drag a handle up to shift volume to the left channel or drag down to shift volume to the right channel.
Panning or balancing audio in the Audio Mixer Use the Pan control in the Audio Mixer to precisely position audio in a stereo channel. For more information, see Panning or balancing in the Audio Mixer window using automation on page 269.
1 In the Timeline, position the edit line where you want to begin editing. 2 Do one of the following: Choose Window > Workspace > Audio to change your workspace to one optimized for editing Audio. Choose Window > Audio Mixer to leave your workspace as is and just display the Audio Mixer window.
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3 Click the Automation Write (
) button above the track you want to pan. When Automation Write is activated, Premiere records all of your adjustments. For more information on automation, see Working with the Audio Mixer window on page 263. ) to the left or right.
4 Press the spacebar to play the audio and then drag the Pan control (
As you drag, handles are added to the Pan rubberband in the Timeline.
Adjustments you make to the Pan control in the Audio Mixer (left) appear in the corresponding audio track in the Timeline (right).
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Using effects, transparency, and motion

Applying effects

Premiere includes numerous audio and video effectswith many new video effects from Adobe After Effects! Apply an effect by dragging it from the Video or Audio effect palette to a clip in the Timeline. Once applied, all effects are stored in the Effect Controls palette, where you can access effect settings, turn effects on or off, enable keyframes, or delete effects.
Apply an effect Using palettes, it is easy to apply and control both video and audio effects in Premiere. For
more information, see Working with effects on page 326. To apply an effect, do the following:
1 To set your workspace to one optimized for editing effects, choose Window > Workspace > Effects. 2 To see the effects available in Premiere, click the Video or Audio tab in the effects palette group. Then
click the triangle next to a folder name to view the effects in that folder.
3 To apply an effect to a clip, drag it from the palette to a clip in the Timeline. A blue line appears across
the top of the clip, indicating that the effect has been applied.
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Frames Only at Markers Select when you want to render only the frames at which you have added a marker in the Timeline. This option does not affect compression keyframes. Preview Choose To Screen when you want to preview edits, transitions, and effects but dont care if the preview is at nal playback speed. When To Screen is selected, Premiere renders directly to the screen as quickly as possible. Playback speed depends on image size and resolution, the number and complexity of effects and transitions, and the processing speed of your system. This option is not recommended for previewing areas that include many effects. Choose From Disk when you want to preview edits, transitions, and effects at the nal playback speed. With this option selected, Premiere renders the preview to the hard disk. Choose From RAM when you want to preview edits, transitions, and effects quickly, without having to rst render a preview le. When From RAM is selected,
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Premiere creates a preview by displaying frames as they are rendered. Because frames are rendered in RAM, this process depends on the amount of RAM available. If sufcient RAM is not available or if the frame rate, frame size, or effects used require more RAM than is available, frames may be dropped during playback, or Premiere may render the preview to disk instead. To minimize the effects of limited RAM, use a smaller frame size (for example, 320 x 240 or 240 x 180). A smaller frame size also produces a more even frame rate during Preview to RAM. If you have chosen From RAM or To Screen, you can speed up previewing by choosing 1:2 or 1:4 to reduce resolution. Choose 1:1 for normal resolution. To preview with the selected option, choose Timeline > Preview or press Enter (Windows) or Return (Mac OS). To stop a preview, press the spacebar.
Field settings Select an option that matches the playback display. This option is set by your preset. If you use a preset provided by your capture card, do not change this setting. No Fields is the default and is the equivalent of progressive scan. Some DV cameras offer a frame movie mode, which resembles progressive scan. If you shot your video using this mode, or if youre using video that is anything other than interlaced, use No Fields. Select Lower Field First for interlaced DV video to maximize motion smoothness. For analog video, select either Upper Field First or Lower Field First, depending on your capture card specications, when your nal output will be played back on a television monitor using an interlaced standard such as NTSC, PAL, or SECAM. Choosing the wrong eld settings causes the video to icker or appear jagged when rendered and played back on an NTSC monitor.

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Understanding ofine and online editing
Depending on the level of quality you require and the capabilities of your equipment, you can use Premiere for either online or ofine editing when working with analog source material. The settings you specify for capture are dictated by whether you will edit the program ofine or online. Note: When you edit DV clips, all editing is online. DV compression makes standard DV manageable on many systems.

