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Adobe Premiere Pro CC Classroom in a Book® ( release) [Book] – BANDOL T2 36 m2 in Villa PRIVATE POOL GARDEN

If the first clip you add to a sequence does not match the settings of your sequence, Premiere Pro checks if you would like to change the sequence settings automatically to fit.

Premiere Pro can work natively with a wide range of video and audio formats and codecs and will often play mismatched formats smoothly. However, when Premiere Pro has to adjust video for playback because of mismatched sequence settings, your editing system must work harder to play the video, and this will impact real-time performance you might see more dropped frames.

Note The Preset Description area of the Sequence Presets tab often describes the kind of camera used to capture media in this format. The essential factors are always the same: the number of frames per second, the frame size the number of pixels in the picture horizontally and vertically , and the audio format.

If you were to turn your sequence into a media file without applying a conversion, then the frame rate, audio format, frame size, and so on, would all match the settings you chose when creating the sequence.

Premiere Pro can create a sequence based on your clip. Use this menu to create new items for your project, including sequences, captions, and color mattes full-screen color graphics useful for backgrounds.

To automatically create a sequence that matches your media, drag any clip or multiple clips in the Project panel onto the New Item menu. A new sequence will be created with the same name as the first clip selected, and a matching frame size and frame rate.

You can also select one or more clips, right-click the selection, and choose New Sequence From Clip. Using this method, you can be confident your sequence settings will work with your media. If the Timeline panel is empty, you can also drag a clip or multiple clips into it to create a sequence with matching settings. Choosing the correct preset If you do know the settings you need for a new sequence, you can configure the sequence settings exactly.

Click the New Item button at the lower-right corner of the Project panel now and choosef When you choose a preset, Premiere Pro applies settings for the new sequence that closely match a particular video and audio format. After choosing a preset, you can adjust these settings on the Settings tab if necessary. These settings are organized based on camera formats with specific settings inside a folder named after the recording format. You can click the disclosure triangle to see specific formats in a group.

These are typically designed around frame rates and frame sizes. Click the disclosure triangle next to the group Digital SLR. You can now see three subfolders, based on frame sizes. Remember that video cameras can often shoot video using different frame sizes, as well as different frame rates and codecs. Click the disclosure triangle next to the p subgroup.

Choose the DSLR p30 preset by clicking its name. For this sequence, use the default settings. Take a moment to familiarize yourself with the description displayed on the right. Click in the Sequence Name box, and name your sequence First Sequence. Click OK to create the sequence.

You have made a new project and sequence with Premiere Pro. Formats and codecs A format is a frame rate, frame size, audio sample rate, and so on. Codec is a shortening of the words coder and decoder. The media file is referred to as the wrapper, and the video and audio inside the file, stored using a codec, are sometimes referred to as the essence. Tip You created a new sequence using the File menu this time. There are often several ways to achieve the same goal in Premiere Pro.

Choose the DSLR p30 preset again by clicking its name. This lets you view the settings while reading about them. Click Settings at the top of the dialog box. Premiere Pro will automatically conform footage you add to your timeline so that it matches your sequence settings, giving you a standard frame rate and frame size, regardless of the original clip format. This makes the sequences settings a critical part of your project configuration. Creating a sequence preset Although the standard presets usually work, you may sometimes need to create a custom preset.

To do so, first choose a sequence preset that matches your media closely, and then make custom selections in the Settings and Tracks areas of the New Sequence dialog box. Having adjusted the settings, you can save your custom preset for future use by clicking the Save Preset button near the bottom of the Settings area. When you save a preset, you can give your customized project settings preset a name in the Save Settings dialog box, add notes if you want, and click OK.

The preset will appear in a Custom folder with the other sequence presets. The new sequence is intended for online distribution only, so change this to 30 fps to accurately measure playback speed. Tip For now, leave the settings as they are, but review the way the preset configures the new sequence.

