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Adobe Premiere Tutorials
Posted on Dec 02, 2011 at 02:10pm IST
Copyright © : 2013 All rights reserved. © 2013
1. Create a looping soundtrack : Create an original, looping music soundtrack for your Adobe Premiere Pro program using Adobe Audition.
1. Import video into Adobe Audition.
Launch Adobe Audition and choose View > Multitrack View. (If this is the first time you are launching Adobe Audition, Multitrack mode opens first, with initial loop files. If this happens, choose File > New Session and do not save the initial session.) In Multitrack mode, you can mix up to 128 different audio tracks, including tracks from video files you have. Select Track 1 by clicking in any empty space on that track, and choose Insert > Video From File. Choose the video file you want to augment with music and click Open. Adobe Audition places the video on Track 1 and places the audio on Track 2. You also see a window that displays your video so that you can watch the video as you edit the audio.

You can include footage from only one video per session, but you can mix the audio from several videos in a session, up to the 128-track limit. To mix the audio from several videos, select an empty track and choose Insert > Audio from Video File.

2. Import an audio file to loop.
Looping a sampled audio file is the quickest way to create a seamless music soundtrack, and Adobe Audition makes it easy to combine several files of this type. A short audio file works best for loops. To import a file for looping, right-click the next empty track below the video track and choose Insert > Wave From File. Adobe Audition imports the file at the location of the cursor on the track. Right-click and drag the imported file to the location where you want it to begin playing, in relation to the audio track in your imported video file.

To import one of the installed Adobe Audition files, navigate to the program directory and choose a .CEL file from the Audition Theme folder. A .CEL file is an .MP3 file with modifications to it that make it suitable for looping. Adobe Audition includes several such royalty-free .CEL files. In addition, there are roughly 2,000 other loop-ready files on the supplemental CD included with the product.

3. Prepare the file for looping.
Select the imported file and choose View > Loop Properties. In the Wave Block Looping dialog box, make sure that Enable Looping is selected. (If you imported a .CEL file, it is already enabled for looping.) Set the time ruler to display in bars and beats by choosing View > Display Time Format > Bars And Beats.

Aligning your looped audio files is easier when you choose Bars And Beats as your time format. This allows you to time your music according to the number of beats the passages have. See Adobe Audition Help for information on using the Bars And Beats time format.

2. Correct color in video : Learn to use color correction tools in Adobe Premiere Pro to make your video broadcast-ready

1. Optimize your workspace.
Optimize Adobe Premiere Pro to work with color-correction tools by choosing Window > Workspace > Color Correction. This command docks the Effects and Effect Controls windows in the Project window and opens a Reference Monitor window next to the Program view.

Open an existing project that contains clips that need color correction.

  2. Sync the Reference Monitor and Program view.
The Reference Monitor window allows you to view the waveform monitor or vectorscope and clips simultaneously. Choose Gang To Program Monitor from the Reference Monitor menu so that both windows show the same frame in the timeline. Then, choose Waveform from the same menu.

To navigate between frames, use the playback controls in the Reference Monitor window to keep this window in front of the Monitor window.

3. Apply the Color Corrector effect to a clip.
Click the Effects tab in the Project window and type color corrector in the Contains text box. When the Color Corrector effect appears, drag the effect icon to the clip in the Timeline window.

Move the current-time indicator to a frame in the clip and then select the clip in the Timeline window. Click the Effect Controls tab in the Project window to show all effects associated with the selected clip and then expand the Color Corrector effect to view the controls.

3. Overlay and insert clips from the Project window : Perform basic trims and then quickly overlay or insert clips by dragging them directly to the Timeline from the Project window.

1. Turn on Project window thumbnails.
By default, the Project window thumbnails are turned off. However, turning them on gives you a quick look at your footage and helps you view an In point.

After you have captured your clips, and they are all listed in the Project window, click the Project window menu and scroll to Thumbnails. Make sure that there is a checkmark next to Large. If not, choose Large to maximize the size of the footage thumbnail. Then, click the menu and choose Thumbnails again. If there is a check next to Off, choose it to deactiviate it. If you want to preview your video, click the play button next to the preview thumbnail or drag the slider below the thumbnail.