About online editing

Online editing is the practice of doing all editing (including the rough cut) on the same clips that will be used to product the nal cut. Previously, online editing had to be done on expensive high-end workstations designed to meet the picture quality and dataprocessing requirements of broadcast-quality video. Editors with high-end requirements who could not afford a suitable online system had to rent time at a production facility that owned one. As high-end personal computers have become more powerful, online editing has become practical for a wider range of productions such as broadcast television or motion-picture lm productions. For online editing, youll capture clips once at the highest level of quality your computer and peripherals can handle.

About ofine editing

In ofine editing, you edit video using low-quality clips and produce the nal version using high-quality clips on a high-end system. Ofine editing was developed to save money by editing in a less expensive facility. Although ofine editing can be as simple as writing down time points for scenes while watching them on a VCR, it is increasingly done using personal computers and Premiere. Ofine editing techniques can be useful even if your computer can handle editing at the quality of your nal cut. By batch-capturing video using low-quality settings, you can edit faster, using smaller les. When you digitize video for ofine editing, you specify settings that emphasize editing speed over picture quality. In most cases you need only enough quality to identify the correct beginning and ending frames for each scene. When youre ready to create the nal cut, you can redigitize the video at the nal-quality settings. See Digitizing analog video as DV on page 113 and Creating a batch list to redigitize project clips on page 137.
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Once you have completed the ofine edit in Premiere, you can create a table of scene sequences called an edit decision list, or EDL. You then move the EDL to an edit controller on a high-end system, which applies the sequence worked out in Premiere to the original high-quality clips. In this way, the editing work done on the less expensive workstation is used to create the nal cut on the more expensive, higher-quality workstation. If you will be generating an EDL from your edits, be sure that all clips are captured with frame-accurate timecode corresponding exactly to the timecode of the high-quality source video that you will use for the nal online edit. If you plan to edit off line using VHS dubs (copies) of the source clips, be sure that in each dub you burn in the timecodethat is, make the timecode visible in a window in the picture. These steps ensure that the EDL you generate is usable when transferred to the online system or edit bay and that your edits will be frame-accurate. See Reading timecode from source video on page 142.

Using large les in Mac OS
To capture, export, import, render, preview, or print to video large les (greater than 2 GB) in Premiere, you need the following:
Mac OS 9.0.4 Quicktime 4.1.2 or later Mac OS Extended volume format (HFS+)
If one of these three components is missing and you are capturing a large le, Premiere will generate a referenced movie instead of one large movie le. A referenced movie is a series of les, each under 1.99 GB, and each referencing the next. These reference les share a common name, for example, Myle, Myle01, Myle02, Myle03. You can open or import the rst le (or the parent le) of a referenced movie, and the remaining les (child les) open automatically. If you attempt to open a child le, Premiere displays an error message. When you import or open a referenced movie, Premiere interprets it as one large le.
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Using large les in Windows
Large (greater than 2 GB) le support for Premiere for Windows varies because of the numerous Windows operating systems and disk formats. When using large les, keep the following in mind:
To use large les in Premiere for Windows, you need either a FAT 32 or an NTFSformatted hard disk. If youre using QuickTime-based hardware for capturing, youll also need QuickTime 4.0 or later. To capture large DV les, you need Windows 98 Second Edition, Windows 2000, or Windows Millennium Edition. To export a large le to DV tape, you need Windows 98 Second Edition, Windows 2000, or Windows Millennium Edition. To import, render, preview, print to video, export movie, or export to analog tape a large le, you need Windows NT, Windows 98 Second Edition, Windows 2000, or Windows Millennium Edition.
Preparing for analog capture
Premiere is sold with many video-capture cards, which usually include non-Premiere software written by the card manufacturer to control the specic card. Most video-capture card software is written so that its controls appear within Premiere for your convenience, even though much of the actual video processing happens in the card, outside of Premiere. This complex relationship between video-capture cards and Premiere can make it difcult to identify which part of the system is responsible for a particular option or problem. Adobe, as well as most capture card manufacturers, provides troubleshooting documents online that can help you determine if an option or problem you are working on belongs to or is caused by the video-capture card and its software, or Premiere. These online documents can also help you resolve technical issues you may encounter while using your capture card and Premiere. See the Adobe Premiere Web site (http://www.adobe.com/premiere) for links to troubleshooting resources. If the issue is traced to the video-capture card, see the documentation provided by the manufacturer or the manufacturers Web site.

