Microsoft Windows XP

Adobe Premiere Pro 2.0

Reviewers Guide

Real-time editing for HD, SD, and DV
Adobe Production Studio Adobe Premiere Pro 2.0 is the video editing component of Adobe Production Studio Premium software, which combines: Adobe Premiere Pro 2.0 Adobe After Effects 7.0 Professional Adobe Photoshop CS2 Adobe Audition 2.0 Adobe Encore DVD 2.0 Adobe Illustrator CS2 Adobe Dynamic Link Adobe Bridge Adobe Production Studio Premium offers a complete and highly integrated environment for all your post-production work from initial concept through final delivery. Adobe Production Studio Standard software provides the essential tools for postproduction, combining: Adobe After Effects 7.0 Standard Adobe Premiere Pro 2.0 Adobe Photoshop CS2 Adobe Dynamic Link
Adobe Premiere Pro 2.0 sets new standards for digital filmmaking, offering a format-independent plug-andedit solution that provides the tightest integration with Adobe After Effects and Adobe Photoshop. Expanded native format support now covers SD, HDV, and HD, including native HD-SDI support for the AJA Xena HS card. A rich set of advanced editing and effects tools ensures that you can produce whatever you imagine, while new time- and space-saving features make your work more efficient and allow effortless integration into high-end effects and editing workflows. Innovative new tools such as Adobe Clip Notes streamline the client review and approval process, and DVD authoring from the Timeline expedites the creation of DVDs with or without menus. Whether you work in post services, in-house post production, videography, or multimedia services, Adobe Premiere Pro 2.0 delivers a rich feature set that enables you to tell your stories with the highest possible production values. The best way to understand the benefits of Adobe Premiere Pro 2.0s new features is to experience them first hand by working through the step-by-step examples in this guide.
Part 1: New Interface and WorkspacesWork in a flexible integrated application window with panels that

group and dock (Page #).

Part 2: Adobe Bridge Organize, locate, and preview files from all your Adobe projects with this powerful
management tool, complete with full XMP metadata support (Page #).
Part 3: Proxy EditingSave disk space and boost rendering speed with full-featured editing of low-band-

width files (Page #).

Part 4: [Feature to be Determined][Summary description of the yet-to-be-determined feature] (Page #). Part 5: Multi-camera EditingA quad-view monitor and real-time switching support editing of multiple-

camera shoots (Page #).

Part 6: Advanced Color CorrectionNew tools to get faster results and make range-specific adjustments

(Page #).

Part 7: Adobe Clip NotesEfficient client review and approval takes the pain out of keeping everyone in the

loop (Page #).

Part 8: Making DVDs from the Timeline Direct creation of auto-play or menu-based DVDs for digital dai-
lies, test discs, or final output (Page #).
Part 9: Additional New FeaturesA quick look at the many additional new features and enhancements that
are not covered in the examples listed above (Page #). For more detailed information about new features, please refer to the Adobe Premiere Pro 2.0 Whats New, or visit www.adobe.com/premierepro.

Before You Begin

Before you begin working with the examples in the following sections, please take the following steps: Check requirements. See the last page of this document to confirm that your system meets the Adobe Premiere Pro 2.0 system requirements.
Top 10 New Features in Adobe Premiere Pro 2.0 Multicam editing for viewing multiple tracks from a multicam shoot and switching between tracks in real time as you edit. DVD output from the timeline makes authoring simple, menudriven DVDs easy. Native SD and HD support ensures you can capture, edit, and deliver full-resolution SD or HD using the Xena HS real-time encoding card from AJA Video. Native HDV editing enables you to capture and edit native HDV content with no conversion or quality loss. Adobe Clip Notes expedites the review and approval process by leveraging email and PDF technologies so timecodespecific client comments are accurately mapped to the project timeline. 10-bit and 16-bit color resolution support allows you to maintain color integrity of your source fi les. 32-bit internal color processing ensures you maintain maximum image quality. HD proxy editing enables you to save disk space and boost rendering speed with full-featured editing of lowbandwidth files. GPU accelerated rendering takes full advantage of the power of your graphics card. Adobe Bridge offers powerful ways to browse, organize, and preview assets, work with metadata, manage files, and run batch processes. Unmatched integration with Adobe Photoshop CS2, Adobe After Effects 7.0, and Adobe Production Studio. Redesigned, unified user interface features customizable docking panels.

panel size will remain consistent with the other panels in its group, with no overlapping of adjacent panels. 6. Hold down the mouse button on any panel tab and drag the panel around within the application window. As you move over other panels, a highlighted, panel-shaped preview appears to indicate where the dragged panel will be positioned if the mouse button is released. If the cursor is centered over another panel, the preview will fill the entire space of the target panel, indicating that the dragged panel will be grouped with that panel. If the preview highlights only part of the space of another panel, that panel will be resized to make room for the dragged panel. In either case, the space left at the dragged panels original location will automatically be filled by an adjacent panel. Drag and release various panels to various locations to get a feel for how easy it is to rearrange the workspace.
A preview outline indicates where a dragged panel will be repositioned in the application window.
7. If your application window is maximized, resize it again to 60-75% of total screen size. Drag a panel outside of the window. When you release the mouse button, the panel appears within a new floating palette window. Use the drag bar at the top to reposition the window, which can be resized by dragging at the sides or corners. You can also drag additional panels into palette, creating a tabbed stack, and drag them out again, either creating a new palette or restoring them to the main application window. 8. Choose Window > Workspace > Save Workspace to save the current arrangement of panels (dont worry if you dont like the arrangement; you will learn how to delete it in a later step). When the Save Workspace dialog appears, enter a name (e.g. Test Workspace) and click Save. 9. Move some panels around in the application window, then choose Window > Workspace and choose your newly-saved custom Workspace from the submenu. The panel arrangement in the application window will revert to the state it was in when you saved the Workspace. 10. Choose Window > Workspace again, and this time choose one of the workspace presets listed in the submenu (Editing, Effects, Audio, or Color Correction). Repeat this several times, each time choosing a different preset to observe how the application window is optimized for different tasks. Any of these presets can be the starting point for a custom Workspace; simply make changes and save a new Workspace as described in step 8. 11. Choose Window > Workspace > Delete Workspace to open the Delete Workspace dialog. Choose the name of your custom Workspace from the drop-down list, then click Delete. Confirm the deletion by once again choosing Window > Workspace. Your custom Workspace should no longer appear in the submenu. As you can see from the steps above, Adobe Premiere Pro 2.0s new user interface offers an extremely flexible and efficient environment in which every tool is close at hand, yet out of the way when not needed. With proportional resizing and panels that can be grouped, repositioned, or turned into floating pallets, the options for optimizing your workspace are nearly limitless. And with custom Workspaces, its easy to save

and restore all of your favorite configurations, so youre the one who decides which tools are where at each phase of production.