2. Set an In point.
You can now perform a basic trim in the Project window. First, click the Project window menu and choose Edit Columns. In the Edit Columns dialog box, make sure that Video In Point is selected. In the Project window, select your target clip. Locate the Preview thumbnail in the upper left corner of the Project window and make sure that the slider beneath the thumbnail is all the way to the left. Then, click the Poster Frame button. Drag the scroll bar at the bottom of the Project window until you see the Video In Point column appear. Then, when you release the underlined Video In Point value, the footage thumbnail updates to a new In point for your footage.

Note that the poster frame you set is considered the beginning of the footage. For example, if you set the poster point to be 10 seconds into the footage, then when you drag the Video In Point value, the displayed time for that value is measured from the location of the poster frame, not the actual beginning of the footage. Set the poster frame as the first frame of the footage in order for the In point value to be accurate in relation to the actual beginning of the footage.

3. Insert or overlay the clip in the Timeline window.
To insert the clip and subsequently ripple all the clips in the sequence, hold down Ctrl and drag the clip to the sequence.

To overlay the clip, drag it over a section in the sequence. While still holding the mouse button, note the Program view of the Monitor window. In it, you see two images. These images show the range of frames in the sequence that you will replace when you release the mouse button and overlay the clip. When you are satisfied with the placement, release the mouse button.

In the Program view, you see the two frames between which you will be inserting the dragged clip. Drag the clip until you find the exact point where you want to place it, and release the mouse button. Repeat either method for each clip you want to overlay or insert.

   4. Create a picture within a picture : Arrange one video clip over another using the Motion effect to create a picture-in-a-picture or split-screen

1. Import the clips for your image.
Import two video files into a new project. Then, adjust your work area so that itâ?™s laid out for working with effects by choosing Window > Workspace > Effects.

2. Arrange the order of your clips, from top to bottom.
If you want to overlap one clip with another, determine which clip will be in front and move that clip to Video track 3. Place the remaining clip in Video track 2, directly below the clip in track 3. Trim both clips to the same length and align their In and Out points. Next, create a color matte to serve as a border: Choose File > New > Color Matte. Place the color matte on Video track 1 and stretch it to the same length as the clips.

3. Open the Effect Controls window to view the Motion effect.
Select the clip in Video track 3 and choose Window > Effect Controls. The Effect Controls window opens, displaying the Fixed Effects. These effects are built into each clip and allow you to change intrinsic properties of a clip. Expand the Motion effect to view its position, scale, and rotation properties.

4. Click the Motion effect so that itâ?™s highlighted.

The handles that appear on the corners and sides of the clip in the Program view of the Monitor window allow you to manipulate the clip.

If youâ?™re unable to see the clip handles, make sure the Motion effect is selected in the Effect Controls window and change the zoom level of the Program view to a lower percentage.

5. Create a 5.1 surround audio sequence : Set up and mix a sequence for 5.1 surround audio, adjusting levels, panning, and balancing within a 5.1 surround audio field

1. Create a sequence with a 5.1 surround audio master track.
In the Project window, click the New Item button, and choose Sequence. For Master, choose 5.1. (The master track of a sequence must be 5.1 surround for you to mix 5.1 surround audio.) For Mono, Stereo, and 5.1, specify the number of each type of track you need for the source audio you have. Set the other options as desired, and then click OK

2. Import audio clips.
Choose File > Import, select one or more audio tracks, and click Open.

You can also create clips or a 5.1 surround audio mix using Adobe Audition™ and import it into Adobe Premiere Pro. In addition, if you export the Audition audio file using the Project Link option, later you can use the Edit Original command in Adobe Premiere Pro to open the Audition project that created the audio file.

3. Add audio clips to the sequence.
Drag audio clips from the Project window to the 5.1 surround sequence in the Timeline window. You can drag an audio clip only to a track with the same number of channels, so if necessary choose Sequence > Add Tracks to add new tracks containing the number of channels that match the clips you want to import.

