- Hi, my name's Rich Harrington, and welcome tothis course where we'll be exploring Dynamic Link.Dynamic Link is a collection of technologiesdesigned to make it easier for workflow.Ultimately, you'll be working withAdobe Premiere Pro, but it's super easyto hand off files to many differentapplications in the Adobe Suite.We'll be taking a look at how simpleit is to jump to applications likeAfter Effects for motion graphics,or Adobe Audition to enhance audio.Additionally, there are other technologiesthat don't technically fall underDynamic Link, but make it easy touse commands like edit in or smart objectsso that you can easily exchange filesand assets without extra hurdles.
The goal here is to reduce the overallamount of rendering and how manyfiles you have to hand back and forth.Every time you end up duplicatingan asset or making a new version,it's one more thing to keep track ofand one more file to back up, and ultimately,one more file on your hard drive.In this course, we've got a lot of things to explore.First, we'll cover what is Dynamic Link.It requires you to really think throughhow you're going to approach the projectand what steps you want to work with.Adobe gives you many different waysfrom constantly leaving things linkedto using Dynamic Link temporarilyand then switching over to rendered files. Then we'll focus on the relationshipbetween Premiere Pro and After Effects.These two applications are designedto work very well together andseveral recent updates improve thisby making it even easier to exchangeessential graphics between the two programs.We'll then explore the Audition workflow.Adobe Audition is designed to makeit easier to enhance your audio.A lot of this functionality hasmade it into the essential audio panel,but I'll still show you how you caneasily exchange clips and sequencesinto Audition for advanced repair. We'll then talk about using Adobe Photoshopto prepare your still images, as wellas how to to advanced processing to video clips.There are many reasons to jump toPhotoshop and I'll show you howeasy it is to switch from Premiere to Photoshop.Then we'll talk about Prelude.Normally, Prelude is used at the beginningof a project to get assets organized,but I've put it here toward the end as it'slikely a big change in workflow for many of you.We'll also talk about some otheradvanced options of working inside of Premiere Pro. This'll include how to make the bestchoices when it comes to takingadvantage of things like slow motion effectsand how to handle the render filesassociated with Dynamic Link clips.There's a lot of different choices to makewhen it comes to how your media is handled.We've got a lot of ground to cover, so let's get started.
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Sequence Presets on Premiere Pro CS6Hi everyone, I just grabbed a copy of Adobe Premiere Pro CS6 because I want to leave Sony Vegas once and for all. The thing is I really don't know what to do with the beginning of the project, in the Sequence Preset selector. And I have no idea which one to use for editing gameplay + facecam recordings. I record my cam with a 640x480 resolution @ 30fps and the gameplay with a 1280x720 resolution @ 30 FPS. Can anyone help me? Thanks in advance.
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Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences.
Premiere Pro allows you to specify the settings for each sequence, trim clips, and assemble clips in sequences. Every Premiere Pro project can contain one or more sequences, and each sequence in a project can have different settings. You can assemble and rearrange sequences in one or more Timeline panels, where their clips, transitions, and effects are represented graphically. A sequence can consist of multiple video and audio tracks running parallel in a Timeline panel. Multiple tracks are used to superimpose or mix clips. A sequence must contain at least one video track and one audio track. Sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing. Multiple audio tracks are used to mix audio A single Timeline panel appears in a frame in the lower central portion of the screen when you launch Premiere Pro. You can open any of its default workspaces, or create a project. You can remove all sequences from a Timeline panel, or add multiple sequences to it. Each sequence appears as a tab within that Timeline panel. You can also open multiple Timeline panels, each within its own frame, with each containing any number of sequences. You can show or hide items by selecting, or deselecting them in the Timeline panel menu. These items include: time ruler numbers, and the work area bar. To open a new sequence in a timeline panel, double click the sequence in the Project Panel. The sequence opens in a new tab in the Timeline panel. You can open more than one Timeline panel if you have more than one sequence in a project. When you open a sequence, it opens in a new tab. Drag the tab into another docking area. The sequence appears in a new timeline. A Timeline panel contains several controls for moving through the frames of a sequence. A. Time ruler B. Work area bar C. Playhead D. Playhead position E. Zoom scroll bar Time rulerTime ruler measures sequences time horizontally. Numbers indicate that the sequence time is displayed along the ruler from left to right. They change according to the level of detail at which you view the sequence. By default, these numbers are based on the timecode display style specified in the Display Format field of the Sequence Settings dialog box. Work area barWork area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. The work area bar is located in the lower portion of the time ruler. The work area bar is not available by default. To activate it, click the three stacked lines next to the sequence name and choose Work Area Bar from the drop-down list. You can drag the edges of the work area bar, or use keyboard shortcuts to set the work area in a sequence. For details, see Define the work area for rendering. PlayheadPlayhead, formerly called the Current-Time Indicator or CTI, indicates the current frame displayed in the Program Monitor. The current frame displays in the Program Monitor. The playhead is a blue triangle on the ruler. A vertical line extends from the playhead to the bottom of the time ruler. You can change the current time by dragging the playhead. Playhead PositionPlayhead position shows the timecode for the current frame in a Timeline panel. To move to a different time, click in the Playhead position and enter a new time. You can also place the pointer over the display and drag left or right. You can change the display between timecode and the simple frame count. Ctrl-click (Windows) or Command-click (macOS) the current time in either a monitor or a Timeline panel. Zoom scroll barZoom scroll bar is at the bottom of the Timeline panel. This bar corresponds with the visible area of the time ruler in the Timeline. The Source Monitor and Program Monitor also have zoom scroll bars. You can drag the handles to change the width of the bar and change the scale of the time ruler.