Part 2: Adobe Bridge

Adobe Bridge is a centralized file-management solution that makes it easy and efficient to browse, organize, and select content for your Adobe Premiere Pro 2.0 projects. A time-saving workflow enhancement, Adobe Bridge offers multiple ways of viewing your assets, as well as extensive, customizable XMP metadata support that puts you in full control of how to organize and search your files.
Adobe Bridge Workspaces Like Adobe Premiere Pro, Adobe Bridge includes a set of preset workspaces, accessed from the Windows menu, that are optimized for different tasks and can be customized and saved. Adobe Bridge can also be used in Compact Mode, which you can use to take up less screen space once youve navigated to the folder containing the content you want to access. Try it out by clicking the Switch to Compact Mode icon in the upper right corner of the main window.
Try it: Viewing content in Adobe Bridge The Adobe Bridge environment is designed to make it as easy as possible not only to find files, but also to quickly preview their content and see important file information. You can switch among multiple options for presentation of your content, reorganize by dragging files among folders, create new folders, and add items to a Favorites list for repeated access. 1. Start a new DVNTSC Widescreen 48kHz project, then choose File > Browse. Adobe Bridge will launch in a new window. The main area at right is the content area, which defaults to the Thumbnails view the first time you open Adobe Bridge. Above it is a toolbar including the Forward and Back buttons and a drop-down Look In menu. To the left youll see a set of tabbed panels that dock and group like those in Adobe Premiere Pros application window. 2. One of Adobe Bridges main tools for navigating to content is the Folders panel. Activate it by clicking on its tab, then locate the Media Folder you copied from the Press CD. (If you need more room, drag on the right or bottom edges to expand the panel.) As you work down through your folders, youll see each folders contents in the content area. When you reach the Media Folder, move the cursor over a thumbnail in the content area and hold it there until detailed file information appears as a Tool Tip. 3. Choose View > Filmstrip to switch to Filmstrip view. Use the horizontal scroll bar to scan the filmstrip, then click on any thumbnail to see a larger image above. Adjust the size of the main image and thumbnails with the slider at bottom, and move from one image to the next with the arrow icons to the lower right of the main image. You can also move the filmstrip from the bottom to the right side with the Switch Filmstrip orientation button (next to the arrow icons).

When the Adobe Bridge content area is in Filmstrip view, the selected thumbnail is enlarged for more detailed viewing.
4. Select a still image file (e.g. Substrate Logo White.psd), then click one of the Rotate buttons in the toolbar at upper right; both the thumbnail and the Preview panel image will rotate. The toolbar also includes controls to add folders, delete files, and filter the view based on labels that you can assign by right-clicking a thumbnail. 5. Click the Details view icon at the bottom right of the window. The content display will change to a vertical list of thumbnails, with details to the right of each image. A Versions and Alternates view is also available to take advantage of Version Cue (part of Adobe Creative Suite). 6. Activate the Preview panel, then click on various thumbnails in the content area. As you select each file, it appears in the Preview panel, with playback controls for video or audio files.
7. Back in the Folders panel, right-click the Media Folder and choose Add to Favorites. Now activate the Favorites panel, which provides direct access to your most commonly-used content locations. Youll find the Media Folder at the bottom of the Favorites list. If desired, you can drag it to a new position. Try it: Defining XMP metadata One of the most powerful aspects of Adobe Bridge is its full-featured support for creating and searching based on XMP metadata. Applying metadata to assets as they are introduced to a project helps ensures that they are readily available when needed, and allows much deeper characterization of assets than is possible with simple file property information. 1. Choose Window > Workspace > Metadata focus. Then click on Media Folder in the Favorites panel to display its contents in the content area. 2. Select any thumbnail in content area to display its information in the Metadata panel at left. Note that the first section (File Properties) contains standard file information fields such as filename, document kind, and dates. Further down the Metadata panel (scroll if needed) youll see that there are additional sections (e.g. IPTC Core, Audio Data 1, etc.), each with their own fields. 3. Click on any of the pencil icons at the right of each field to make the fields editable. Start by entering your name in the Creator field. If you like, you can edit metadata for more than one file at a time by simply selecting multiple files before you enter the data. When youre done adding data, click the checkmark icon at the bottom of the panel to record the metadata to the file(s). 4. In the content area, right-click on the thumbnail for the file whose data you just modified, and choose File Info. On the Description page of the resulting dialog, youll see your name in the Creator field. Click OK. 5. Activate the Keywords panel, where you will see several categories of predefined keywords. Click the New Keyword icon at the bottom, which will create a new category (Other Keywords). Right-click the category name, choose Rename, and enter Projects. Then rename the Untitled Key field below it as Premiere review. 6. Select all the files in the content area (Ctrl+A). Then check the Premiere review checkbox in the Keywords panel. Confirmation dialogs will inform you that the metadata changes will be applied to all of the selected files, but that metadata changes cannot be written to all selected items (some of which are folders). Click OK. Adobe Bridge will tag the files with the keyword. Try it: Creating collections and importing files Adobe Bridge allows you to create Collections, which are saved search criteria that define a set of files so that you can find them again later without actually searching. Collections are stored in the Collections folder, which you can access quickly from the Favorites panel. 1. Choose Edit > Find to open the Find dialog, then click Browse to find the Media Folder. In the Criteria pane, set the drop-down menus to Keywords and contains, then enter Premiere Review in the text field. Also note the buttons at right that allow you to add (+) and remove (-) additional search criteria. Then click Find. A new Adobe Bridge window will open, and its content area will fill with all the files that were tagged with the keyword Premiere review in step 6 above.

Search criteria specified in the Adobe Bridge Find dialog may be based on userdefined keywords or metadata.
2. Click the Save as Collection button at the top of the new windows content area. In the resulting dialog, enter Premiere review files and check Start Search from Current Folder (this will make the collection
open more quickly, assuming its files are not moved). When you click OK, the collection will be saved in the Collections folder, which appears in the Favorites panel. Close the current Adobe Bridge window. 3. In the original Adobe Bridge window, click the Media Folder in the Favorites panel. Then reopen the Find dialog and set the criterion to All Metadata, contains, and your name. This time, uncheck Show results in a new browser window, then click Find. The file to which you added metadata in step 3 above will appear in the windows content area. 4. To import the found file into your open Adobe Premiere Pro project, double-click the thumbnail in the Adobe Bridge content area. You can also shift-click to select one or more files in the content area and then drag them directly into Adobe Premiere Pros Project panel. In some cases (e.g. layered Adobe Photoshop file) a dialog box will appear asking you to specify import options. As illustrated in the examples above, Adobe Bridge offers a comprehensive set of file and project management capabilities integrated into a simple, intuitive interface. With Adobe Bridge, assets for even the most complex Adobe Premiere Pro project can be managed efficiently and proactively, and assets for projects involving multiple Adobe production tools are always within easy reach.

