the keyboard to trim and enter specific amount for detailed trimming as well as how to be able to select all the trim points on multiple layers of video so that you can go through your timeline without having to select different video layers.
Play Video In this tutorial, Andrew Devis demonstrates the 'Trim Monitor,' which up until CS6 had been the main way of quickly and simply rolling or trimming you edit points in the timeline. Although somewhat superseded by the new timeline editing features new to CS6, the Trim Monitor is still a quick and powerful way to finesse your edit points.
Play Video In this tutorial, Andrew Devis demonstrates 'nesting' sequences within new sequences as well as the 'snapping' function in the timeline and how to turn it off and on. He then goes on to show how the 'slip' and the 'slide' tools work to reveal and hide whichever bits of footage you wish to show in your media clips.
Play Video In this tutorial, Andrew Devis demonstrates the 'Rate Stretch' tool as well as showing how to see if you are dropping any frames on your playback and how to turn on loop for your playback. The 'Rate Stretch' tool is a great way of fitting clips into your timeline that may be slightly too long or slightly too short for the gap you have for them. This tool will speed-up or slow-down the clip while not loosing any of the footage you include and can be used for speed changing effects.
Play Video In this tutorial, Andrew Devis continues to introduce some of the timeline editing tools in Premiere Pro looking at the 'Track Select' tool along with the 'Razor', 'Pen', 'Hand' and 'Zoom' tools.
Play Video In this tutorial, Andrew Devis explains the different ways of getting tracks onto the timeline either directly from the project panel or from the source monitor as well as showing how to target different tracks so that your assets go to separate video and audio tracks to media already in your timeline (there are differences for this between the project panel and source panel). Andrew also explains potential problems with setting 'in' and 'out' points if the wrong panel is selected and how to deal with those problems.
Play Video In this tutorial, Andrew Devis explains first how to automate clips to your timeline so that they align with markers that you have already set in your sequence. He then goes on to explain the difference between 'Insert' and 'Overlay or Overwrite' edits using the appropriate keyboard short-cuts.
Play Video In this tutorial, Andrew Devis shows how to create sub-clips from the media in your project panel. Sub-clips are especially valuable when working with longer interviews where the editor needs to identify specific parts of the clip and extract them with useful names so that they can be dropped in the timeline at the right point later in the production.
Play Video In this tutorial, Andrew Devis goes through the various options Premiere Pro gives you when importing Photoshop documents including importing with merged layers, selecting the layers you wish to use and importing a PSD as a sequence.
Play Video In this tutorial, Andrew Devis goes through the different way to import assets into your project including a look at the basic functionality of the Media Browser (with more advanced functions covered in more detail in a future tutorial) and Adobe Bridge. Andrew also shows how to get items from the media browser to the source monitor and then how to get finessed items directly to the timeline with keyboard short-cuts.
Play Video In this tutorial, Andrew Devis goes through all the different synthetic footage items that can be created inside Premiere Pro from the 'New Items' icon in the project panel. Andrew also shows how to link media to offline footage items.
Play Video In this video tutorial, Andrew Devis shows how to create a new sequence that exactly matches your footage followed by the options for managing assets in your project panel including how to create bins and how to navigate between bins. Andrew finishes off by showing how to automate your clips in the order you select them in your project panel directly to you timeline while respecting any in and out point selections you may have made while hover scrubbing in your project panel.
Play Video In this tutorial, Andrew Devis starts by showing how to hide and show the preview area in the project panel to get to the default CS6 user interface layout. He then demonstrates how to select different keyboard short-cut options including short-cuts for CS5.5, Avid Media Composer and Final Cut Pro 7. Andrew then goes on to show how to change a short-cut as well as how to save your changed short-cuts to load back in when needed.
Play Video In this tutorial, Andrew Devis shows what happens when you open a project saved in a previous version of Premiere Pro and how it changes the default workspace back to that of a previous version. He then goes on to show how to reset your workspace back to the default CS6 workspace. Andrew also shows how to customize your workspace, save a new workspace layout, delete a workspace and maximize panels both to include and exclude the showing of transport controls (to have a true full screen for say the source or program monitors).
Play Video In this tutorial, Andrew Devis goes over the options for showing and hiding the various buttons inside the source and program monitors and how they can be customized as needed. Andrew also emphasizes and shows the important keyboard short-cuts for playing back your video and choosing and editing in and out points for the clips you want to use.
Play Video In this tutorial, Andrew Devis goes over the excellent and productivity-focused changes that have been applied to the project panel, including looking at the new 'Hover Scrub' feature and how to temporarily enable and disable its function as well as how to select 'in' and 'out' points directly on the footage in the project panel rather than having to take it to the source monitor.
Play Video In this second tutorial, Andrew Devis goes through the process of creating a new project in Premiere Pro and explaining all the various options that you are presented with including those in the new project dialogue box and the new sequence dialogue box.
Play Video In this first tutorial, Andrew Devis introduces his new series on Adobe Premiere Pro Basics (CS6 & above) with a look at the CS6 user interface (UI) and a comparison with the CS5.5 UI, along with a brief comment on what to look for when capturing your own footage.
With the release of Adobe Creative Suite 6 Production Premium, Adobe's booth at NAB 2012 was packed every day of NAB 2012. Editors in particular came to check out all the dramatic changes made to Adobe Premiere Pro, including a redesigned interface that makes it friendly to users of other NLEs.