| Introduction |
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1 | (4) |
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1 | (1) |
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How this book is organized |
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2 | (1) |
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3 | (1) |
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4 | (1) |
| Part 1 Getting Familiar With The Adobe Premiere Pro Universe |
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5 | (62) |
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Chapter 1 Perusing the Premiere Pro Landscape |
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7 | (14) |
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Understanding What Premiere Pro Can Do |
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8 | (1) |
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8 | (3) |
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Breaking down the interface |
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9 | (1) |
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9 | (1) |
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10 | (1) |
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Getting around the workspace |
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10 | (1) |
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Having a Panel Discussion |
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11 | (7) |
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Knowing the Project panel |
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11 | (2) |
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Spending some time with the Timeline panel |
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13 | (1) |
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Making the most of the Source and Program Monitors |
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14 | (1) |
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Grasping the Effects and Effect Controls panels |
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15 | (1) |
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Feeling out the other panels |
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16 | (2) |
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18 | (1) |
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Tooling Around the Toolbar |
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18 | (3) |
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Chapter 2 Understanding the Premiere Pro Workspace |
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21 | (24) |
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22 | (5) |
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Working with your computer platform |
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22 | (1) |
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22 | (2) |
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24 | (1) |
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Naming PC models is a little harder |
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24 | (2) |
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The systems are not that far apart |
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26 | (1) |
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Look before you leap on your PC |
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26 | (1) |
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Understanding Workstation Requirements |
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27 | (3) |
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Determining if your computer is right |
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28 | (1) |
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Breaking down the differences between Mac and PC |
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29 | (1) |
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Respecting the graphics card |
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29 | (1) |
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30 | (1) |
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30 | (1) |
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More Hard Drive Space, Please |
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30 | (3) |
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31 | (1) |
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31 | (1) |
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Not all hard drives are created equal |
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32 | (1) |
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32 | (1) |
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Managing other computer components |
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33 | (1) |
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Keying into keyboard types |
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33 | (1) |
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33 | (1) |
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34 | (1) |
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34 | (7) |
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34 | (1) |
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Top-of-the-line video cameras |
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35 | (1) |
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36 | (1) |
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Consumer-level camcorders |
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36 | (1) |
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Digital single-lens reflex |
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37 | (1) |
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Point-and-shoot video options |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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Card readers and capture devices |
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39 | (1) |
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40 | (1) |
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40 | (1) |
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41 | (4) |
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42 | (1) |
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42 | (1) |
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Professional photographer |
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42 | (1) |
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43 | (1) |
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43 | (2) |
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Chapter 3 Adjusting Premiere Pro to Suit Your Needs |
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45 | (22) |
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Setting Up Your Workspace |
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45 | (12) |
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Subscribing and installing software |
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46 | (1) |
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46 | (1) |
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46 | (3) |
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49 | (1) |
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Adding a clip description |
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49 | (1) |
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Customizing and saving your workspace |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (1) |
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51 | (1) |
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Using your iPad as a second monitor |
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52 | (1) |
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53 | (1) |
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Using a broadcast monitor |
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53 | (1) |
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Breaking down keyboard shortcuts |
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54 | (1) |
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Personalizing keyboard commands |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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Setting your scratch disk |
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56 | (1) |
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57 | (1) |
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Pointing in the right direction |
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57 | (1) |
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Tweaking Program Settings |
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57 | (4) |
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58 | (2) |
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60 | (1) |
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60 | (1) |
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61 | (8) |
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61 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (1) |
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Modifying the Project panel |
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63 | (1) |
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Freestyling with Freeform |
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63 | (1) |
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Understanding the Audio Mixers |
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64 | (2) |
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66 | (1) |