Part 3: Proxy Editing

The introduction of Proxy editing in Adobe Premiere Pro 2.0 not only means that you can edit fasterparticularly for HD projectsbut also that you can make progress on your high-resolution projects even when you are working away from high-end, video-optimized machines. Proxy editing is similar to offline editing in that lower-resolution clips stand in for the full-resolution files that will be used to finish the final output. Proxies may be created from video or audio/video master clips, subclips, or track items after a projects master clips are captured at full-resolution. Depending on codec settings, proxies can help speed up your editing because they render faster and they require less computing power and storage space than the master files from which they are derived. Unlike regular offline editing, Adobe Premiere Pros proxy editing allows a high-resolution master clip to be instantly swapped in and out of the project at any point in the workflow by simply changing its proxy enable/ disable setting. If you dont have the disc space to keep all the master clips online, however, you can delete them from your disk and use proxies instead. You can also retain the master clips on one workstation while transferring proxies to another. When youre done editing with a proxy, either recapture the master clip at full-resolution, or re-link the proxy back to its original master clip. Try it: Online editing with proxy files 1. Open a project that already contains clips. Alternatively, start a new DVNTSC Widescreen 48kHz project, choose File > Import, then locate and import some AVI files from the media folder you copied from the Press Kit CD. 2. Before creating any proxies, youll want to set your proxy preferences for the project, which control file format, size, and quality. Choose Project > Project Settings > Video Rendering. The Project Settings dialog will open. 3. In the Proxies pane at bottom, make the following settings, then click OK: - Set File Format to I-Frame only MPEG-2, Uncompressed 8-bit, or Adobe Wavelet Codec; - Set Video Size to Full Frame, Quarter Frame or Eight Frame; - Set Quality to High, Medium or Low.

from which you imported the file to confirm that it has been deleted. The proxy will still be present in the project even though the master clip is gone. 5. Choose Project > Project Manager to open the Project Manager dialog.
Use the Project Manager dialog to save a project with its proxied assets.
6. Click Collect Files and Copy to New Location, and also the Include Proxy Files option. Click Browse to define a path for the Project Destination, then click OK. The project and proxy assets will be copied to afolder in the specified location (the folder name will start with Copied_). folder in the specified location (the folder name will start with Copied_).
Part 4: Feature to be Determined

Feature intro text.

Sidebar for new feature? some sidebar text.
Try it: Using the new feature 1. New feature step. 2. Another step. 3. Yet another step. 4. You get the idea.
Part 5: Multi-Camera Editing
Adobe Premiere Pro 2.0 opens access to a whole new level of professional production with support for editing multiple-camera shoots. The key is a new Multi-Camera Monitor that provides simultaneous display of up to four synced source tracks plus a real-time preview of the switched output. Multi-Camera editing is a simple two-stage process. The first stage is to assemble and synchronize your clips in up to four video and audio tracks in the Timeline. This source sequence can use any type of media, including not only synchronized footage but also B roll video and still images. While you may choose to place all footage shot with a given camera on the same track so it always comes up in the same place, youre free to put any clip on any track. The second stage is to nest your assembled source sequence into a target sequence. When you play this target sequence in the Multi-Camera Monitor, you can switch between source tracks in real time while recording the output back to the target sequence. After your first pass, you can directly overwrite any parts you want to change, and swap one cameras footage for another without affecting the timing of the cuts. You can also fine-tune your cuts with any of Adobe Premiere Pros editing tools, and add any desired effects and titles. Try it: Prepare a source sequence for multi-camera editing 1. Open a new DVNTSC Standard 48kHz project. In the main Adobe Premiere Pro application window, choose Window > Workspace > Editing to optimize the layout for video editing. Then add tracks to the Timeline (choose Sequence > Add Tracks) to make four video tracks.

2. Choose File > Import. In the Import dialog, navigate to the Media Folder you copied to your machine from the Press Kit CD. Then import the following six files: Multi_cam_demo_1.avi, Multi_cam_demo_ 2.avi, Multi_cam_demo_3.avi, Multi_cam_demo_4.avi, Multi_Cam_Wild_audio.wav [This is the Premiere_DV demo file Audio 1_Audio 1_20B_05 Comp 1 Bad Audio.wav, copied and renamed (for obvious reasons)], and gc_adobe_party_r1.mp3. 3. In the project panel, double-click on Multi_cam_demo_3.avi to open it in the Source panel. Note that this clips audio track is silent. Locate to the slate at 00:00:01:05. Choose Marker > Set Clip Marker > Other Numbered to add marker number 0 to the clip at the time of the slate. 4. Set the Source panel to Take Audio mode with the Take Video/Take Audio button (lower right). Then drag Multi_cam_demo_3.avi from the Source panel into track Video 3 of the Timeline. Note that only the video portion of the clip is placed into the sequence. 5. In the Project panel, double-click on Multi_cam_demo_4.avi to open it in the Source panel. Note that this clip has audio, but the slate is not visible in the frame. Display the clips audio waveform by setting the Source panel to Take Audio mode, then zoom in and scrub for the sound of the slate, which youll see at about 00:00:01:07. Restore the Source panel to Take Video and Audio, then set numbered marker 0 as described in step 3.
With the Source panel in Take Audio mode, you can see the waveform while you scrub to find the slate, then set a marker that you can use to sync to other clips.
6. Repeat step 5, but this time set numbered marker 1 at the sound of the foot-stomp (00:00:12:24). Then drag Multi_cam_demo_4.avi into track Video 4 in the Timeline (the corresponding audio clip will appear in track Audio 4). 7. Shift-click to select tracks Video 3 and 4 (Audio 4 will be selected automatically) in the Timeline. Click on the track name in the header to target track Video 4 as the clip to which the other clip will be synced. Then choose Clip > Synchronize to open the Synchronize Clips dialog (new for Adobe Premiere Pro 2.0). Click Numbered Clip Marker to specify synchronization to marker 0, then click OK. Clip Multi_cam_demo_3.avi will move so that its marker 0 aligns with marker 0 in clip Multi_cam_demo_ 4.avi. 8. With Multi_cam_demo_4.avi aligned to the slate, we can now sync the wild audio to the foot-stomp. In the project panel, double-click on Multi_Cam_Wild_audio.wav to open it in the Source panel, then set numbered marker 1 at the sound of the foot-stomp, which youll find at 00:00:02:13. Then drag the clip from the Project panel into track Audio 3 in the Timeline. 9. Shift-click to select tracks Video 4 and Audio 3 in the Timeline, then define Video 4 as the target (click on track header). Sync the selected clips as described in step 7, this time using marker 1 as the sync point. (To confirm successful sync, play the sequence in the Program panel, then activate the Audio Mixer panel; the meters for audio tracks 3 and 4 will be moving together.) 10. Now well finish building our multi-camera source sequence. Drag clip Multi_cam_demo_1.avi from the Project panel and snap it to the start of track Video 1 in the Timeline, then snap Multi_cam_demo_2.avi to the start of track Video 2. Next, drag Multi_cam_demo_1.avi from the Project panel to track Video 1 again, this time snapping it to the end of the existing instance of the same clip. Repeat with the remaining three video clips so that each video track contains two consecutive instances of the same clip. 11. Double-click on the music clip gc_adobe_party_r1.mp3 to open it in the Source panel, then set numbered marker 1 at the change in drum beat youll hear at 00:00:33:29. Trim the clip by setting its In Point to 00:00:30:00 and its Out Point to 00:00:55:12, then drag it from the Project panel into track Audio 3,