You can position monophonic clips anywhere within the 5.1 surround audio field, while stereo clips can only be balanced, and the channels of 5.1 surround clips are simply passed on to the master tracks without modification.

6. Record a voiceover : Record a voiceover directly to an audio track while watching video play back.

1. Connect the microphone.
Connect the audio source or microphone to the sound input port on your computer or sound card.

To confirm that the microphone is properly connected, you can record a short test clip in another audio application such as Sound Recorder, which comes with Windows XP.

2. Activate the appropriate sequence.
If your project contains multiple sequences, activate the sequence in which you want to record audio, by clicking its tab in the Timeline window.

3. Add a track for recording the voiceover.
Choose Sequence > Add Tracks. In the Audio Tracks section, type 1 for the Add option, select an option for Track Placement, and select Mono for Track Type if youâ?™re using a monophonic microphone. Type 0 for the Add option for Video Tracks and Submix Tracks. (If you canâ?™t see the new track in the Audio Mixer window, make the window wider. If you added a mono track to a stereo sequence, itâ?™s probably the only track that has a single VU meter.)

You can record on any audio track, but creating a new one ensures that you donâ?™t accidentally overwrite existing clips.

   7. Stylish titles : Get creative! Let your titles reflect the nature of your movie.

1. Create title text. 
Choose File > New > Title to open the Adobe Title Designer. Select the text tool, click in the design window, and then type the text for your title. Alternatively, you can copy text from another application and paste it into the design window; the text's formatting is overridden by the attributes in the Adobe Title Designer. 
2. Specify the text properties. 
Specify a font, font size, kerning, and other text attributes for the title in the Properties section of the dialog box. If you know which font you want to use, choose it from the Font pop-up menu in the Properties section of the dialog box. To see font samples, choose Title > Font > Browse; as you select a font, Premiere applies it to your title text. 

To change a value in the Object Style section, move the pointer over it until you see a double-arrow, and then drag to the left to decrease the value, or to the right to increase the value. Or, double-click a value and then type a new value in the text box. 
3. Customize the text's fill, stroke, and shadow. 
To add a fill to the text, select Fill and expand the Fill section; choose a fill type, such as a linear gradient, from the Fill Type pop-up menu. You can also add a sheen or a texture to the fill. To outline the text, add inner or outer strokes. To add a drop shadow, select Shadow and expand the Shadow section; then specify the color, opacity, angle, and other attributes of the shadow. To see the titles as they appear with the video currently on the timeline, select Show Video at the top of the Title Designer dialog box. 

To see how the titles appear with darker or lighter sections of the video, move the pointer over the time setting next to the Show Video option until it becomes a double-arrow, and then move it to the right to advance the video. 

  8. Export MPEG files with the Adobe MPEG Encoder :
Create custom settings and export MPEG files from Premiere 6.5 that are ready for transfer to DVD.

1. Prepare the project for export. 
After you edit a project and are ready to export it, choose File > Export Timeline > Adobe MPEG Encoder. 

The first time you use the Adobe MPEG Encoder, you are prompted to activate it. If you have Internet access, click Internet Activation. The browser opens to the Web page containing the activation code. Enter this code in the Activate dialog box, and click Activate. If you don't have Internet access, click Phone Activation, and call the number that appears. Enter the code that you receive, and click Activate. Activation is a one-time process. 
2. Choose preliminary settings. 
The first MPEG Export Settings dialog box displays a summary of all the selections you make for export. In most instances, you can select just one of the MPEG Stream options and export immediately. This method is the preferred method for quick MPEG export. However, if you are experienced with the various components of MPEG file creation, you can edit the export parameters. To edit the parameters, first select DVD, and then click Edit. The Advanced MPEG Settings dialog box appears. 