Look at each setting from top to bottom to build familiarity with the choices required to configure a sequence. For complete flexibility, choose Custom from the Editing Mode menu. For many effects, this means bit floating-point color, which allows for trillions of color combinations.

This is the best possible quality for your effects but is more work for your computer, so you may get lower performance in real-time playback.

Without this option, you might see minor artifacts or noise in the picture when making images smaller. Both of these options can be turned off or on at any time, so you can edit without them to maximize performance and then turn them on when you output your finished work. Even with both options enabled you can use real-time effects and expect good performance from Premiere Pro. Tracks are horizontal areas in the Timeline panel that hold clips in a particular position in time.

There is more than one video track, and video clips placed on an upper track will appear in front of clips on a lower track. The Tracks tab in the New Sequence dialog box allows you to preselect the track types for the new sequence. This is perhaps most useful when creating a sequence preset with names already assigned to audio tracks.

All audio tracks are played at the same time to create a complete audio mix. To create a mix, simply position your audio clips on different tracks, lined up in time. Narration, sound bites, sound effects, and music can be organized by putting them on different tracks. You can also rename tracks, making it easier to find your way around more complex sequences. Premiere Pro lets you specify how many video and audio tracks will be included when the sequence is created. For now, choose Stereo.

An audio track can be one of several types. Each track type is designed for specific types of audio clip. When you choose a particular track type, Premiere Pro shows the right controls to make adjustments to the sound, based on the number of audio channels in the track.

For example, stereo clips need different controls than 5. The types of audio tracks are: Standard: These tracks are for both mono and stereo audio clips. Adaptive: Adaptive tracks are for mono, stereo, or multichannel audio and give you precise control over the output routing for each audio channel. For example, you could decide the track audio channel 3 should be output to your mix in channel 5. This workflow is used for multilingual broadcast TV, where precise control of audio channels is used at the point of transmission.

Mono: This track type will accept only mono audio clips. The Submix options available in the Track Type menu are used in advanced audio mixing workflows. Premiere Pro makes sure clips go to the right kind of track. You will usually configure the project settings when creating the new project, but all of the options can be modified at any time.

Some special effects can be played immediately, combining your original video with the effect and displaying the results as soon as you click Play. Real-time playback is desirable because it means you can watch the results of your creative choices right away, staying in your creative flow without waiting.

If you use lots of effects on a clip or if you use effects that are not designed for real-time playback, your computer may not be able to display the results at the full frame rate.

That is, Premiere Pro will attempt to display your video clips, combined with the special effects, but it will not show every single frame each second. Premiere Pro displays colored lines along the top of the Timeline panel, where you build sequences, to tell you when extra work is required to play back your video.

No line, a green line, or a yellow line means Premiere Pro expects to be able to play without dropping frames. A red line means Premiere Pro may drop frames when playing that section of the sequence. Real-time playback can make a difference to your editing experience and your ability to preview the effects you apply with confidence. If frames are being dropped, there is a simple solution: preview rendering.

When you render, Premiere Pro creates new media files that look like the results of your effects work and then plays back those files in place of the original footage. The rendered preview is a regular video file, so playback is at reasonable quality and full frame rate, without your computer having to do any extra work. You render effects in a sequence by choosing a render command from the Sequence menu. Many menu items display a keyboard shortcut on the right.

What do rendering and real time mean? As something is visualized, it takes up paper and takes time to draw. Imagine you have a piece of video that is too dark. You add a visual effect to make it brighter, but your video-editing system is unable to both play the original video and make it brighter at the same time.

When your edited sequence plays, sections that are rendered display the newly rendered video file instead of the original clip or clips. The process is invisible and seamless. In this example, the rendered file would look like the original video file but brighter. When the part of your sequence with the brightened clip is finished, your system invisibly and seamlessly switches back from playing the preview file to playing the other original video files in the sequence.