snapped to the end of the first clip (replacing most of the second). Then repeat step 7, this time syncing the music clip to marker 1 in the second instance of Multi_cam_demo_4.avi in track Video 4.
A source sequence for multi-camera editing may contain multiple clips per track, and clips may be auto-synchronized using start, end, timecode, or markers.
12. Youve just created a source sequence with multiple clips per track, and learned how to sync clips in several different places. Rename the sequence (e.g. MultiCam Source), then save the project. Youre now ready to nest this source sequence inside a target sequence and use it for multi-camera editing in the next section. Try it: Edit with the Multi-Camera Monitor 1. If you havent already, create a synchronized source sequence as described above, then go to step 2. Alternatively, you can work with pre-synchronized clips from the Press Kit CD by importing the following four files: Multi_cam_demo_1.avi, Multi_cam_demo_2.avi, Multi_cam_demo_3.avi, Multi_cam_demo_ 4.avi. Drag each clip from the Project panel and snap it to the start of a track in the Timeline. 2. Choose File > New > Sequence. In the New Sequence dialog, give the sequence a name (e.g. MultiCam Target) and click OK. The target sequence will appear in both the Project panel and the Timeline. 3. Drag the source sequence from the Project panel into the Timeline and release it at the start of track Video 1 to nest it in the target sequence. Then select both the video and audio track and choose Clip > Multi-Camera > Enable. 4. Click the arrow at the upper right of the Program panel, then choose Multi-Camera Monitor from the flyout menu. The Monitor will open in a floating window. If desired, resize the window (you can cover the Source and Program panels for the moment) or drag the Multi-Camera Monitor out of the window and group it with the Source panel. NOTE: By default, the Multi-Camera Monitor previews the targeted video without any effects. To preview with effects, preview the sequence in the Program Monitor. 5. In the quad-view section of the Multi-Camera Monitor, the source currently feeding program will be outlined in yellow. Click on the quadrant for the source with which you want the program to start. 6. To make the audio source track to change as you switch cameras, click the arrow at the upper right to open the Multi-Camera Monitors flyout menu, then check the Audio Follows Video option. (The default setting is for audio to always come from source track Audio 1.)

In record mode, the multicamera monitor shows the four source tracks on the left with the current camera indicated in red; the switched output is displayed in the program monitor at right.
7. Click Record (red LED to the right of the transport controls) to enter record mode, then click Play or press the space bar. A Rendering Required Files alert will appear, after which the video will start to play from the current time indicator (CTI) and the current source outline will change from yellow to red. 8. As the video plays, switch to any source at any time by clicking on it in the quad-view monitor or pressing keys 1,2,3, or 4 at the top of the keyboard (not in the numeric keypad). The Program feed will be recorded to the target sequence. 9. After recording, the track in the Timeline will show labeled segments representing the source for each edit point in the sequence. Click Play to view the results; the source camera for each shot will once again be outlined in the quad-view monitor. You can directly overwrite any sections youd like to change by simply toggling in and out of record mode at any time (click Record or press the zero key). Repeat as often as needed to get a good rough-cut. 10. You can fine-tune your rough cut by adjusting the edits with any of the standard editing tools (Rolling, Ripple, Slip, or Slide). You can also exchange a clip for the corresponding footage from another camera by right-clicking it in the Timeline and choosing Multi-Camera > Camera 1, 2, 3, or 4.
Part 6: Advanced Color Correction
Adobe Premiere Pro now offers not only native support for 10-bit video and 16-bit PSD files, but also 32-bitper-channel internal color processing to maintain the high dynamic range needed for maximum image quality through multiple rounds of filters and effects. Changes to color, contrast, and exposureboth subtle and dramaticare precise and smooth, without the visible banding and histogram spikes introduced by systems with lower bit-depth processing. And if your system includes the Graphics Processing Unit found in todays powerful graphics cards, youll also be able to take advantage of accelerated previewing and rendering of color effects. Adobe Premiere Pro 2.0 also introduces new color correction tools that are optimized for different situations and tasks. The Fast Color Corrector is designed for relatively simple changes, offering real-time preview so you can make quick decisions based on what you actually see. The Three-Way Color Corrector, meanwhile, allows deeper control, including subtle changes to hue, saturation, and brightness for highlights, midtones, and shadows. A number of color effects now also offer Secondary color correction, allowing you to apply effects selectively to a user-definable color range. And professional internal scopes, including both a Waveform monitor and a Vectorscope, give you the technical tools you need for critical luma and color-level management. Try it: Fast Color Corrector 1. Open a new DVNTSC Widescreen 48kHz project. Then choose File > Import and import the following files from the Press Kit Media Folder: 1A_02 Comp 1.avi, 2A_03 Comp 1.avi, and 3A_01 Comp 1.avi. 2. Choose Window > Workspace > Color Correction to optimize the layout. The new Reference panel will appear at bottom right. Open the panels flyout menu and choose your preferred scope from the six builtin options, including both Waveform and Vectorscope monitors.

built right into Adobe Premiere Pro 2.0, you dont need Adobe Acrobat to create an Adobe Clip Notes PDF file. Try it: Create a Clip Notes PDF file 1. Open a project that already contains a sequence. Alternatively, start a new DVNTSC Widescreen 48kHz project, choose File > Import to locate and import audio and video files from the Press Kit media folder, and create a sequence in the Timeline by dragging in clips from the Project panel. 2. If youd like your review video to include only a particular portion of the sequence, position the work area bar (just below the Time ruler) over the desired portion and set the begin and end points with the work area markers at either end of the bar. 3. Confirm that the sequence has focus in the Timeline (indicated by an orange outline), then choose Sequence > Export for Clip Notes. The Export for Clip Notes dialog will open.
Use the Export for Clip Notes dialog to export all or part of your sequence. Choose format and quality, write custom instructions and messages, and add optional password protection.
4. Choose your desired Format (Windows Media or QuickTime), Range (all of the sequence or work area only), and Preset (low, medium, or high quality) in the Export Settings pane.
Stream or Embed? Streaming video instead of embedding it will make the PDF file smaller, but requires reviewers to have access to the server where the video file is posted. After choosing Stream Video in Video Options, you can specify the server in the URL field at bottom. You can also use the FTP Settings tab to upload the movie to an FTP server after it is rendered.
5. On the PDF Settings tab, choose Embed Video from the drop-down Video Options list. Embedding means that the PDF file will have a larger file size but all reviewers will be able to play the movie regardless of their network connection. 6. If youd like to password-protect the PDF file, enter the password in the PDF Password and Confirm Password fields. Review the text in the Instructions field and make any desired changes. Then enter the email address to which you want your reviewers to return their comments (for now, use your address). Click OK; the Export for Clip Notes Save dialog will appear. 7. Specify a location for the Clip Notes Document, enter a name, and click Save. The PDF file will appear at the specified location. You can now email the PDF file to one or more reviewers. Try it: Review video and enter comments 1. Locate the Clip Notes PDF file created in the steps above, and open it in Adobe Acrobat or the free Adobe Reader. If the file was password-protected, enter the password when prompted. 2. When the file opens, the Instructions dialog will open, presenting the text you entered in step 6 above. Click OK. In the document itself youll notice a movie viewer and below it an area to read and enter comments. Before starting, enter your name in the Reviewer field to allow correct attribution of comments when there is more than one reviewer (if the field is not visible, enlarge the document window). 3. Click the Play button in the movie viewer. When you want to comment, click Pause. A timestamp for the current frame will be entered in the comment box. Type your comment, then Save from the buttons at left. Then click Play to continue reviewing the movie and adding comments. You can review your comments by selecting them from the Jump to Comment drop-down box, or by clicking the Go To Previous or Go To Next buttons. 4. When youre done entering comments, click the Export Comments button. The Export Form Data dialog will appear, allowing you to specify a name and location for the comments file. 5. Change the name in the Reviewer field and delete the existing comments. Then enter and save more comments at different points in the movie. Export to a file of a different name, then email yourself both Clip Notes data files.