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3 If you cannot use the methods from step 1, do whichever of the following is necessary: If your square-pixel le was created and saved at an odd size or a smaller frame size than that used by your project (for example, if you imported a 400 x 400 logo prepared in Illustrator or a scanned image intended to be superimposed onto the video), select it and choose Clip > Video Options > Maintain Aspect Ratio. The Maintain Aspect Ratio option prevents the image from being resized to t the frame and makes Premiere resample the image using the same nonsquare pixel aspect ratio as the project. If your square-pixel le was created and saved at a standard frame size (such as 640 x 480
or 720 x 540), Premiere will scale the image so that the pixel aspect ratio, frame aspect ratio, and frame size match the project. For best results, create les with a frame size in which one dimension matches that of the project and the other is greater than the projectso that Premiere downsamples rather than upsamples.
If your square-pixel le was created and saved at the frame size used by your project (such as 720 x 480), youll want to redesign your image using a different frame size (such as 720 x 540).

Importing clips

You can import clips into Premiere as a single clip, multiple clips, or an entire folder of clips directly into the Project window. If you want to examine a clip before importing it into the project, open the clip in a Clip window and then move the clip to the Project or Timeline window. Clips cannot exceed 4000 x 4000 pixels. If the software you use to create art does not let you specify pixels as a unit of measure, specifying points may be sufcient. If the le does not include pixel aspect ratio information, Premiere uses the Interpretation Rules.txt le, which can be customized, to determine the pixel aspect ratio based on codecs, image sizes, and other parameters. By default, Premiere alters the size and aspect ratio of a video clip or still image to match that of the video frame you specied for your project. Premiere displays images with the correct frame aspect ratio in the Monitor and Trim windows. For more information on aspect ratios, see About D1, DV, and various pixel aspect ratios on page 147. Premiere can import a number of video and audio formats.
Video formats: Type 2 AVI, MOV, and Open DML (Windows only)
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Note: Type 1 AVI clips must be rendered before they can be previewed from your DV device. To render a Type 1 AVI clip, add it to the Timeline in a DV project, and build a preview le of that section of the Timeline.

To rasterize and import an Adobe Illustrator le:
Choose File > Import > File. Locate and select an Illustrator le, and click Open.
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Importing Adobe Photoshop les
You can import les from Photoshop 3.0 or later. However, Premiere does not support 16bit TIFF images created in Photoshop or other graphic applications. You can also import an individual layer from a multilayer Photoshop le. If the Photoshop le uses an alpha channel for transparency, Premiere preserves it. If you superimpose the Photoshop le over another track in Premiere, you can see through the transparent areas marked by the alpha channel. For information about alpha channels and superimposing, see Using the Alpha Channel key on page 302. Note: If you have trouble importing a Photoshop le that uses a layer mask or multiple layers, atten (combine) the layers in the Photoshop le before importing it into Premiere; for information, see the products documentation.
Importing an animation or still-image sequence
You can import an animation contained in a single le, such as an animated GIF. (An animation is different from a video in that it is generated synthetically, not by shooting live action.) Premiere can also import a sequence of numbered still-image les and automatically combine them into a single clip; each numbered le represents one frame. Some programs can generate a series of numbered sequence of still images, such as Adobe After Effects and Adobe Dimensions. Images in a still-image sequence cannot include layers, so atten images that will be part of a sequence. For information on layers and attening, see the documentation for the application that created the le. Note: Changing the default duration of still images in the Preferences dialog box does not affect the duration of still images that are part of a sequence. When creating three-dimensional images or animations that you will be importing into Premiere, use the following guidelines whenever possible:
Use broadcast-safe color ltering. Use the pixel aspect ratio and frame size specied in the project preset that you will be using in your Premiere project. Use the appropriate eld settings to match your project.
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To import numbered still-image les and compile them into a single clip:
1 Do one of the following: In Windows, make sure that each still-image lename has the correct le extension, and
make sure that all lenames in the sequence contain an equal number of digits at the end of the lename (before the lename extension)for example, le000.bmp, le001.bmp, and so on.
In Mac OS, make sure that all lenames in the sequence contain a sufx of a period followed by an equal number of digitsfor example, File.000, File.001, and so on. You may insert a space between the period and the le numberfor example, File. 000, File. 001, and so on. 2 Choose File > Import > File. 3 Locate and select the rst numbered le in the sequence, select Numbered Stills, and click Open.