The downside of rendering is that it takes up extra space for media storage, and it takes time. The upside with rendering is that you can be confident your system will be able to play the results of your effect at full quality, with all the frames per second. Real-time playback, by contrast, is immediate! When using a real-time special effect, your system plays the original video clip combined with the special effect right away, without waiting for the effect to render.

The only limitation with real-time performance is that the amount you can do without rendering depends on how powerful your system is. More effects are more work to play back, for example.

Back in the Project Settings dialog box, in the Video Rendering And Playback settings, if the Renderer menu is available, it means you have graphics hardware in your computer that meets the minimum requirements for GPU acceleration and it is installed correctly.

The menu has two types of setting you will choose between: Mercury Playback Engine GPU Acceleration: If you choose this rendering option, Premiere Pro will send many playback tasks to the graphics hardware on your computer, giving you lots of real-time effects and smooth playback of mixed formats in your sequences.

Performance can vary and some graphics hardware configurations allow multiple types of acceleration, so you may need to experiment to find the best option for your system. You may also see an option described as deprecated in the Renderer menu.

This uses an approach to hardware acceleration that will work but is less efficient than the other options. You will almost certainly want to choose GPU acceleration and benefit from the additional performance if you can. However, if you experience performance or stability issues using GPU acceleration, choose the Software Only option in this menu. You can change these options at any time— including in the middle of working on a project.

Playback performance: Premiere Pro plays back video files with great efficiency, even when working with the types of video that are difficult to play back, such as H. The results are even better performance and responsiveness when working with sequences, and many special effects will play in real time, without dropping frames.

For more information about supported graphics cards, see helpx. Setting the video and audio display formats The next two areas of the General tab in the Project Settings dialog box allow you to choose how Premiere Pro should measure time for your video and audio clips. The correct choice for a given project largely depends on whether you are working with video or celluloid film as your source material. The choices are as follows: Timecode: This is the default option. Timecode is a universal system for counting hours, minutes, seconds, and individual frames of video.

The same system is used by cameras, professional video recorders, and nonlinear editing systems around the world. This system counts the number of feet plus the number of frames since the last foot. Frames: This option counts the number of frames of video. This is sometimes used for animation projects. For now, leave Video Display Format set to Timecode. The Audio Display Format menu For audio files, time can be displayed as samples or milliseconds.

Audio Samples: When digital audio is recorded, the sound level technically, air pressure level as captured by the microphone is sampled thousands of times a second. In the case of most professional video cameras, this happens at least 48, times per second. When playing clips and sequences, you can choose to display time as hours, minutes, seconds, and frames, or as hours, minutes, seconds, and samples.

Milliseconds: With this mode chosen, time can be displayed as hours, minutes, seconds, and thousandths of a second instead of samples. By default, you can zoom the Timeline enough to view individual sequence clip segment frames. However, you can easily switch to showing the audio display format instead. This powerful feature lets you make the tiniest adjustments to your audio. About seconds and frames When a camera records video, it captures a series of still images of the action.

When it captures enough images each second, the result looks like moving video during playback. Each picture is called a frame, and the number of frames each second is usually called frames per second fps , or the recording or playback frame rate. It could be any number, including Most cameras allow you to choose between more than one frame rate and more than one frame size. However, there may be times you need to capture from videotape. The Capture Format menu under Capture in the Project Settings dialog box tells Premiere Pro what videotape format you are using when capturing video to your storage drive.

Capturing from third-party hardware If you have additional third-party hardware installed, you can connect your video deck for capture. Note The Mercury Playback Engine can share performance with video input and output hardware for playback, thanks to a feature called Adobe Mercury Transmit.

The software installer will usually discover Premiere Pro on your computer, automatically adding extra options to this menu and to others.

Follow the directions provided with your third-party equipment to configure new Premiere Pro projects. For more information about the video-capture hardware and video formats supported by Premiere Pro, visit helpx.