Try it: Create an auto-play DVD Auto-play DVDs are the easiest to create - you simply export the movie to a DVD. If desired, you can first place DVD markers in the Timeline, which will allow viewers to skip back and forth within the program using the Next and Previous keys on the DVD player remote control. In the following steps, well create a simple DVD that would allow a producer to check the footage from a shoot, in this case four different angles of the same performance. 1. Open a new DVNTSC Standard 48kHz project. In the main Adobe Premiere Pro application window, choose Window > Workspace > Editing to optimize the layout for video editing. Then import the following four files from the media folder you copied from the Press Kit CD: Multi_cam_demo_1.avi, Multi_ cam_demo_2.avi, Multi_cam_demo_3.avi, Multi_cam_demo_4.avi. 2. Drag the clips in order (1, 2, 3, 4) from the Project panel to track Video 1 in the Timeline, snapping each successive clip to the end of the last. 3. Choose Marker > Auto-Generate DVD Markers. In the Automatically Set DVD Scene Markers dialog box, choose the At Each Scene option. Note that you can also set markers at defined intervals or divide the total sequence duration into a number of evenly--spaced markers. Click OK. In the Timeline you will now see silver DVD marker icons at each edit point between clips. 4. Choose Window > DVD Layout to open the DVD Layout panel. The text at top should read AUTOPLAY DVD WITH NO MENUS. If not, click the Change Template button to open the DVD Templates dialog, then choose Auto-play DVD With No Menus and click OK. 5. At the bottom right of the DVD Layout panel, click Preview DVD to open the Preview DVD window. Use the Previous Scene and Next Scene buttons to check the placement of scene markers, and Play to see how your sequence will look when played in a DVD player. Then close the window.
Use the controls at the bottom of the Preview window to navigate your sequence as if playing it back from a DVD player.
6. At the bottom right of the DVD Layout panel, click Burn DVD to open the Burn DVD window, which allows you to output a DVD of either the entire sequence or just the work area. At the top of the DVD settings pane youll see three Burn to options: - Disc burns the DVD project created from your sequence to DVD media using the name and burner you specify just below; - Folder builds the directory and file structure of the DVD project to hard drive using the folder name and location you specify just below.; - ISO Image creates a single file containing the entire image of a DVD-Video disc using the file name and location you specify just below. NOTE: If your machine does not have a DVD burner, you can transfer the Folder or ISO Image to an alternative machine that does, then burn to DVD with a simple burning utility.

Choosing DVD Media Adobe Premiere Pro supports single-layer, 4.7 GB DVD-R/RW or DVD+R/RW discs. Before choosing a media type, check to see that it is supported by both your DVD burner and the intended DVD playback devices.
7. Choose Disc, enter a name, and specify the burner. Leave the Export Range setting on Entire Sequence, and the Encoding options at the default settings. Then place DVD media in your burners tray and click Burn (if the Burn button is not active, first click Rescan). The Burn DVD Progress window will appear. NOTE: The encoding time required for output to DVD depends on file duration and compression settings. Try it: Create a menu-based single-movie DVD Menu-based DVDs let you break long sequences into either scenes or separate movies. Adobe Premiere Pro supports two main approaches to organizing content on a menu-based DVD. One is to export your entire
sequence as a single movie that plays from start to finish. In most cases, youll want to place DVD Scene markers in the Timeline to define chapter points that can be accessed directly from a scene selection menu. From the main menu, the viewer will be able to choose between playing the movie or using a Scenes button to go to the scene menu. 1. Complete steps 1-3 in the example above, then choose Window > DVD Layout to open the DVD Layout panel. 2. Click on the DVD marker at the start of Timeline to open its DVD Marker dialog. Enter a name appropriate to the footage (e.g. Wide), then scrub the Thumbnail Offset timecode field (right side of thumbnail) to set the Thumbnail image. Click the Next button to go to the next marker, set a name and thumbnail, then repeat for the remaining two DVD markers. Then click OK. 3. Choose Window > DVD Layout to open the DVD Layout panel. Click Change Template to open the DVD Templates dialog, then click Apply A Template For A DVD With Menus. 4. Choose Corporate from the drop-down Theme menu, then scroll down in the thumbnail bin and doubleclick on the Numbers Scenes Menu. The DVD Templates dialog will close, and the scene menu will show in the DVD Layout panel. Each scene button will be labeled with the name you entered for the corresponding Scene marker.
Choose a theme in the DVD Templates dialog, then select a specific template for the menus on your disc.
5. Click the Main Menu thumbnail in the thumbnail bin; the menu will display with safe-area outlines (which may be toggled from the panels flyout menu). Double-click on the words MAIN TITLE to open a Change Text dialog. Enter a name for your DVD (e.g. Multi-cam shoot), then click OK. The menu display in the DVD Layout panel will show the new name. If desired, click on the name, then drag to change its position. 6. At the bottom right of the DVD Layout panel, click Preview DVD to open the Preview DVD window. On the Main menu, click Play Movie to play the four scenes through to the end, after which you will automatically go back to the Main menu. 7. Click Scene Selection to go to the scene menu. You will see play buttons for each of the first three scenes, as well as a right-pointing triangle that links to the next page of the scene menu, where youll find the button for the fourth scene. Youll also find a way to return to the main menu from both the scene menu and the individual scenes. NOTE: The maximum number of buttons per menu page is defined by the template; if desired, choose a different template to fit more buttons per page. 8. Close the Preview DVD window and save the project. At this point, weve created a single-menu DVD with still-image (thumbnail) buttons. To burn the DVD in its current state, follow steps 6 and 7 in the auto-play DVD example above. To create a multi-movie DVD with motion buttons, continue to the next example. Try it: Create a menu-based multi-movie DVD In multi-movie DVDs, the sequence is divided into individual movies in the Timeline, using Main Menu markers to define the start of each movie and Stop markers to define points at which navigation will return to the main menu. Each movie will have its own Play button on the DVDs main menu, and will return to that menu after it plays through to the Stop marker. Individual movies may also contain scenes defined by Scene markers.