Single-Track Editing mode is intended for trimming and positioning clips by setting In and Out points in the Source view of the Monitor window, and inserting and overlaying the trimmed clips into the Timeline window. For basic video programs, such as a cuts-only (no transitions) rough cut, you may want to use Single-Track mode. All tools act on the three subtracks as a single track when they are combined in Single-Track Editing mode. Selecting Single-Track Editing sets up the following conditions:
In the Monitor window, Dual View (Source/Program) is selected.
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Clips open in the Source view window. In the Timeline window, the video and transition tracks are combined.
Effects mode is intended for easy access to both audio and video effects. Selecting Effects sets up the following conditions:
In the Monitor window, Single View is selected. Clips open in a separate clip window. The Info palette is grouped with the Effect Controls palette and the Transitions, Video, and Audio palettes are separate and active.
Audio mode is intended for easy access to the tools necessary for editing audio tracks. Selecting Audio sets up conditions identical to the Effects mode, except the Audio Mixer window is open.
Managing the window workspace
When you start Premiere for the rst time, or after deleting or renaming the Preferences le, you are prompted to select the editing workspace. You can also select a different editing workspace at almost any time while working on a project. You can also create custom window layouts by rearranging the windows and changing their settings. You can save your favorite custom window layouts and apply them to any project. Saving a workspace preserves the locations of Project, Monitor, Timeline, and Audio Mixer windows. Other windows, such as the Clip window, are not saved. However, no window option settings are saved with workspaces. Note: You should not switch between A/B Editing and Single-Track Editing modes, as it is possible in A/B mode to place clips in positions which are not allowed in Single-Track mode.
To save a custom window workspace:
1 Arrange the Project, Monitor, Timeline, and Audio Mixer windows the way you want them, including size, location, and settings. 2 Choose Window > Workspace > Save Workspace. 3 Type a name for the workspace, and click Save. The new workspace is added to the Workspace menu.

If you set a clip in the Timeline to the duration you require, but you dont like where the clip begins and ends in relation to the clips before and after it, you can use the slip tool to adjust the clip without changing the clips program In and Out point or duration. See Editing a clip that exists between other Timeline clips on page 208.
Changing the frame rate of a clip
You can change the number of frames displayed per second for a clip by specifying its frame rate. You may want to change the frame rate of a video le to decrease its frame size or make it match the rate of other clips in your project. Changing the frame rate does not change the speed of action, unless you use the Interpret Footage command, which changes both the frame rate and the speed of action. When you specify a frame rate lower than that at which the clip was shot or lower than the project frame rate, there arent enough source clip frames to match the project frame rate, and movement may appear jerky. In this situation, Premiere makes up for the missing frames by repeating the last available source frame until the next new source frame is available. However, you can apply frame blending, which interpolates between available frames to create intermediate frames that can make motion seem smoother. Frame blending is also useful after changing clip speed, which also changes the frame rate. The actual frame rate of a clip during playback or export depends on a complex relationship between the source clip frame rate, the project timebase, the frame rate you specied for playback or exporting, and any modications you make using the procedures in this section. Changing the frame rate may cause some frames to be omitted, created, or repeated. If you want to change the frame rate for the entire Timeline, do not use any procedures in this section; instead, see Video settings on page 77 and About exporting video from Premiere on page 337.
To change the frame rate of a source clip in order to change the speed of action:
1 Select a clip in a Project or Bin window, or in the Timeline. 2 Choose Clip > Advanced Options > Interpret Footage.

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Creating a storyboard
To specify and organize the individual shots for a lm or video, editors create a storyboard, which is a collection of sketches, descriptions, or both, laid out in order. In a similar way, you can organize a set of clips in a window and then move these clips into the Timeline window to create a rough cut. In the Storyboard window, clips are represented by icons, similar to those displayed in the Project window when Icon View is selected. Each icon displays the same poster frame shown in the Project window, which you can change. See Customizing a Project or Bin window display on page 94. You can select from four sizes for the icons. Each icon is assigned a number, indicating its order in the sequence. (This number is displayed only in the two largest icon sizes. Other information is included in the icons, depending on the size you select. The clips duration is shown only in the three largest sizes, and comments entered in the Project window are shown only in the two largest sizes.) The Storyboard window adds arrows from one icon to the next to show the sequence, and also shows an end marker on the last icon.
A. The poster frame B. A number to show sequence C. The lename D. The duration E. Comments F. Arrows to show ow G. An end marker
In addition to moving a sequence of clips from the Storyboard window to the Timeline window, you can move a sequence from a bin to the Timeline (see Adding multiple clips using an automated process on page 201). You can also print a sequence to video or export it to tape (see About exporting video from Premiere on page 337).