Ignore this setting for now because you will not be capturing from a tape deck in this lesson, and you can change the setting as needed later. With this option selected, when you change name of a clip, or the color of the label assigned to a clip, all copies of the clip used anywhere in the project will update accordingly. If this option is not selected, only the copy you select will be changed. Both options can be useful, depending on your chosen workflow for a particular project.

Leave this deselected for now, and click the Scratch Disks area to view the options. Setting up the scratch disks Whenever Premiere Pro captures records video from tape, renders special effects, saves backup copies of the project file, downloads content from Adobe Stock, or imports animated motion graphics templates, or whenever you record a voiceover, new files are created.

The various scratch disks are the locations where these files are stored. Though they are described as disks, they are actually folders. Some of the files that are stored will be temporary, and some will be new media created in Premiere Pro or imported. Scratch disks can be stored on physically separate disks, as the name suggests, or in any subfolder on your storage.

Scratch disks can be located all in the same place or in separate locations, depending on your hardware and workflow requirements. There are generally two approaches to storage for video editing: Project-based setup: All associated media files are stored with the project file in the same folder. This is the default option for scratch disks and the simplest to manage. System-based setup: Media files associated with multiple projects are saved to one central location often high-speed network-based storage , and the project file is saved to another location.

This might include storing different kinds of media files in different locations. To change the location of the scratch disk for a particular type of data, choose a location from the menu next to the data type.

The choices are: Documents: Stores the scratch disk in the Documents folder in your system user account. Same As Project: Stores the scratch disk with the project file. This is the default option. This option is automatically chosen if you click Browse and choose a specific location for the scratch disk. Below each Scratch Disk location menu, a file path shows the current setting and the disk space available at that location.

Your scratch disks might be stored on local hard drives or on a network-based storage system; any storage location your computer has access to will work. However, the speed and responsiveness of your scratch disks can have a big impact on both playback and rendering performance—choose fast storage if possible. Using a project-based setup By default, Premiere Pro keeps newly created media together with the associated project file this is the Same As Project option.

Keeping everything together this way makes finding relevant files simple. It also makes it easier to stay organized if you move media files into the same folder before you import them into the project. You can use subfolders to keep your project media, notes, scripts, and associated assets organized. Using a system-based setup Some editors prefer to have all their media stored in a single location, for all projects. Others choose to store their capture folders and preview folders in a different location from their project.

This is a common choice in editing facilities where multiple editors share several editing systems, all connected to the same networkbased storage. This is slower and more complex when your media files are distributed across multiple storage locations. Typical drive setup and network-based storage Although all file types can coexist on a single hard drive, a typical editing system will have two hard drives: Drive 1, dedicated to the operating system and programs, and Drive 2 often a faster drive , dedicated to media, including captured video and audio, video and audio preview files, still images, and exported media.

Some storage systems use local computer networks to share storage between multiple systems. If this is the case for you, check with your system administrators to make sure you have the right settings and then check the performance.

Setting up a Project Auto Save location In addition to choosing where new media files are created, you can set the location to store automatically saved project files.

These are additional backup copies of your project file that are created automatically while you work. Storage drives occasionally fail, and you may lose files stored on them without warning. If you use a synchronized file sharing service like Dropbox, OneDrive, or Google Drive, storing your auto-save files using that service will mean you always have access to all your automatically saved project files.

In addition to storing automatically saved project files in the location you choose, Premiere Pro can store a backup of your most recent project file in your Creative Cloud Files folder. This folder is created automatically when you install Adobe Creative Cloud, allowing you to access files in any location where Creative Cloud is installed and you are logged in. Creative Cloud Libraries downloads You can also use the Creative Cloud Files folder to store media files that you can access from any system.

Collaborators on a project can use the Creative Cloud Files folder to store and share standard assets like logos or graphic elements. Use the Libraries panel in Premiere Pro to access these files. When you add items to the current project in this way, Premiere Pro will create a copy of them in the scratch disk location you choose here.

