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You can also use Morph Cut to effectively rearrange clips in your interview footage to ensure a smooth flow without any jumps in visual continuity. Morph Cut uses an advanced combination of face tracking and optical flow interpolation to create a seamless transition between clips. When used effectively, a Morph Cut transition can be so seamless that it looks as natural as shooting the video without unwanted pauses or words that can break the narrative flow.
Important: For best results, apply Morph Cut to fixed shots that have a single talking head and a static background. You can remove clips from your sequence in different ways, like lift and extract, delete, and ripple-delete. To see how you can do it in different ways, see this video tutorial.
To avoid lip sync problems, apply Morph Cut between places where the last or first words of the speech peak. You can also use audio waveforms to help identify areas with a natural pause and make your cuts there. After you apply the Morph Cut effect, analysis of the clip begins immediately in the background. As analysis begins, an "Analyzing in background" banner displays within the Program Monitor indicating that analysis is occurring.
After analysis is complete, a symmetrical transition is created, centered at the edit point. The transition duration matches the default of 30 frames specified for Video Transition Default Duration. You can change the default duration using the Preferences dialog. If the lip movements and voice are not exactly in sync or the results are not satisfactory, change the In and Out points or adjust the duration of the transition.
Every time you make changes to a selected Morph Cut, or even undo a change, Premiere Pro retriggers a new analysis. However, you don't need to delete any previously analyzed data.
Click on the image you have chosen. The following technique works better with images that you have manually scaled down rather than when you have scaled using Scale to Frame Size. Place the Timeline indicator anywhere over the chosen image clip, and then move it to the first frame of that clip by pressing the up arrow on the keyboard.
In this example, the scale of this image church bells , has been reduced to At that same frame point, the y axis has been adjusted, so the top of the picture is just outside the top edge of the video-playing area. You may want to set your image to this setting in order to easily follow the next few steps.
Making sure the Timeline indicator is at the start of the clip, toggle animation on for the Position and Scale values by clicking once on the Stop Watch icon for each function. A keyframe has now been created at the start of the clip for Position and Scale. Move the Timeline indicator to the end of the clip by pressing the down arrow, then pressing the left arrow once, so you can see the last frame of that image.
Adjust the Position and Scale values to suit your needs. The y axis and the x axis were then adjusted to center that zoom on the church bells. This combination creates a zoom and pan effect highlighting the church bells over a smooth 5 second playback period. Play your version of this back and you may notice the start and end to the zoom are a little sudden. To create a smoother start to the animation, drag a bounding box around the first keyframes in the effects panel with the mouse button held down.
This will highlight both keyframes. Right-click on one of the keyframes and select Temporal Interpolation Ease Out.
Repeat this for the last keyframes in the effect panel, but select Temporal Interpolation Ease In. If you have a panoramic photo, perhaps created from several images stitched together, you can create an interesting pan and scan effect using just the Position keyframes. Keyframes are dealt with throughout this book, including the ability to copy and paste keyframes from one media clip to another.
This allows you to match up the relative movement and positioning of those clips without having to manually redo it each time. You've completed some of your first keyframe techniques in this book. It's a theme you will return to again and again when using Premiere Pro CS6, so it's good to get comfortable with these functions while working on a relatively easy project.
Up arrow : This key moves to the previous edit point first frame of the selected clip. Down arrow : This key moves to the next edit point last frame of the selected clip. The options available when right-clicking on a keyframe extend beyond Ease In and Ease Out.
Experiment with how these work and what difference they would have on your keyframe movements by placing an oversized image on the Timeline and adding key frames for pan and zoom. Then, right-click on the keyframes and look at the effect each option gives. Your project is nearly finished; it just needs a few final touches, such as some transitions please, not too many to smooth the flow of information to your audience.
In this section, you will learn how to apply the default transition to your montage. Technically, a straight jump cut, where one clip ends and another starts with no visible transition in place, is a transition—the scene transitions from one clip to another.
Try to hang on to that concept and allow yourself to say three times each day; I do not need to add spectacular, tumbling, over-the-top transitions to my movie scenes to make them look good. Although, you might want to think of a shorter version, just so you can get to work on time. The point I am trying to make is if you watch any movie, outside of extreme comedy genres and a few Spielberg films Indiana Jones features Saturday Morning sliding transitions , a transition is something that you will rarely see.