To create a storyboard:

1 Choose File > New > Storyboard.
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2 Import clips into the Storyboard window using one of the following methods: If a Project or Bin window is open and contains clips, drag the clips you want into the Storyboard window. Choose File > Import and choose a command from the Import menu. Locate and select the les or folder you want to import, and click OK. 3 In the Storyboard window, drag the clips to arrange them in the order you want. If you want to relocate a clip earlier in the sequence, drag it to the clip you want it to precede. If you want to relocate a clip later in the sequence, drag it to the clip you want it to follow. 4 If you want to include only certain clips, Ctrl-click (Windows) or Shift-click (Mac OS) the clips to select them. 5 Choose File > Save As, specify a location and lename, and click OK. 6 Click the Automate to Timeline button (
) at the bottom of the Storyboard window.
7 For Contents in the Automate to Timeline dialog box, choose Whole Bin to transfer all clips, or choose Selected Clips if you want only the clips you selected. 8 For Insert At, choose the insert point and type a different value for Clip Overlap, if desired, or type 0 for no overlap. 9 Select Use Default Transition if you want Premiere to add transitions between clips, and

To build a preview of the transition:
In the Timeline, move the yellow work area bar so it covers the transition and press Enter (Windows) or Return (Mac OS) to build a preview.
To render-scrub the transition:
Hold down Alt (Windows) or Option (Mac OS) and, when the cursor becomes a downward-pointing arrow ( ), scrub in the Timeline windows time ruler.
Adding QuickTime transitions
In addition to the transitions available in Premiere, you can add QuickTime transitions to a program. If you have installed QuickTime transitions, they will be available in the QuickTime folder in the Premiere Transitions palette.
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To add a QuickTime transition:
1 In the Transitions palette, click the triangle to open the QuickTime folder. 2 Drag the QuickTime transition to the desired location in the Timeline. 3 In the Select Effect dialog box, choose the transition you want to add. 4 Modify the transition settings as needed, and then click OK.
Specifying and adding a default transition
The default transition can be applied quickly, without stopping to open the Transitions palette and drag the transition to the Timeline. Premiere automatically uses Cross Dissolve as the default transition, as it is one of the most commonly used transitions. If you frequently use another transition, you can set it as the default. The technique you use to add a default transition depends on whether you are editing in Single-Track mode or A/B Editing mode.
To specify a default transition, and set the default duration and alignment:
1 If necessary, choose Window > Show Transitions. 2 Select the transition that you want to make the default. 3 From the Transitions palette menu, choose Set Selected as Default. 4 Type the default duration for the transition. (You can later change the duration, once the transition is added to the Timeline.) 5 Choose the default alignment for the transition. This setting applies to transitions added when using the Single-Track Editing mode; when you use A/B Editing mode, transitions always ll the overlapping space unless you physically resize them using the trim tool. 6 Click OK. These settings remain in effect for all projects until you change them.
To add the default transition to the Timeline:
1 Do one of the following: When the Timeline is in A/B Editing mode, position one clip in the Video 1A track and another clip in the Video 1B track so that some (or all) of the two clips overlap.
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When the Timeline is in Single-Track mode, make sure that the Video 1 track is collapsed, and then position two clips on the Video 1 track so that they meet. 2 Position the edit line where the two clips meet or overlap.
You can easily move the edit line to the intersection between two clips by clicking the Next Edit ( ) or Previous Edit ( ) button in the Monitor window.

Using the Chroma key type
Use the Chroma key to select a color or a range of colors in the clip to be transparent. You can use this key when you have shot a scene against a screen that contains a range of one color, such as a shadowy blue screen. Select a key color by clicking the color swatch or by using the eyedropper to choose a color from the thumbnail beneath the color swatch; use the slider bars in the dialog box to adjust the color that you want to key out. Adjust the following Chroma key settings as necessary:
Similarity Broadens or reduces the range of color that will be made transparent. Higher values increase the range. Blend Blends the clip you are keying out with the underlying clip. Higher values blend

more of the clip.

Threshold Controls the amount of shadows in the range of color you keyed out. Higher values retain more shadows. Cutoff Darkens or lightens shadows. Drag to the right to darken shadows, but do not drag
beyond the Threshold slider; doing so inverts gray and transparent pixels.
Smoothing Species the amount of anti-aliasing that Premiere applies to the boundary
between transparent and opaque regions. Anti-aliasing blends pixels to produce softer, smoother edges. Choose None to produce sharp edges, with no anti-aliasing. This is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing.
Using the RGB Difference key
The RGB Difference key is a simpler version of the Chroma key. You can select a range of color, but you cannot blend the image or adjust transparency in grays. Use the RGB Difference key for a scene that is brightly lit and contains no shadows, or for rough cuts that dont require ne adjustments. Select a key color by clicking the color swatch or by using the eyedropper to choose a color from the thumbnail beneath the color swatch.
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Adjust the following RGB Difference key settings as necessary:
Similarity Broadens or reduces the range of color that will be made transparent. Higher values increase the range. Smoothing Species the amount of anti-aliasing (softening) that Premiere applies to the
boundary between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing.