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Peachpit Press/Scott Design
A Tour of Adobe Premiere Pro
This Tour helps you understand and work with basic concepts and features of the Adobe Premiere Pro program. Youll run through a typical series of steps for creating a video piece, including basic editing techniques, adding transitions, motion, and transparency. Completing this Tour should take approximately one hour.
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Over the course of the Tour, youll create a 23-second trailer for the short lm that youll edit throughout the rest of the book. Youll be working with video clips, audio clips, and images provided on the DVD-ROM included with this Adobe Premiere Pro Classroom in a Book. If you were actually producing this project from the start, you would likely capture clips from the original video tapes and digitize them yourself, using Premiere Pro. For more information on capturing video and audio, see the previous chapter, The World of Digital Video, on page 29.

Setting up a new project

To begin, youll launch Adobe Premiere Pro, set up your workspace, create a new project, and then import the video clips. 1 Make sure you know the location of the les used in this lesson. Insert the Adobe Premiere Pro Classroom in a Book disk. Copy the Tour folder to your hard drive. For help, see Copying the Classroom in a Book files on page 4. 2 Start Premiere Pro. 3 Click on New Project.
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Classroom in a Book
4 Under Load Preset > DV NTSC choose Standard 48 kHz.
5 At the bottom of the screen, for Location, click Browse, and navigate to the 00Tour Lesson directory you copied to your hard disk. 6 For name, type 00Tour Lesson and then click OK.

Importing Clips

The trailer youre making is composed of video les, audio les, still image les, and title sequence les. 1 Choose Window > Workspace > Editing to ensure your window layout is in the default editing mode. 2 From the main Premiere Pro menu at the top of your display, choose File > New > Bin. A new Directory called a bin, and named Bin 01, appears in the Project window. 3 Deselect the name eld of Bin 01 by clicking a blank spot in the Project window. 4 Click on Bin 01 and choose File > Import.
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5 Hold down the Control key as you click on the following les: Defeat.prtl, Despair.prtl, Doorslam.wav, Dreamzoom.avi, EXexit.avi, Fear.prtl, Gods1.avi, Gods2.avi, Gods3.avi, Heroexit.avi, Hope.prtl, HseesD.avi, Hwatches.avi, Logo.psd, Nevermind.avi, Rejection.prtl, Storefront2.psd, and Tourmusic.wav. Then click Open. 6 Youll be prompted if you want to Import the Layered File Storefront 2.psd. The default options should be ne, so click OK. Bin 01 now contains all the les youve just imported. 7 Save the project before continuing.
Navigating the Premiere Pro Workspace
If you are new to the program, a more complete introduction to the Adobe Premiere Pro Workspace can be found in the next lesson, 01Lesson, The Workspace, starting on page 77. Of quick special reference here, review the illustrations and descriptions starting at the bottom on page 80. There youll nd out about the windows and palettes and their functions. Familiarity with this information will make your Tour experience more rewarding.

Conforming audio les

When you rst import the les, youll notice an activity bar in the lower right frame of your Premiere window. Youve just imported many les, most of which have audio in them. Premiere Pro is conforming all the audio for real-time playback on your system. This process takes up a signicant amount of disk space on your system. From time to time, you may need to clear older conformed audio les (CFA), to free up disk space. Another advantage of this process is that it makes the exporting of audio consistent with most output formats. Over the course of the project, you may import les with several different modes of audio used to capture them. Conforming converts all audio within a project to the project settings for audio you choose at its inception. In this book, youll be using Standard 48 kHz.
Viewing the Trailer before you start
Another le you may wish to import is Trailer.wmv, which is the lm output from the Tour project. You can view this le for reference and use it as a guide. 1 Choose File > Import.
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2 Navigate two levels up to the folder that you copied from the DVD to your hard disk. Locate the folder named Movies and click Open. 3 In the Finished directory, youll nd Trailer.wmv. Select it and click Open. Trailer.wmv appears in the Project window. 4 In the Project window, select Trailer.wmv, and then double-click it. 5 Trailer.wmv appears in the left side of the Monitor window, named the Source view. 6 Click the Play button ( ) to review what youll be building in this lesson.

Rough Cut

The Project window now has a bin called Bin 01 with the les you need to work. Make a rough cut of the trailer by placing a sequence of clips into the Timeline window. 1 Double-click to open the bin and see the resources for this tutorial.
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2 Press and hold down the Control key, and at the same time, carefully select the following fourteen clips in the exact order listed here: Rejection.prtl, EXexit.avi, Hwatches.avi, Despair.prtl, Gods1.avi, Gods2.avi, Gods3.avi, Hope.prtl, HseesD.avi, Dreamzoom.avi, Fear.prtl, Nevermind.avi, Defeat.prtl, and Heroexit.avi. 3 Choose Project > Automate to Sequence. 4 Use the following illustration to input the following settings in the Automate to Sequence box: for Ordering, choose Selection Order; for Placement, choose Sequentially; for Method, choose Insert Edit; and set Clip Overlap to 0 Frames. Leave all four check boxes unchecked. 5 Click OK.

The clips are laid out in the order selected on the Sequence 01 Timeline.
6 Click on the Timeline to make it the active window.
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7 Adjust the amount of time displayed in the Timeline by dragging the end of the slider at the top of the Timeline window to the left. You can dynamically set the time unit for the window by dragging the right or left ends. Dragging the middle changes what portion of the sequence is visible in the Timeline window.
Dynamic time zoom control bar. Experiment with it to become comfortable with its functions.
See Lesson 1 for more information and exercises using the Timeline on page 95.
Previewing in the Monitor window
To see how your work is progressing, you can preview one or more clips in the Monitor window. The Dual View Monitor window displays Source and Program views.
Source view (on the left side of the window) Lets you preview a clip, trim it, and then insert it into the Timeline window. This view can store many clips at a time, but you can view and trim only one clip at a time. Program view (on the right) Lets you preview your entire video program, at any time. This view displays the sequence of clips currently in the Timeline window. You can also use the Program view to edit your video program.
1 If the Monitor window is not already open, choose Window > Monitor.
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2 In the Monitor window, click the Play button ( ) underneath the Program view, or press the spacebar on your keyboard once to play the rough cut of your video program. 3 To replay your video program, click the Play button again, or click the Loop button ( ) to play the video program in a continuous loop. To stop the action, click the Stop button ( ) or press the spacebar on the keyboard. Now that youre satised with the rough cut of your video program, youll trim the video clips and add audio, transitions, special effects, and superimposing to create the nished version of the Tour movie.