Motion Graphics template media Premiere Pro can import and display prebuilt animated Motion Graphics templates and titles that have been created with After Effects or Premiere Pro. When you import a Motion Graphics template into the current project, a copy will be stored in the location you choose. For this project, leave all your scratch disks set to the default option: Same As Project. Choosing ingest settings Professional editors describe adding media to a project as importing or ingesting.

The two words are often used interchangeably but actually have different meanings. When you import a media file into a Premiere Pro project, a clip is created in the project that is linked to the original file. When you enable the ingest options, things are a little bit different.

In the Ingest Settings area, you can enable the Ingest option and choose what to do with media files before they are imported. You can: Note There are several ways to import clips into a project. Once ingest options are enabled, they are applied regardless of the import method you use.

Existing clips that have already been imported into your project will not have ingest options applied automatically. Copy the media files to a new storage location. This option is useful if you want to be sure all your media is in one folder. This option is useful if you choose to standardize your media as part of a larger-scale workflow.

Create Proxies of the media file. This option converts them to lower-resolution files that are easier for a lower-powered computer to play and that take up less storage space. The original media is always available too, and you can switch between the full-quality and proxy-quality files whenever you like.

Copy And Create Proxies to combine copying the original media files to a new location and creating proxies for them.

Now that you have checked that the settings are correct for this project, click OK to apply any changes. Save, and close the project. Both are often described as VR video, or immersive video, where multiple cameras or an extremely wide lens are used to capture a video image that can be viewed with a VR headset to create an immersive experience.

On the VR Video tab in the New Sequence dialog box, you can specify the angle of view captured so Premiere Pro can accurately display the image. VR video is beyond the scope of this book, but it is well worth exploring when you have mastered the basics of video editing. What is the purpose of the Settings tab in the New Sequence dialog box?

How should you choose a sequence preset? What is timecode? How do you create a custom sequence preset? How can you choose where to store temporary files created automatically while editing? The Settings tab is used to customize an existing preset or to create a new custom preset. Premiere Pro makes this easy by describing the presets in terms of camera systems. Timecode is the universal system for measuring time in hours, minutes, seconds, and frames.

The number of frames per second varies depending on the recording format. Use the Scratch Disks settings, which can be found in the Project Settings to specify locations for newly created files. Use the Import command to load graphic files.

Work with proxy media. Use Adobe Stock. Choose where to store cache files. Record a voice-over. This lesson will take about 75 minutes to complete. However you approach editing sequences, importing clips to the Project panel and getting them organized are the first steps. This might include video footage, animation files, narration, music, atmospheric sound, graphics, or photos.

With the exception of graphics and titles that you create in Premiere Pro, items in sequences always appear in the Project panel. For example, if you import a video clip directly to a sequence, it will automatically appear in the Project panel. Continue to work with your project file from the previous lesson, or open it from your hard drive. Browse to Lessons, and save the project with the name My Lesson The pointer is called a clip, and you can think of a clip as a special kind of alias macOS or shortcut Windows.

A copy of the clip is added to the sequence with instructions to play only the part you selected. This changes the apparent duration in the sequence, even though the full original duration in the media file is unchanged and still available.

Also, if you add an effect to a clip to brighten the image, the effect is applied to the clip, not the media file it links to. Media can be imported in three principal ways. By using the Media Browser. Tip Another way to open the Import dialog box is to double-click an empty area of the Project panel. Tip When project ingest options are enabled, they are applied to all newly imported media, regardless of the way it is imported. This means you can avoid dealing with complex camera folder structures and instead work with easyto-browse thumbnails and metadata.

Being able to see this metadata which contains important information, such as clip duration, recording date, and file type makes it easier to select the correct clip in a long list. Like any other panel, you can position the Media Browser in another panel group by dragging its panel name sometimes referred to as the panel tab. You can also undock it to make it a floating panel by clicking the menu next to the panel name and choosing Undock Panel.