If you do see one, it will probably be a straight dissolve and there is a good reason for this; it's one of the few transitions that doesn't distract the audience's attention from what they are watching. Adobe has made the dissolve transition the default transition for this reason. The moral of this story is, use transitions sparingly, even the dissolve, and use other types of transitions only when the genre will support its use.
Find two clips on the Timeline and place the Timeline indicator roughly over the edit point where the two clips meet on the Timeline. Transitions are normally used for slow moving montages, such as weddings or relaxing holiday videos, or a romantic film. They can also be used in action films but usually only when the montage is set to a slow beat music tempo, and the scenes are being shown in slow motion.
The transition will place itself between the clips or to one side if one of the clips is a subclip. To alter this, double-click on the actual transition on the Timeline, and this will open the Cross Dissolve Effect Controls panel. To alter the default duration of the cross dissolve, place the cursor just under the Duration figure until you get a double-headed arrow; drag to the left-hand side to decrease the duration and to the right-hand side to increase the duration.
To fine-tune the start or end points of the transition, toggle on Show Actual Sources , then drag the sliders until you are satisfied with the results. When adding a transition between a video file and an image, the transition defaults to End at Cut. If you change this to Center at Cut , the display can show static frames repeated frames in Adobe Jargon. This is because there isn't enough video on the tail of the clip to dissolve into the next clip.
To correct this, open the Cross Dissolve Effects panel as described in step 3, then move the Timeline indicator to one side, so you can see the edit decision point of these clips.
Change the alignment to Center at Cut if you haven't already done that. In the center, you should see a small gray line indicating the physical end of the clip; the section beyond that is the static frame area repeated frames.
Place your cursor over this line, so that it shows as a yellow bracket with a left or right facing arrow. With the mouse button held down, drag the tail end of the clip to the right until it reaches the end of the transition. Note that this will move the edit point of this clip a corresponding amount on the Timeline. If you are transitioning between two subclips, you may have to repeat steps 7 and 8 on both tracks in the Cross Dissolve Effects panel.
You can add transitions to multiple clips on the Timeline by dragging a selection around the clips, and then from the drop-down menu, click on Sequence Apply Default Transitions to Selection. This task saw the introduction of transitions—a video effect often used and abused by many amateur video makers. Hopefully, through this section, you have learned how to master transitions without letting them master you. The default transition can be changed to include any of the many and often for good reasons unused transitions.
Browse through the transitions until you find one you like or at least one you can stomach , then right-click on it and select Set Selected as Default Transition. You've now completed the first project in this book and learned some useful organizational skills, the importance of which cannot be understated.
The more you organize yourself before you even think about launching Premiere Pro CS6, the less time you'll need to spend on housekeeping the project. And less time spent worrying over where that vital image, music, or video file has hidden itself on your hard drive translates to more time being spent on creativity.
This project also showed you the simple yet powerful technique of taming those huge video files by dividing them into manageable subclips, and you learned how to automate a whole bunch of clips onto the Timeline, automatically aligning themselves to the beat of your chosen music.
You also learned how to correct troublesome keyboard shortcuts on non-U. You finished by adding some transitions to the project and hopefully learnt that when it comes to transitions—less is most definitely more!
Keyframing and the trim tool also made brief appearances in this project. Don't worry, we'll go into these tools in more depth in later projects. Overall, you should have found this project to be an easygoing introduction into some of the more complex functions that Premiere Pro CS6 has to offer.
That's a deliberate attempt to ease you into the more advanced workflows that you will begin to discover in the coming projects. It's a common saying that films are never finished, they're just abandoned.
This points to the fact that whenever a group of creative people get together, they will always want to adjust, trim, and optimize the project in one way or another, often to the point where it's no longer watchable.
Films generally only make it to release because of real-life problems like unavoidable deadlines! That being said, this project is just the start of what's possible, and it's time now to take the Gung Ho challenge:.
Go back over your montage and ask yourself if all of the cuts are really hitting the beat. If not, zoom right in on the Timeline and make macro adjustments to the timing. Look again at the transitions. Do they need to be longer, shorter, or there at all?
If you have placed movement on your image files using the Effects Motion control, alter the keyframing, Ease In and Ease Out controls, to see what effect they have, and try some of the other interpolation settings.