Trimming Clips

When you shoot footage with your camera, you almost always produce much more material than youll actually use in your video program. To create scenes, cuts, and transitions, youll need to trim your clips to remove the parts you dont need. Trimming clips is an essential part of creating a video program, something youll do many times. Premiere Pro provides a number of different ways to trim clips, including quick roughcut tools and more precise frame-by-frame views.
Using the trimming tools in the Timeline
The rst thing youll notice in the rough cut is that the titles on the screen are far too long. 1 Click on the rst title clip called Rejection.prtl.
2 Choose Clip > Speed > Duration. 3 Click on the duration and type 100, then press Enter.
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Premiere Pro converts this to 00;00;01;00, meaning 1 second. You can also click-and-drag on the number to adjust it dynamically. You can do this in Premiere Pro whenever you see this type of blue data value. It is a dynamic text input eld, which allows you to click and roll the mouse left to decrease a value and right to increase a value. 4 Click OK
5 Repeat this step for the other four titles: Despair.prtl, Hope.prtl, Fear.prtl, and Defeat.prtl. Now you need to close the gaps between the clips. 6 Click on the rst clip and drag it about 15 frames (or one-half of a second) to the right so the movie will start with half a second of black.
7 To close the gap to the right of this rst clip, select the track select tool from the Tools palette.
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8 Click-and-drag the second clip to the left to about the 2 second mark of the time code. This tool selects and will move everything that is later in time in the track to earlier in the movie.
9 Repeat this step for the other four title clips so that they will all be preceded and followed by a half-second of black.

10 Save the project.

Insert versus Overlay editing
Next you need to shorten the initial sequence in which Ex and New Boy leave the shop. Youll do this by inter-cutting with the close-up on the Hero watching them leave. 1 Select the razor tool.
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2 Click a little less than half-way through the Hwatches.avi clip to cut it in half.
3 Click-and-drag the Edit Line while watching the Program monitor (right-hand view in the Monitor window) to nd the part of the Exexit.avi clip just after Ex says,.some time. This is called scrubbing.
4 Using the selection tool, drag the rst half of the Hwatches.avi clip so that its left edge lines up with the edit line.
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This is how an Overlay edit operates. Notice how the clip snaps in place, and the edit line turns into an arrowhead. The Exexit.avi clip gets replaced by the Hwatches.avi clip.
An Overlay edit overwrites the target footage.
5 Now scrub the edit line to a little after Ex says,.maybe. 6 While holding down the Control key, drag the second half of the Hwatches.avi clip to line up with the Edit Line. When you release the clip, it is inserted, and the rest of the Exexit.avi clip, along with the balance of the project, is moved later in time. This is the result of an Insert edit. Notice how the clip snaps in place, and the edit line reveals a white triangle in the destination video and audio tracks. The EXexit.avi clip gets replaced by the Hwatches.avi clip.

An Insert edit preserves the target footage between which it is placed.
Setting In and Out points in the Source monitor
Now youll shorten the remaining piece of the EXexit.avi clip to show just the door closing. 1 Double-click on the last piece of the EXexit.avi clip to load it into the Source view of the Monitor window. 2 Using the edit line in the Source view, scrub to just before the door closes.
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3 Click the Set In Point button.
4 Scrub to just after the door closes. 5 Click the Set Out Point button.
The edits made in the Source view to the third instance of EXexit.avi are updated in the Timeline as you make them. 6 In the Timeline window, drag the edited EXexit.avi clip to the left so that it snaps in place next to the end of the second instance of the Hwatches.avi clip. Later in this tutorial, youll replace the ad libbed conversation that Ex and New Boy have as theyre walking out the door with a door-closing sound effect. 7 Select the right audio segment of EXexit.avi and choose Edit > Clear to remove it from the Timeline. 8 Finally, using the track selection tool, drag the rest of the sequence from Despair.avi on to the left so that it starts about 15 frames after the end of the door closing. 9 Save the project.

Special effects

The use of Video, Audio, and other computer-generated effects imported from programs like Adobe Photoshop, Adobe After Effects, Adobe Illustrator, Adobe DVD Encore, and Adobe Audition, are the special changes you make to a movie to polish it.
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Transitions

Now youll create a dissolve from when Hero sees Dreams to the Dreams zoom. 1 First you need to create some tails by shortening the end of the HseesD.avi clip and the beginning of the Dreamzoom.avi clip. 2 In the Tools palette, select the ripple edit tool.
The Ripple Edit tool trims and performs the function of the track selection tool as it trims. You shorten the duration of the clip being trimmed and of the entire sequence. If you trim from the end frame (Out point) toward the start frame (In point), the starting point of the subject clip will not change, but the starting point of all clips later in time will change. Likewise, even if you trim from the In point toward the Out point, the Out point of the subject clip will change, and all clips later in time will move toward the beginning of the sequence. If you Ripple Edit the rst clip at the zero point, the project will still start at zero, but the overall duration will decrease by the amount of the trim. 3 Using the Ripple edit tool, drag the right edge (the Out point of the clip) of the HseesD.avi clip slightly more than one second to the left.

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This results in the HseesD.avi being shortened, and the rest of the program being moved toward the start of the movie at the same time.
4 Drag the left edge (the In point of the clip) of the Dreamzoom.avi clip slightly more than 1 second to the right.
5 Save the project. 6 Now to add the transition, make the Effects palette active by choosing Window > Effects from the menu. 7 Open the Video Transitions and then the Dissolve folders by clicking on the triangles next to the folder icons.
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8 Drag Cross Dissolve from the Effects palette onto the cut between the HseesD.avi and the Dreamzoom.avi clips in the Timeline.
A transition is placed at the cut between two clips.
The result of placing a 60-frame transition on the Timeline.
Now youll modify the transition so that it starts a little later. 9 Using the selection tool, click on the Cross Dissolve transition. 10 Choose Window > Effect Controls. 11 Set the duration to 1 second if it is not already. 12 Change the Alignment from Center at Cut to Start at Cut.
13 Review the Trailer thus far, by setting the timecode or moving the edit line to zero and either pressing the space bar on your keyboard, or by pressing Play ( ) in the Program view of the Monitor window. 14 Save the project.
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Changing clip speed
To accentuate the zoom effect, youll speed up the Dreamzoom.avi clip. 1 Using the selection tool ( ), click on the Dreamzoom.avi clip. 2 Choose Clip > Speed/Duration. 3 Change 100% to 125%. Click OK. 4 Using the track selection tool, drag the rest of the sequence from Fear.avi to about 1 second to the left so that its one-half second after the end of the Dreamzoom.avi clip.
Adding the Blur video effect
To further accentuate the zoom, youll apply a blur effect to the Dreamzoom.avi clip. 1 Using the selection tool, click on Dreamzoom.avi. 2 Choose Window > Effects. 3 Choose Video Effects > Blur & Sharpen.
4 Drag Radial Blur onto the clip. The Radial Blur settings box will appear.
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5 For the moment, set the Amount to 80 and the Blur Method to Zoom. Click OK.
6 Scrub to the beginning of the Dreamzoom.avi clip. 7 Choose Window > Effect Controls, to make the Effect Controls window active. 8 Open the Radial Blur settings by clicking on the triangle next to the name. 9 Click on the stopwatch icon ( ) to turn on animation. This sets a keyframe of 80 at the beginning of the clip. 10 Scrub to the point in the clip when the camera stops moving forward. 11 Click on the amount and type 1. Press Enter. This sets a keyframe at this point.