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3 Make the matte the same length as the clip you are keying so that you can preview transparency across the entire clip. 4 Create transparency in the clip as described in Using keys to superimpose and create composites on page 298. The brightly colored matte shows through in the areas that are transparent. 5 When you are satised with your keying, delete the colored matte from the Timeline window.

Creating garbage mattes

Sometimes the subject of a scene is properly keyed except for undesired objects. Use a garbage matte to mask out those objects. You can then place the keyed subject in another scene for simple effects.
The microphone (left) is masked out by repositioning image handles in the Transparency dialog box (center), creating a garbage matte that is then keyed and superimposed over a background (right). To create a garbage matte:
1 Select a clip in a superimpose track and choose Clip > Video Options > Transparency.
For more details, see Using keys to superimpose and create composites on page 298.
2 In the Sample area of the Transparency Settings dialog box, drag the handles of the image to include only the subject you want to preserve. 3 Choose a key to key out the background of your subject. Then click OK.
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Creating split screens
Use the Transparency Settings to create a split screen or other types of screen effects that show two clips side by side.
To create a split screen:
1 Place two clips in separate adjacent tracks. At least one track must be a superimpose

track.

2 Select the clip in the upper track and choose Clip > Video Options > Transparency. 3 For Key Type, choose None. 4 Drag the corner handles in the Sample area to split or otherwise separate the screen into two sections, one containing the clip in the upper track, the other containing the clip in the lower track. 5 To view the effect, click the page peel icon ( ). Then click OK.
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Chapter 8: Animating a Clip
ou can move, rotate, and zoom a video or still-image clip within a video programs viewable area. Using the settings in the Motion Settings dialog box, you can specify a motion path, change motion over time with keyframes, and speed up or slow down the motion youve dened. In addition, you can distort the shape of a clip to create other special effects.
Animate a clip by creating a motion path in the Motion Settings dialog box. You can specify the path completely within the visible area, or extend it beyond so that the clip enters and exits at the boundaries. Note that you can add motion only to the clip itself, as a whole; you cannot add motion to elements within the clip. In addition, you can specify rotation, zooming, delays, and distortion to create more complex motion. See Rotating, zooming, delaying, and distorting on page 316. Note: You can also animate a clip using the Transform effect. For more information, see online Help.

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4 Choose File > Export Timeline > Print to Video. Specify options (see Playing back fullscreen video on page 234). For the Play Black for _ Seconds option, make sure that you type a long enough time for the speed of the video recording device to stabilize before the video starts. 5 Click OK, and start the video recording device.
About creating Internet media
In general, Internet video is constrained by delivery data rates that are even lower than those used for CD-ROM playback. If you use Premieres Movie Export option to export your video program for the Web, use the guidelines for CD-ROM exporting (see About creating a video le for CD-ROM playback on page 345), but tune them to the data rates available on the networks through which you expect to deliver the video. If you use one of the Web-optimized plug-in options, such as Save for Web export, choose a delivery option (such as 28K modem, 56K modem, ISDN, or Broadband/LAN) that best represents the viewing capabilities of your audience. You have many choices for delivering video over the Internet. Each method has specic capabilities and workow requirements, so consider the choices carefully.

Streaming video

Streaming video resembles conventional television in that video is sent to you frame by frame, without downloading a large le to your hard drive. Streaming video on the Web is constrained by the limited bandwidth (56 Kbps or less) of most consumer modems. However, streaming video can be deployed effectively within intranets where high-speed bandwidth is more readily available. The following streaming video formats are available for export from Premiere: QuickTime Streaming, Windows Media, RealVideo, and RealG2Streaming. You can create streaming video using any of the built-in Web export options: Save for Web, Advanced RealMedia Export, or Advanced Windows Media Export (Windows only).
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Progressive downloadable video