| Part 2 Gathering Content |
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67 | (50) |
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Chapter 4 Sorting Out the Elements of Video Production |
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69 | (16) |
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69 | (3) |
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70 | (1) |
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70 | (1) |
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High Definition is the flavor of the day |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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Explaining Digital Video Fundamentals |
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72 | (3) |
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Understanding how video works |
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72 | (1) |
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Dealing with aspect ratio |
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73 | (1) |
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73 | (1) |
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74 | (1) |
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74 | (1) |
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Breaking down the best file types |
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74 | (1) |
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75 | (10) |
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75 | (2) |
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77 | (2) |
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79 | (1) |
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80 | (1) |
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80 | (1) |
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Communicating through light |
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81 | (1) |
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81 | (2) |
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The French call it mise-en-scene |
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83 | (2) |
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Chapter 5 Prepping Your Movie Projects |
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85 | (16) |
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86 | (2) |
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86 | (2) |
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Opening an existing project |
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88 | (1) |
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88 | (6) |
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88 | (1) |
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89 | (1) |
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Getting those preferences right |
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89 | (2) |
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91 | (1) |
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91 | (1) |
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92 | (1) |
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Scratching the scratch drive surface |
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92 | (2) |
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94 | (7) |
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94 | (1) |
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94 | (2) |
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96 | (1) |
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Increasing the height of the video and audio tracks |
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97 | (1) |
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Fill the screen with a panel |
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98 | (3) |
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Chapter 6 Importing Media into a Project |
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101 | (16) |
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102 | (10) |
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102 | (1) |
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103 | (1) |
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Transferring from a card reader |
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103 | (2) |
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Editing directly from a card |
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105 | (1) |
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Capturing tape from a camcorder |
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105 | (2) |
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107 | (1) |
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107 | (1) |
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Adding music and audio clips |
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108 | (1) |
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108 | (1) |
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108 | (1) |
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109 | (1) |
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109 | (1) |
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Grabbing royalty-free music from the web |
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110 | (1) |
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Prepping still images for the timeline |
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111 | (1) |
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112 | (7) |
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113 | (1) |
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113 | (1) |
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113 | (2) |
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115 | (1) |
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115 | (1) |
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116 | (1) |
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116 | (1) |
| Part 3 Editing Your Masterpiece |
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117 | (158) |
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Chapter 7 Preparing Your Video for Editing |
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119 | (14) |
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Getting the Lowdown on Your Clips |
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120 | (3) |
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120 | (1) |
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Keeping bins lean and clean |
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121 | (1) |
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121 | (1) |
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Altering playback resolution |
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122 | (1) |
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Knowing how far can you go |
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122 | (1) |
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Changing playback resolution |
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123 | (1) |
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Working the In and Out Points |
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123 | (5) |
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Setting In and Out points |
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123 | (2) |
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125 | (1) |
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125 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (1) |
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128 | (5) |
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Scrubbing through the clip |
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128 | (1) |
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128 | (1) |
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128 | (1) |
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Marking the scrubbed clip |
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128 | (1) |
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129 | (1) |
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129 | (1) |
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130 | (1) |
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130 | (1) |
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130 | (1) |
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Understanding Clip/Speed Duration |
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131 | (1) |
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Rippling through the Ripple tools |
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131 | (1) |
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132 | (1) |
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132 | (1) |
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Chapter 8 Editing in the Timeline |
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133 | (16) |
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134 | (5) |
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134 | (1) |
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134 | (1) |
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135 | (1) |
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136 | (1) |
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Dragging clips into the timeline |
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136 | (1) |
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Adding clips through the Program panel |
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136 | (1) |