Last of all, save this project in a safe place as some of the techniques you will learn in later projects, such as Nested Sequences , Motion Titles , and Export Options can and should be added and used with this.
Paul Ekert started getting interested in video editing during the mid 90s when various exciting but crude video editing devices came to market. He soon moved away from this somewhat unreliable technology and transferred to MiroMotion capture cards Miro were later bought by Pinnacle , which took the radical approach of downloading video from a camera to a PC's hard drive. The default software for these cards was Adobe Premiere. In the late 90s, he started working for a computer supplier, who specialized in building bespoke systems for non-linear editing, predominantly using Adobe Premiere with various hardware combinations supplied by Pinnacle and Matrox.
He left this firm to work in the QA department of Pinnacle, one of the leading suppliers of non-linear editing hardware, who were eventually bought by Avid. In , he left to pursue a career as a freelance writer. Since that time, he has written five books on video editing, one based on Premiere Pro CS3 and another on Premiere Elements 7 special effects based book. During this time, he wrote, filmed, directed, and edited several short films, some of which can be seen on his website.
In all, he has over two decades experience in using non-linear editing programs, in particular, Adobe Premiere.
He is interested in most things that come under the heading of geeky. He is never really content to look at something and be impressed with what it does; he always needs to lift the hood, look underneath, and work out exactly how everything works. Of late, he has become fascinated with low-cost animation products such as iClone, and low-cost special effects tools such as HitFilm. He also maintains a long running interest in PC hardware and is always fascinated with various cameras; usually the ones just out of his price range.
Find him at trade fairs drooling over them! He is also a writer of plays, films scripts, novels, short stories, non-fiction books, and the odd poem. Examples of all these can be found on his website, www. During the last few years, he has felt privileged to live a life where he can create and write, and he values the sometimes painful months he spent creating Ordinary Monsters, his first published novel now available for the Kindle.
He believes that all writing involves equal amounts of pleasure and pain, just like life. The trick is to enjoy and embrace them both. About this book Adobe Premiere Pro has become synonymous with video editing, in the same way Photoshop has become a byword for image manipulation.
Publication date: February Publisher Packt. Pages ISBN Chapter 1. Creating a Movie Montage — the Easy Way. Mission Briefing. Why Is It Awesome? Your Hotshot Objectives. Streamlining Premiere Pro CS6 — organizing your media and the interface Music markers matter placing beat markers on the Timeline Subclips tame video clips Final preparation the selection and rejection of your clips Creating a running order Fine-tuning the edit Correct aspect ratios Finishing touches.
Mission Checklist. Note For an example of music used in a counterintuitive way, take a look at the following aerobatic video edited in November by the author of this book, at tinyurl. Note For more information on designated hard drives and the necessity of creating the copies of assets in a separate folder, specifically, when working with Premiere Pro CS6, please see Preface , Basic Video Editing Tips in this book.
Several features of the Adobe Premiere family are non-linear video editing , metadata and ingest logging, media output encoding, and more. From Wikipedia, the free encyclopedia. Video editing software. This article has multiple issues.
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June Retrieved August 5, Adobe Premiere Pro system requirements. Adobe Systems. Retrieved December 21, Retrieved March 25, MediaSilo Blog. Archived from the original on November 23, Retrieved May 27, Press Release. April 16, Archived from the original on May 13, Retrieved May 2, Customer Stories: Video, Film, and Audio. January 14, Archived from the original on March 24, You will see a highlighted blue area in the scrubber bar below the clip showing the selected area.
The in and out points can be adjusted by clicking and dragging on either edge of the blue section of the scrub bar. If you want to put a new clip at a point in the timeline where it will overlap with an existing clip, you have two options:. You can do Overwrite or Insert edits by moving a new clip to the same track in the Timeline as the existing clip or by putting the new clip on a new video track above the existing clip. If you do an Insert edit on a new track, it will still split the original clip on the track below.
When you drag a clip to the timeline, Premiere will automatically overwrite the overlapping portion of the existing clip with the new clip. This will be indicated by an arrow pointing down. That will split the existing clip on the Timeline and move the rest of the clip further to the right on the timeline to make room for the new clip.