12 Since this blur effect is computationally intensive, you may need to render this section of the sequence to get smooth playback. Press Enter to start the render.
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Using a Photoshop File
When Hero exits the store, youll notice that there are no signs on it. Youll add some signs by placing a Photoshop le over the shot. Scroll the Timeline so that you can see the clip called Heroexit.avi. 1 Choose Window > Project. 2 Drag the Storefront2.psd clip onto the Video 2 track of the Timeline so that the left edge aligns with the Heroexit.avi clip. 3 Using the selection tool, drag the right edge of the Storefront2.psd clip so that it aligns with the right edge of the Heroexit.avi clip.
If you were to edit the storefront image in Photoshop, that change would automatically appear in Premiere.

Motion Keys

Now youll make the Books & Beans logo zoom out from above the store entrance to ll the screen. 1 Scrub to when the Hero takes his rst step.
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2 Choose Window > Project, and drag the Logo.psd clip onto the Video 3 track of the Timeline so that the left edge aligns with the edit line.
3 Choose Clip > Speed/Duration. 4 Change the Duration to 8 seconds (00;00;08;00, that is: 00 hours; 00 minutes; 08 seconds; 00 frames at 30 frames per second). 5 Click OK. 6 Scrub to just before the Hero walks off screen. 7 Choose Window > Effect Controls. 8 Open the Motion parameters by clicking on the triangle next to the name. 9 Change the Y-position from 240 to 180 to move it up a little. Press Enter. 10 Click the stopwatch icon next to Position, Scale and Rotation to create a keyframe for the nal position of the logo. 11 Scrub to the rst frame of the Logo.psd clip.
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12 Change the parameters to the following values: Position: 400, 80; Scale: 32; Rotation: 1.
13 Play the effect in the Program view or in the Timeline. 14 Save the project.

Fade Out

Now youll make the scene fade to black as the logo comes forward. 1 Choose Window > Effects > Video Transitions > Dissolve. 2 Drag Cross Dissolve to the right end of the Heroexit.avi clip. Since theres no clip to cross to, Premiere automatically fades the clip to black. Youll need to fade the sign, as well. 3 Drag Cross Dissolve from the Effects window to the right end of the Storefront2.psd clip. One second seems a bit short for this fade. 4 Select the dissolve on the Storefront2.psd clip. 5 Choose Window > Effect Controls.

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6 Change the Duration to 1.5 seconds by clicking on the blue text and typing 115 (this is timecode shorthand for 30 frames + 15 frames, or 00;00;01;15), then press Enter.
7 Click on the dissolve on the Heroexit.avi clip. 8 In the Effect Controls window, change the Duration to 1.5 seconds.

Creating Titles

Now youll create the nal titles for the sequence. 1 In the Timeline, scrub to about 15 frames after the storefront scene has faded completely. You should see only the Books & Beans logo. 2 Choose File > New > Title. This opens the Adobe Title Designer.
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3 By default, you should see the Books & Beans logo in the Title Designers window, and have the Type Tool selected ( ). 4 Click a little below the B of Books. This places a cursor on the screen. 5 Enter the following text for the title: A tale about falling in love. 6 On the right side of the window, under Object Style > Properties, change the Font and Font Size to make the line of type about the same overall width as the entire logo. You may need to adjust the position of the row of type. You can do this using the Title Designers selection tool.
7 To center the type horizontally, right-click on the line of type and choose Position > Horizontal Center.
8 Choose File > Save. 9 Navigate to the 00Tour Lesson directory and name your title, such as Falling.prtl. 10 Close the Title Designer by clicking on the X in the upper right corner of the Title Designer window.
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11 Looking in the project window, youll see that Falling.prtl has automatically been added to the project. Drag Falling.prtl on to the Video 1 track of the Timeline about a second after the Heroexit.avi clip.
12 Using the selection tool, drag the right end of the Logo.psd clip to the right so that it aligns with the end of the Falling.prtl clip. To make the last two words of the falling clip appear later, youll cover them up with black to start. 13 Choose File > Import. 14 Locate the 00Tour Lesson folder and select Blackvideo.psd. Click Open. 15 Drag the Blackvideo.psd clip onto the Video 2 track of the Timeline so that its left edge aligns with the left edge of the Falling.prtl clip. 16 Drag the right edge of the Blackvideo.psd clip to the left to shorten the clip to about 2 seconds in duration. 17 Keeping the Blackvideo.psd selected, choose Window > Effect Controls > Motion.

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18 Change the Motion parameters for to the following values: Position: 546, 290; Scale: 19.
Here youll be xing the audio on the door closing scene. 1 Scroll back through the Timeline so that you can see the third instance of the EXexit.avi clip. 2 Drag Doorslam.wav from the Project window onto the Audio 1 track below the third EXexit.avi clip.
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3 You may need to adjust the timing by sliding the audio clip slightly left or right in the Timeline using the selection tool. The audio clip shows a tiny version of the waveform which you can use to help you do this. The highest point on the waveform should align with the moment the door closes. If you need to, you can enlarge the display of the waveform by dragging the bottom edge of the label area of the Audio 1 track down.
Now add a soundtrack. 4 Choose Window > Project. 5 Drag Tour music.mp3 onto the Audio 2 track of the Timeline so that the left edge of the clip snaps to the beginning of the Timeline

Editing audio levels

Although the balance is not bad between the music and voice tracks, you might want to lower the music a little and add a fade at the end. You can adjust the volume and apply keyframes to an entire track at once, or on individual clips. For this tutorial, youll adjust the volume for the entire music piece on the Audio 2 track. 1 In the Timeline, scroll to the end of the sequence. Scrub the Edit Line to a couple of seconds before the end. 2 Select the music clip in the Timeline. 3 Open the Audio 2 track header area by clicking the triangle next to Audio 2 in the Timeline.
4 Click the Show Keyframes button and choose Show Clip Volume.
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5 Click the Add Keyframe button to add a keyframe.
6 Drag the keyframe down to lower the volume for the whole clip. A little window shows you how much youre adjusting the level. Play back the change and adjust to your sensibilities.

7 Scrub to the end of the music clip. 8 Add a keyframe. 9 Drag the keyframe down as far as it will go to set the volume to 0 for the clip. 10 Save the project.

Output

There are many output options in Adobe Premiere Pro. For this tutorial, you export the movie as a DV AVI just like the source clips. For more information on other output options, see Lesson 13, Output. 1 Activate the Timeline window. 2 Choose File > Export > Movie.
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3 Click the Settings button.
4 Make sure that Microsoft DV AVI is selected for File Type, and Entire Sequence for the Range. 5 Also make sure that the Export Video, Export Audio, and Add to Project When Finished options are selected. The default values for other settings, including those for compression, are ne for this project. 6 Click OK. 7 Choose a le name and a location to save the le. 8 Click Save. 9 Premiere Pro starts making the movie, displaying a status bar that provides an estimate for the amount of time it will take to render or output the move. The output time always depends on the capabilities of your computer. On most systems, Premiere Pro should nish making the movie within a few minutes. You can cancel the output process at any time by pressing the Escape key. 10 When the movie is complete, it appears as a clip in the Project window. 11 Double click on it to load it in the Source view of the Monitor window. 12 Click the Play button to watch the show. 13 Save the project. Congratulations on completing the Tour!