The contents of your storage are displayed as navigation folders on the left, with buttons to navigate forward and backward at the top. Opening or browsing projects Premiere Pro allows you to open multiple project files at the same time.

This makes it easy to copy clips from one project to another. You can also browse inside another project file in the Media Browser panel. Use the Media Browser to locate the project file and double-click it to view its contents.

You can select and import clips and sequences to your current Project panel. Projects you browse inside using the Media Browser panel are locked, meaning you cannot make unwanted changes. When copying clips or sequences from one project to another, you are not copying media files—only clips that link to the media files.

You will have to organize the associated media files manually. Once you have selected a folder or media file, you can use arrow keys to select items. There are several benefits to using the Media Browser: Filtering the display while browsing a folder. Correctly displaying media that spans clips across multiple camera media cards.

Premiere Pro will automatically import the files as a single clip even if a longer video file filled a storage card and continued onto another. Viewing and customizing the kinds of metadata to display.

When to use the Import command Using the Import command is straightforward and may match your experience in other applications. This method works best for self-contained assets such as graphics and audio files or video files like.

This importing method is not ideal for file-based camera footage, which often uses complex folder structures with separate files for audio, video, and important additional data describing the footage metadata , or for RAW media files. You may decide it will be more efficient to work with low-resolution copies of your media while you edit and to switch to the full, original-resolution media just before you check your effects and output your finished work.

You can switch between the two types of media whenever you like. Premiere Pro can automate creating proxy files during import. You define the options for ingesting media and creating proxy files using the Ingest Settings tab of the Project Settings dialog box: Copy: When you import media files, Premiere Pro will copy the original files to a location you choose from the Primary Destination menu below. This is a valuable option if you are importing media files directly from your camera storage, because media files must be available to Premiere Pro when your cards are not connected to the computer.

Transcode: When you import media files, Premiere Pro will convert the files to a new format and codec based on the preset you choose and will place the new files in a destination location you choose. This is useful if you are working in a post-production facility that has adopted a standard format and codec for all projects—sometimes called a mezzanine media file. Create Proxies: When you import media files, Premiere Pro creates additional copies that are lower resolution, based on the preset you choose, and stores them in the location you choose from the Proxy Destination menu.

This is useful if you are working on a lower-powered computer or you want to temporarily save on storage space while traveling with a copy of your media. You would not want to use these files for your final delivery, but they open up the option of using a number of collaborative workflows as well as speeding up effect configuration. This helps ensure the files have copied correctly at the expense of extra time to perform the copy. Tip You can add a Toggle Proxies button to the Source Monitor or Program Monitor to quickly switch between viewing proxy or original media.

Copy and Create Proxies: When you import media files, Premiere Pro will copy the original files to a location you choose in the Primary Destination menu and create proxies that are stored in the Proxy Destination menu. This dialog box contains the original project setup options you saw when creating the new project. You can change any setting at any time. By default, all the Ingest options are deselected. Whichever ingest options you choose, those actions will be performed regardless of the way you import media files from now on.

Importantly, files you have already imported are not affected. Enable Ingest by selecting it, and open the adjacent menu to see the options. Choose Create Proxies, open the Preset menu, and try choosing a few options. Look at the Summary in the lower part of the dialog box that explains each option. When you have finished looking at the settings, click Cancel to exit without applying any of the options. Note When you output a sequence that is set to display proxy media, the full-quality original media is automatically used rather than the low-resolution proxy media for the export.

This was just an introduction to the proxy media workflow. For more information about managing proxy files, linking proxy media, and creating new proxy file presets, see the Adobe Premiere Pro Help.

Note To complete this lesson, you will import files from your computer. Be sure you have copied all the lesson files included with this book to your computer. For best results, follow these guidelines no need to follow along for now : Create a new media folder for each project. This will make it easier to differentiate between projects when cleaning up your storage.