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Source Patching and Targeting |
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137 | (1) |
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What you drag isn't always what you get |
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138 | (1) |
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139 | (4) |
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139 | (1) |
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Handling enough clip frames to trim |
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140 | (1) |
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140 | (1) |
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Expanding to see waveforms |
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141 | (1) |
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141 | (2) |
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Choosing Insert Frame Hold Segment |
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143 | (1) |
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143 | (6) |
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More advanced clip movement |
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143 | (1) |
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Using the Track Select tool |
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143 | (1) |
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Overwrite a clip with an adjacent clip |
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143 | (1) |
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Considering the three-point edit |
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144 | (1) |
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145 | (1) |
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146 | (1) |
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147 | (2) |
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Chapter 9 Transitioning between Clips |
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149 | (12) |
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Choosing Effective Transitions |
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150 | (3) |
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Perusing the transition palette |
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151 | (1) |
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Why do you need transitions? |
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151 | (2) |
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153 | (5) |
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Setting default transitions |
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155 | (1) |
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Apply default transitions |
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156 | (1) |
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156 | (2) |
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158 | (1) |
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Advanced Transition Techniques |
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158 | (3) |
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Planning for your transitions |
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159 | (1) |
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159 | (1) |
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Differentiating transitions in the timeline |
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159 | (1) |
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Changing and deleting transitions |
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159 | (1) |
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Copying and pasting transitions |
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160 | (1) |
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Plug in to your transitions |
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160 | (1) |
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Chapter 10 Finishing Your Edited Video |
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161 | (20) |
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Exercising Video Correction |
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161 | (4) |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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Cropping to fill the frame |
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163 | (1) |
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What can you do about it? |
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164 | (1) |
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Correcting Color and Tone |
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165 | (6) |
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165 | (1) |
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Understanding the Lumetri Color Landscape |
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166 | (1) |
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167 | (2) |
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Making a quick correction |
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169 | (1) |
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170 | (1) |
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170 | (1) |
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Matching color in the scene |
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171 | (1) |
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171 | (4) |
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172 | (1) |
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Different scopes for different folks |
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173 | (1) |
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Defining the "scope" of terms |
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174 | (1) |
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Exploring Some Advanced Techniques |
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175 | (6) |
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175 | (1) |
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Making an informed decision |
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176 | (1) |
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176 | (1) |
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177 | (1) |
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178 | (1) |
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Quickly correct luminance |
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178 | (1) |
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Color correction with an Adjustment Layer |
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179 | (2) |
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Chapter 11 Constructing the Video Composite |
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181 | (26) |
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Understanding Compositing |
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182 | (13) |
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182 | (1) |
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Adjusting opacity to reveal |
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183 | (1) |
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183 | (1) |
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Using the Opacity and Blend modes |
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184 | (1) |
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Striking the right balance between clips |
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184 | (3) |
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Let's look at the Blend modes |
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187 | (1) |
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Introducing the Blend modes |
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187 | (5) |
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Applying a Blend mode to an adjustment layer |
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192 | (1) |
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Transform effect and adjustment layers |
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192 | (1) |
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192 | (1) |
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Working with the nested clip |
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193 | (1) |
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Understanding alpha channels |
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193 | (2) |
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195 | (4) |
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195 | (1) |
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196 | (3) |
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Compositing with Special Effects |
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199 | (8) |
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199 | (1) |
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199 | (1) |
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Shooting your very own chroma key |
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199 | (2) |
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Putting your green-screen composite together |
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201 | (1) |
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202 | (1) |
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202 | (2) |
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Making clips side-by-side |