Macintosh OS 9.0.4/Windows 98/2000/NT/Windows ME

version

Adobe Premiere

At A Glance

The essential tool for professional digital video editing
DV in, Web out With Adobe Premiere 6.0 software, that vision is now a reality for Macintosh and Windows users alike. Effortlessly capture digital video (DV); employ best-of-breed tools to craft your productions; then output to leading formats for the Web or to any type of medium. Adobe Premiere software combines the most comprehensive suite of professional video editing tools with unprecedented versatility and ease-of-use.
Incorporate DV with plug-and-play ease. Simply plug a DV device into the IEEE 1394 (also known as FireWire or i.LINK) port on a Windows or Macintosh computer for seamless capture. Robust DV support is native in Adobe Premiere 6.0, providing built-in support for all types of DV devices, support for non-square pixels, time-saving DV presets, and enhancements to the Movie Capture window to streamline your workflow. Invigorate your Web site with compelling streaming video. One-step Web output simplifies the creation, optimization and delivery of streaming video, enabling you to deliver content in the formats that youand visitors to your Web siteprefer. Explore more creative options and still meet impossible deadlines. New tools, such as the professional-level Audio Mixer and the innovative Automate to Timeline feature, encourage creativity and experimentation. New palettes and interface refinements give you more visual feedback as you work, to help you produce video projects more efficiently, and with greater creative control.
A star next to a feature indicates an Adobe original feature or a unique implementation of that feature that youll find only in Adobe Premiere 6.0 and other programs from Adobe.
Adobe Premiere also integrates tightly with Adobes familiar family of professional graphics and dynamic media applications including Adobe Photoshop, Adobe Illustrator, and Adobe After Effects, and works with Adobe GoLive software developed to help you create compelling Web sites.

Robust DV Support

Native DVCapture DV clips and begin editing right away after simply connecting a DV device to a computer equipped with an IEEE 1394 port; no additional hardware (such as a video capture card) is required. Adobe Premiere 6.0 provides built-in support for all types of DV devices, ranging from consumer to professional. OHCI supportAdobe Premiere 6.0 software offers native support for the Open Host Controller Interface (OHCI), providing Microsoft Windows with a standardized way of interacting with the IEEE 1394 port. Support for non-square pixelsAdobe Premiere supports the aspect ratios commonly used for shooting DV, including DVs Widescreen frame aspect ratio and the Anamorphic pixel aspect ratio. DV without delayAdobe Premiere 6.0 lets you customize a wide range of settings to streamline and optimize your workflow to handle your specific DV needs. Device control customizationJust specify the DV device manufacturer and model and Adobe Premiere optimizes its built-in device control for maximum reliability and efficiency. DV presetsSelect a project preset from the Load Project Settings dialog box or customize your own presets. Adobe Premiere 6.0 provides the most common DV presets for NTSC and PAL. Enhanced Movie Capture windowProvides more reliable, flexible, and efficient DV capture with features such as frame-accurate device control. New Settings and Logging tabs make controls conveniently accessible.

One-Step Web Output

Multiple Web export optionsAdobe Premiere 6.0 is the first professional editing software to offer crossplatform, one-step Web output for all leading Web video formats, offering three built-in tools for optimizing and exporting to the Web-ready file formats that youand visitors to your Web siteprefer: Save for WebThis simple, intuitive method lets you output multiple files optimized for streaming or progressive download in popular formats including QuickTime, RealMedia, Windows Media, MPEG and others by exporting the Timeline directly into a special version of Terran Interactives Media Cleaner software. Advanced Windows Media and Advanced RealMedia ExportTake advantage of a wide range of formatting options for the most precise output control and greater flexibility for generating high quality, high bandwith video for streaming or download and playback using the Windows Media Player and RealPlayer applications. Web markersSet Timeline markers to launch HTML Web pages at relevant points during Web video playback.