Copy camera media to your editing storage with the existing folder structure intact. Be sure to transfer the complete data folder directly from the root directory of the card. For best results, consider using the transfer application that is often included by the camera manufacturer to move your video files. Check that all media files have been copied and that the original card and the copied folder sizes match. Clearly name the copied folder of the media with the camera information, including card number and the date of the shoot.

Create a second copy of the media on a physically separate drive in case of hardware failure. Really do actually create that second copy of your media on a physically separate drive!

Storage can fail without warning… Ideally, create a long-term archive copy of your media using another backup method, such as LTO tape a popular long-term storage system , an external storage drive, or cloud-based file storage.

This is no problem for Premiere Pro because you can mix different types of media in the same sequence. Also, the Media Browser can display almost any media file type. If your system hardware struggles to play highresolution media, you may find it helpful to use proxy files while editing. Image sequences, including DPX.

Blackmagic CinemaDNG. Phantom Cine camera. It has Forward and Back buttons to go through your recent navigation. The contents of a storage location selected in the left area are displayed on the right. Note When importing media, be sure to copy the files to your local storage, or use the project ingest options to create copies before removing your memory cards or external drives.

Continue working with your My Lesson Note When you open a project created on another computer, you may see a message warning you about a missing renderer.

It indicates that the project was last saved with project settings configured for a different or missing GPU. Begin by resetting the workspace to the default; in the Workspaces panel, click Editing.

Then, open the panel menu adjacent to the Editing option, and choose Reset To Saved Layout or double-click the Editing workspace name. Click the Media Browser panel name to bring it to the front of the panel group it should be docked with the Project panel by default.

Tip It can be difficult to find the right key in some keyboard layouts. The Media Browser panel should now fill the screen. You may need to adjust the width of columns to make it easier to see items. Click the Thumbnail View button at the lower left of the Media Browser panel, and drag the resize slider next to it to enlarge the thumbnails of the clips.

Choose any size you like. Note The Media Browser filters out non-media and unsupported files, making it easier to browse for video or audio assets. Tip As you navigate into a folder system, the navigation area on the left of the Media Browser can fill up with folders. Drag the vertical divider to resize the navigation area or scroll within the navigation area to display the folders you are interested in. You can hover your pointer over any clip thumbnail that is not selected, without clicking, to see a preview of the clip contents.

Hovering over the left edge shows the start of the clip; hovering over the right edge shows the end of the clip.

Click any clip once to select it. You can now preview the clip using keyboard shortcuts. When a clip is selected while in thumbnail view, a small preview timeline appears under the clip. Press the L key or the spacebar to play a clip. To stop playback, press the K key or press the spacebar again. To play backward, press the J key. Experiment with playing back other clips. You should be able to hear the clip audio during playback.

You can press the J or L key multiple times to increase the playback rate for fast previews. Use the K key or the spacebar to pause playback. But if code isn’t clean, it can bring a development organization …. Skip to main content. Start your free trial.

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Description Sample Content Updates. The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers.

All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and interactive multiple-choice quizzes. As always with the Classroom in a Book, Instructor Notes are available for teachers to download. Making compositing part of your projects Working with the Opacity effect Working with alpha-channel transparencies Color keying a greenscreen shot Masking clips 16 Creating Titles Getting started An overview of the Titler window Mastering video typography essentials Creating titles Stylizing text Working with shapes and logos Making text roll and crawl Introducing captions 17 Managing Your Projects Getting started Using the File menu Using the Project Manager Performing the final project management steps Importing projects or sequences Managing collaboration Using the Libraries panel Managing your hard drives 18 Exporting Frames, Clips, and Sequences Getting started Overview of export options Exporting single frames Exporting a master copy Working with Adobe Media Encoder Uploading to social media Exchanging with other editing applications.

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Adobe premiere pro cc classroom in a book [2] – replace.me

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