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204 | (3) |
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Chapter 12 Choosing Cool Effects for Your Movie |
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207 | (20) |
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207 | (8) |
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Enhancing the look of your video |
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208 | (1) |
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Improving the scene with Lighting Effects |
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208 | (1) |
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Controlling Lighting Effects |
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209 | (1) |
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Breaking down light types |
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210 | (2) |
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212 | (2) |
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214 | (1) |
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215 | (7) |
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Dealing with shaky footage |
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215 | (1) |
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Understanding Warp Stabilization |
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215 | (1) |
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Warp Stabilization settings |
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216 | (1) |
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217 | (1) |
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Using Blur under a still image |
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217 | (2) |
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219 | (1) |
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219 | (1) |
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220 | (1) |
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221 | (1) |
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222 | (5) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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Trying Turbulent Displace |
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224 | (3) |
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Chapter 13 Working with Audio |
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227 | (22) |
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Understanding Your Audio Needs |
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227 | (5) |
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228 | (1) |
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228 | (1) |
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229 | (1) |
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230 | (1) |
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230 | (1) |
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Simplifying varying audio levels |
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231 | (1) |
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Beginning with Recording the Audio |
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232 | (3) |
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Considerations for capturing audio |
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233 | (1) |
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Be aware of sound on the scene |
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233 | (2) |
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Working with Audio in Your Movie |
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235 | (4) |
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Linking and unlinking tracks |
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235 | (2) |
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Working with separate tracks |
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237 | (2) |
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Navigating the Essential Sound Panel |
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239 | (10) |
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Using the Essential Sound panel |
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239 | (1) |
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Working with audio tracks in the Essential Sound panel |
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240 | (1) |
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241 | (1) |
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Assigning audio track roles |
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241 | (1) |
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Delving into the Dialogue presets |
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241 | (2) |
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Looking into the Music option |
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243 | (1) |
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244 | (1) |
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245 | (1) |
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Making voices sound better |
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246 | (3) |
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Chapter 14 Dazzling with Titles and Graphics |
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249 | (26) |
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Understanding Titles and Motion Graphics |
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250 | (1) |
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250 | (1) |
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Navigating the Essential Graphics panel |
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250 | (1) |
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250 | (1) |
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251 | (5) |
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252 | (1) |
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253 | (1) |
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Understanding Create Captions Controls |
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254 | (1) |
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255 | (1) |
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255 | (1) |
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Searching for a graphic is easy |
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256 | (21) |
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256 | (1) |
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257 | (1) |
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Putting words on the screen |
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258 | (1) |
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Breaking down text adjustments |
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258 | (1) |
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258 | (2) |
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260 | (1) |
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260 | (1) |
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260 | (1) |
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261 | (1) |
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261 | (1) |
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Title Safe and Action Safe |
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262 | (1) |
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263 | (1) |
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263 | (1) |
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263 | (1) |
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Arranging your opening movie credits |
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264 | (1) |
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265 | (1) |
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Adding credits to your movie |
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266 | (1) |
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Making your own rolling credits |
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266 | (4) |
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Identifying a subject with a lower third |
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270 | (1) |
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270 | (1) |
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Making a (simple) motion title |
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271 | (4) |
| Part 4 Finishing Off Your Project |
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275 | (58) |
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Chapter 15 Finalizing Your Project |
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277 | (18) |
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Being Your Own QC Monitor |
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278 | (2) |
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278 | (1) |
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278 | (2) |
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280 | (1) |
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Checking graphics and titles |
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280 | (1) |
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280 | (4) |
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281 | (1) |
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281 | (1) |
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Watching on an external monitor |
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282 | (1) |
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282 | (1) |