System Requirements

Macintosh
Power PC processor Apple System software OS 9.0.MB of available RAM (128 recommended) 50 MB of available hard disk space required for installation Apple QuickTime 4.1.2 Large capacity hard disk or disk array Additional Requirements for DV: Power PC processor (@ 300MHz) Apple FireWire 2.4 QuickTime-compatible FireWire (IEEE 1394) interface Large capacity hard disk or disk array (capable of sustaining 5MB/sec) Additional Requirements for 3rd party Capture Cards: Adobe Premiere certified capture card
New and Enhanced Professional Tools
Sophisticated audio mixerThe new Audio Mixer window is a professional-level tool for blending multiple audio tracks and dynamically adjusting gain and pan, with real time feedback. Use Audio Mixer controls resembling those of a studio mixing console, or by typing in precise numerals. The Audio Mixer works in conjunction with the Monitor window so you can freely experiment with audio, while watching your video. Storyboard windowQuickly visualize your story by dragging and dropping clips to assemble a rough cut within minutes. Edit clips, insert markers, and more in this convenient new window. Automate to TimelineThis powerful automation tool streamlines the rapid development of all types of projects, from sophisticated presentations to stunning music videos. Simultaneously send a whole bin or selected sequence of clips, from the Storyboard or Project window, to the Timeline. Drop a series of unnumbered markers onto the Timeline, highlighting rhythmic features as you listen to your audio track and, when you perform Automate to Timeline, your clips will be choreographed to the music, cutting in and out at the beats you marked. New and enhanced palettesNew Adobe standard palettes make Adobe Premiere 6.0 more straightforward to use and provide easy access to the undo capability, filters and effects controls. Four new palettes are included: HistoryWith up to 99 selective undos, the History palette makes it easy to freely experiment with different creative ideas, yet still return to the point where experimentation began. Video and Audio FiltersThese palettes provide fast access to Premiere video and audio effects. Drag and drop a filter onto a clip or create a folder of favorite effects. Effects ControlAs with Adobe After Effects, the Effects Control palette makes it simple to control all aspects of a clips effects parameters with real-time feedback in the Monitor window. Enhanced Monitor window and TimelineThe enhanced Monitor window provides more efficient editing control with 3-point, 4-point, 5-point, and 6-point editing (L-cuts) capabilities using the Source/Program metaphor. The streamlined Timeline window offers precise editing capabilities for piecing together video projects. Easily adjust opacity, add transitions or effects, and modify keyframes directly in the Timeline. Customizable WorkspacesConfigure your workspace (the arrangement of windows, window features, and palettes on your screen) to best suit your needs at each stage of a project. Four preset workspaces are included A/B Editing, Single-Track Editing, Effects, and Audio. Customize preset workspaces or create and save your own for future use. Settings ViewerDisplays all settings in a single window, highlighting those that dont match in red so that problems can be spotted immediately, saving hours of troubleshooting time.

Windows

Intel Pentium II processor (300MHz or faster) Microsoft Windows 98, Windows 98 Second Edition, Windows 2000, Windows Millennium, or Windows NT 4.0 with Service Pack MB of RAM (128 MB or more recommended) 85 MB of available hard-disk space required for installation (40 MB for application) 256-color video display adapter display adapter Large-capacity hard disk or disk array CD-ROM drive Additional System Requirements for DV: Intel Pentium III 500MHz or faster (Pentium III 700 MHz recommended) Windows 98 Second Edition, Windows Millennium, or Windows 2000 128MB RAM (256 MB or more recommended) Dedicated large capacity 7200RPM UDMA 66 IDE or SCSI hard disk or disk array Microsoft certified OHCI IEEE1394 interface Microsoft DirectX compatible video display adapter Additional Requirements for 3rd party Capture Cards: Adobe Premiere certified capture card
Adobe Systems Incorporated 345 Park Avenue San Jose, CA 95110-2704 USA World Wide Web www.adobe.com

Seamless Integration

Edit OriginalConveniently edit placed images and other contentsuch as Adobe Photoshop imagesin their native software applications. Once the changes are made, Adobe Premiere updates both the placed content and the native application file. Support for Adobe After Effects filtersAdobe Premiere 6.0 software ships with over 25 filters from Adobe After Effects including Channel Mixer, Directional Blur, Color Balance, Basic 3D, Drop Shadow, Broadcast Colors, Transform, and Reduce Interlace Flicker. Using Transform, for instance, you can apply two-dimensional geometric transformations to a clip for interesting motion effects. You can keyframe any of the following parameters over time: anchor point, position, height, width, skew, rotation, and opacity. Familiar Adobe InterfaceThe Adobe Premiere interface is similar to the award-winning, standard Adobe interface in other Adobe programs such as Adobe Photoshop, Adobe Illustrator, and Adobe After Effects. Adobe Premiere users will find it easy to work with these other industry-standard Adobe software applications to achieve outstanding, professional results.

www.adobe.com/premiere

Adobe, the Adobe logo, Premiere, After Effects, Photoshop, Illustrator, and GoLive are trademarks of Adobe Systems Incorporated. Microsoft, Windows, Windows 2000, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Macintosh and QuickTime are registered trademarks of Apple Computer, Inc. in the United States and other countries. Power PC is a registered trademark of International Business Machines, Inc. Intel and Pentium are registered trademarks of Intel Corporation. All other trademarks are the properties of their respective owners. 2000 Adobe Systems Incorporated. All rights reserved. 07/24/01