As mentioned, the default settings suffice for most DVD creation, and they are the recommended settings for export. Though you can manually change specific parameters of an MPEG file, you should do so only if you know exactly the nature of the change and are knowledgeable about the particulars of MPEG compression and playback. 
3. Modify settings. 
The Advanced MPEG Settings dialog box displays four tabs. The panel for each tab contains settings you can modify. The first panel, Basic Settings, displays the overall file settings. The Presets menu contains the available presets for export, each of which has unique settings. The Video Type menu contains the possible destinations for export. Depending upon your choice from the Presets menu, the Video Type menu changes to match. To create a custom setting, however, you must not only choose an option from one of these menus, but you must also manually change a value on any of the panels. For example, if you adjust the Video bitrate slider, you are then creating a custom setting. Click each tab that contains settings you want to modify. 

Many changes you make in these panels are reflected in the MPEG settings summary on the Basic Settings panel. If you make an invalid change (a change that isn't compatible with the selected video type), then the summary lists the change in red. To check whether a change you make in a panel other than Basic Settings is invalid, just click the Basic Settings tab, and check the summary for red text. 

9. Generate real-time previews : The wait is over! With Premiere 6.5, you can now generate instant previews of effects and transitions with the new software-based, real-time preview feature. This tutorial shows you how to use it.
1. Create footage. 
The power of Real-Time preview is best witnessed on areas of the Timeline that contain footage that has several effects applied to it, or footage superimposed with an image that has several effects applied to it. Try this test with a piece of your own footage. First, add it to the Timeline. Then, import an image file, preferably one with an alpha channel, and place it in a superimpose track (Video 2 and higher) above the footage. Next, add at least three effects to the superimposed footage. In this example, we imported a Photoshop file with an alpha channel. To this clip, we added and set keyframes for three computation-intensive effects: Basic 3D, Drop Shadow, and Transform. 
2. Generate a normal preview. 
To see the difference between a normal preview and a Real-Time preview, first generate a normal preview. Isolate the section of the Timeline that contains the clip you created in the previous step by defining a work area that encompasses that section. Save the project, and press Enter. Note that, depending upon processor speed and other system factors, you are prompted to wait--possibly for several minutes--while the preview is rendered. Before rendering is complete, click Stop in the Building Preview window to stop rendering.
Now, contrast the time it takes to generate a Real-Time preview. Make sure that the same section of the Timeline is isolated, as you set up in the previous step. Choose Project > Project Settings > Keyframe and Rendering. In Windows, select Real-Time Preview. In Mac OS, choose To Screen from the Preview menu. Click OK, and press Enter. The footage and the superimposed clip with the effects fully rendered appear immediately. 

Premiere dynamically adjusts video quality and frame rate as it previews in real-time. When Premiere performs a real-time preview on a system with inadequate resources, or on a particularly complex section of the Timeline, the preview quality degrades gracefully. In this instance, fewer frames are played and the video drops to draft quality. 
9. Create rolling multicolumn titles : Everybody gets the credits they deserve when you create titles in Adobe Premiere 6.5. This tutorial shows you how easy it is to use the new Adobe Title Designer to create rolling credits.

1.Set the title to roll. 
In Premiere, choose File > New > Title to open the Adobe Title Designer. From the Title Type menu, choose Roll. 

If you intend to create rolling or crawling titles, make the appropriate choice before creating the title. 
2. Set the title boundaries. 
Select the horizontal type tool, and drag in the drawing area to create a text box. If you intend to create a long list of credits, you can drag the box so that it extends outside the visible area. To view text that you type outside the visible area, use the scroll bars to the right of the drawing area. 

If text extends past the bottom boundary of the text box, you can no longer see it nor scroll to see it. To view this hidden text, enlarge the text box by selecting the selection tool and dragging any control point on the text box. Then, make sure to select the horizontal type tool before continuing to type text. 

  3. Display the tab markers. 

Choose Title > View > Tab Markers. No tab markers appear yet-you won't see them until you create tab stops. 

Tab markers are vertical lines that depict the location of the tab stops. They are merely visual guides to the alignment of text, so they don't appear in the previews or renders of a title.