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283 | (1) |
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283 | (1) |
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Hearing with your eyes closed |
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283 | (1) |
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Fine-Tuning Video for Export |
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284 | (11) |
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284 | (1) |
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284 | (1) |
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Bumping up the preview quality |
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285 | (1) |
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286 | (2) |
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Checking the timeline closely |
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288 | (1) |
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288 | (1) |
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289 | (1) |
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290 | (1) |
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Here's how to make a freeze frame |
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291 | (1) |
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Exporting a JPEG sequence |
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292 | (3) |
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Chapter 16 Kicking Out Your Movie |
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295 | (14) |
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295 | (9) |
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Familiarizing yourself with the Export panel |
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297 | (1) |
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297 | (1) |
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298 | (1) |
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Understand the top video file extensions |
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298 | (1) |
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299 | (1) |
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300 | (1) |
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The lower section of the Export panel |
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300 | (1) |
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300 | (1) |
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301 | (1) |
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Knowing the difference between file containers and codecs |
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302 | (1) |
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Setting output names for delivery |
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303 | (1) |
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Choosing the Right File Format for Your Needs |
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304 | (5) |
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Exporting uncompressed video as a master file |
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304 | (1) |
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305 | (1) |
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Exporting a portion of the movie |
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306 | (1) |
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Pointing the file to a folder |
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306 | (1) |
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Saving settings for future exports |
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306 | (1) |
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Converting outside Premiere Pro |
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307 | (2) |
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Chapter 17 Spanning the Globe with Your Movie |
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309 | (24) |
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310 | (4) |
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310 | (1) |
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310 | (1) |
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311 | (1) |
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311 | (1) |
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Playing on a home theater |
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312 | (1) |
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Cast a movie on your iPhone or iPad |
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313 | (1) |
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A warning about intellectual property |
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313 | (1) |
|
Using the World's Largest Screening Room |
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314 | (6) |
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314 | (1) |
|
Sharing videos on YouTube |
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315 | (2) |
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317 | (3) |
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320 | (5) |
|
Showing your movie on Facebook |
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321 | (1) |
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321 | (2) |
|
Twitter video is meant to be short |
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323 | (1) |
|
Twitter video upload requirements |
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324 | (1) |
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324 | (1) |
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325 | (3) |
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325 | (1) |
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326 | (1) |
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326 | (1) |
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327 | (1) |
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327 | (1) |
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327 | (1) |
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328 | (7) |
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328 | (2) |
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330 | (1) |
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330 | (1) |
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331 | (1) |
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332 | (1) |
| Part 5 The Part Of Tens |
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333 | (30) |
|
Chapter 18 Ten Ideas for Making Fantastic Movies |
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335 | (10) |
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Making Your Own Brady Bunch Opening (Or Something Like It) |
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336 | (1) |
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Exploiting Montage Editing |
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337 | (1) |
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Showing Restraint While Using Plug-ins |
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338 | (1) |
|
Transforming Your Movie to Film Noir |
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339 | (1) |
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Making Still Images Move (The Ken Burns Effect) |
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340 | (1) |
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340 | (1) |
|
Producing Your Own News Segment |
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341 | (1) |
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Using Transitions to Help Tell the Story |
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342 | (1) |
|
Applying a Filter Over Your Movie |
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343 | (1) |
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Having Fun by Reversing Motion |
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|
344 | (1) |
|
Chapter 19 Ten Essential Premiere Pro Plug-Ins |
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|
345 | (6) |
|
Knocking Out Your Movie with the Cine Punch Bundle |
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|
346 | (1) |
|
Roll with Motion Array Premiere Pro Transitions |
|
|
346 | (1) |
|
Making Your Still Photo "Pop" Using Photo Montage 2 |
|
|
347 | (1) |
|
Producing the Look of Film Stock with Film Convert Nitrate |
|
|
347 | (1) |
|
Emulating Star Wars Opening Titles with the Free Star Titler |
|
|
347 | (1) |
|
Sweetening Up Audio with Accusonus ERA 5 Bundle |
|
|
348 | (1) |
|
Prettying Up Your Subject's Skin Tones with Make Up Artist 3 |
|
|
348 | (1) |
|
Adding Pizazz between Shots with Andy's Swish Transitions |
|
|
348 | (1) |
|
Making Seamless Time-Lapse and Slow-Motion Video with Flicker Free |
|
|
349 | (1) |
|
Simulating Beams of Light Coming through Portals with Light Rays |
|
|
349 | (2) |
|
Chapter 20 Ten Tips for Making Video Easier to Edit |
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|
351 | (12) |
|
Shooting Movies "Horizontally" with Your Smartphone |
|
|
352 | (1) |
|
Producing Better Video to Edit by Keeping It Steady |
|
|
353 | (1) |
|
Shooting to Edit for Quicker Turnaround |
|
|
354 | (2) |
|
Taking Advantage of Natural Light |
|
|
356 | (1) |
|
Handling Each Shot for Your Edit |
|
|
357 | (1) |
|
Seeing True Video Quality with a Calibrated Monitor |
|
|
358 | (1) |
|
Adding Drives for Scratch Space |
|
|
358 | (1) |
|
Ditching the Pinhole for a Microphone |
|
|
359 | (1) |
|
Using an Audio Recorder for Great Sound |
|
|
360 | (1) |
|
Converting Master Files into the Right Format |
|
|
360 | (3) |
| Index |
|
363 | |