This is indicated by an arrow pointing to the right. In the Project pane, click to highlight the video clip you want to insert into the timeline. If you use the keyboard shortcuts or the buttons, Premiere Pro will place the clip where your playhead the vertical blue line is located in your timeline.
You can control where clips go when you add them from the source monitor, or when you copy and paste them. The rows with blue highlighted letters, to the left side of the Timeline pane, control where video clips are placed.
The far left side refers to what is in your source window. The below image is saying I have a clip loaded that has one video track and two audio tracks, and that if I drag it into the timeline, it would be placed on video track V1 and audio tracks A1 and A2. You can move these targets around to change where clips will be placed. In the below image you can see that the source targeting has been moved to video track V3 and audio tracks A3 and A4.
When clips are added from the source window, this is where they will be placed. This is called Track Targeting. So if you copy a clip, by default it will paste into video track V1, but you could change that by clicking the highlighted video and audio tracks to turn targeting on or off. By default, clips will paste into the innermost targeted track. So right now, if I copied and pasted a clip, it would appear in video track V3 and audio tracks A3 and A4.
By default, Premiere Pro provides three tracks of video and six tracks of audio in the timeline. You can create additional tracks by dragging clips above or below the outermost tracks. You can also create additional tracks in the horizontal menu at the top of the screen. A new window will appear called Add Tracks. Enter the number of video and audio tracks you would like to add, and choose where they will be placed. Click OK to add the tracks.
If you have multiple tracks of video, whatever video is on the top track in the timeline will be shown when the sequence is played, and any other video clips underneath will not be seen. If you have multiple audio tracks then all the audio will play simultaneously no matter which is above or below the others on the timeline. To hide the video from a particular track in the timeline:. You can set markers on clips in the Source, Timeline or Program panes to help keep track of clips when editing video and audio.
The marker creates a snap-point on a clip or the timeline that the playhead will lock onto. You can set a marker during audio editing at the downbeat so you then can position a video clip to begin at precisely that point. When using multiple markers, it can be helpful to change the color of a marker and give it a name.
To edit, right click on the selected marker, and choose Edit Marker… from the dropdown menu. You can change the name and color of the marker in the window that opens, and click OK. Audio tracks, both those associated with your video or independent tracks that are just audio, are displayed below the video tracks on your timeline. In Premiere, there is a horizontal line through the waveform that represents the base audio level. You can drag this line up or down to adjust the volume of the clip.
You also can raise or lower the audio at multiple points within a clip to create fade ins and fade outs with your audio. Do this at the points where you want the audio to change. Another way to do add keyframes is by selecting the Pen from the tool palette, and clicking on the white line. This indicates you can change the audio level by clicking, holding down your mouse and dragging the keyframe higher to increase the audio or lower to decrease audio.
The audio level line will change accordingly. If the audio level line slopes up from one keyframe to the next, the audio will fade in. If the audio level line slopes down from one keyframe to the next, the audio will fade out. You also can drag a keyframe to the left or right to adjust where fade ins and fade outs begin and end.
One of the most commonly used transitions is the cross dissolve. You can also use the search bar to locate a specific transition you want to use. To add the transition between two clips in your timeline, position your playhead between the clips, then select the transition you want to use. The transition is shown as a gray bar connecting the clips. A faster way to add a cross dissolve between two clips is to use a keyboard shortcut.
The Cross Dissolve transition will be added here, as well as Constant Power, which fades in and out audio between clips.
You can remove any of these elements by clicking the gray bar and pressing Delete on your keyboard. For the same effect, you can also right click, and select Apply Default Transitions. By default transitions are one second long. Once zoomed in, you can click on the edge of the transition and drag to extend or shorten the transition.
You can hold the Shift key to move one edge of the transition at a time. First, position your playhead over the approximate area in your Timeline sequence where you want the title to start. With the text tool selected, you can drag and draw a text box in the Program window upper right and start typing. The title will appear as a clip in the timeline, which you can extend or move just like video footage.
You can switch back to the pointer tool shortcut V to move the title around the image, or move it on the timeline. Double click the text box to switch back to the text tool to edit the contents. To edit the titles in-depth, open the Effect Controls tab in the Source pane top left. Here you can adjust font, size, style, etc. To change the color of the text, click on the colored square called Fill.
The text color is set to white by default.
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