Source track indicatorSource track indicator represents a video or audio track of the clip in the Source Monitor. Place into the head of the Timeline track where you want to insert or overwrite the source clip track. Position the playhead in Timeline panelTo position the playhead in the timeline panel, do any of the following:
Move the playhead using timecodeTo move to playhead using timecode, click the timecode value in the Playhead Position. Type a new time, and press Enter (Windows) or Return (macOS). Do not use the number pad on macOS. You can use any of the following shortcuts when entering timecode:
Note: You can also position the Selectiontool over the timecode value and drag to the left or right. Thefarther you drag, the more quickly the timecode changes. Snap to clip edges and markersTo snap to clip edges and markers, shift-drag the playhead in a Timeline panel. Zoom into or out of a sequence in timeline panelTo zoom into or out of a sequence in the timeline, do one of the following:
Scroll horizontally in a sequence in timeline panelWhen you have a long sequence of clips, many of them are out of view. If a clip is out of view, scroll horizontally in your sequence in the Timeline panel. For each of these commands, the Timeline panel need not be selected, however, your mouse must hover over the Timeline panel.
Scroll vertically in a sequence in timeline panelWhen video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view. If a clip is out of view, scroll vertically in your sequence in the Timeline. Do one of the following to scroll vertically in a sequence in the Timeline. For each of these commands, the Timeline panel need not be selected, however, your mouse must hover over the Timeline panel.
You can arrange, edit and, add special effects to clips in the video and audio tracks of the Timeline panel. You can add or remove tracks as needed, rename them, and determine which to affect by a procedure.
A. Video track B. Audio track
New video tracks appear above existing videotracks, and new audio tracks appear below existing audio tracks.Deleting a track removes all clips in the track but does not affectsource clips listed in the Project panel. Note: Any number of tracks can be added to a project, limited only by your system’s resources. You can add a track as you add a clip to the sequence. See Add a track while adding a clip.
You can delete one or more tracks at a time,whether video or audio.
By enabling Sync Lock on tracks, you can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple trim. If a clip is part of an operation, the track shifts regardless of their sync-lock state. The other tracks shift their clip content to the right only if their sync lock is enabled.
The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks. To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon. Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In a Timeline panel, a pattern of slashes appears over a locked track. Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence. If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target track, it is no longer the target. Source clips cannot be added to the track until you unlock it and target it again. Note: Youcan lock a track to prevent it from shifting when you perform insertedits. Missing network drivers windows 10.
You can exclude video or audio clips in any track from previews and export. Clips in excluded video tracks appear as black video in the Program Monitor and in output files. Clips in excluded audio tracks are not output to the Audio Mixer, to the speakers, or to output files. Click to hide the Eye icon(for video) or the Mute icon (for audio) at the left edge of the track. (Each icon is a toggle switch. Click its box again to display the icon and include the track.) Note: Excluding a track with the Eye icon does not exclude it from outputs. If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video appears before or after the last clips in the non-excluded tracks. To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box. To exclude all video or all audio tracks, Shift-click to hide the Eye icon(for video) or the Speaker icon (for audio). It excludes all tracks of the same type. (Each icon is a toggle switch. Shift-click its box again to display all the icons and include the tracks.) You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track. You can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type. You can expand a track to display track controls.Increase the height of a track to better see icons and keyframesor to display larger views of video track thumbnails and audio trackwaveforms. To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon appears. Then drag up or down to resize the track below (for video) or the track above (for audio). Collapsed tracks always appear at the same height and cannot be resized. Note: You can expand an audio trackto use the audio fade line for either individual clips in that trackor for the entire audio track. To resize the track header section, position the pointer over the right edge of the track header so that the resize icon appears. Then drag the right edge. The icons at the top of the track header limit its minimum width. The maximum width is about twice the minimum width.
Note: Forinformation about viewing and adjusting keyframes in video and audio tracks,see Viewkeyframes and graphs. You can create a sequence by dragging the asset to the New Item button at the bottom of the Project panel. You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings. If you plan to specify lower quality settings for output (such as streaming web video), don’t change your sequence settings. Instead, change your export settings later. Note: When a merged clip is used to create a Sequence from Clip, there are empty stereo audio tracks, depending on the media format. You can delete the empty stereo audio tracks if you want. Youcan create a sequence from a selected clip which matches its attributesby doing the following: The sequence settings must be correct when you create the sequence. Sequence settings like timebase are locked once the sequence is created. It prevents unwanted inconsistencies that could result from changing sequence settings later. When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence setting preset. If you want full control over almost all the sequence parameters, start a new sequence and customize its settings. Creating a sequence opens the New Sequence dialog box. The New Sequence dialog box contains three tabs, each with various settings: Sequence Presets, General, and Tracks. Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed, like the following:
These sequence settings presets contain the correct settings for the most typical sequence types. For example, use the AVC-Intra, DVCPRO50, and DVCPROHD sequence setting presets to edit AVC-Intra or DVCPRO material shot on Panasonic P2 video cameras. For DV25 material recorded in Panasonic P2 format, use a preset for DV-NTSC or DV-PAL, depending on the television standard of the footage. Note: Ifyou must change sequence settings that are unavailable, you cancreate a sequence with the settings you want. Then move the contentsof the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters. However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence. To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence. After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings. Asset parameters include the following:
You can use the Properties panel to discover many of these parameters for your assets. For more information, see Viewing clip properties. Alternatively, you can use a third-party application, such as the freeware MediaInfo or GSpot Codec Information Appliance. To find the codecs used to generate a file, you can also choose Window > Show Movie Inspector in Apple QuickTime Player. Assets can use codecs not supported natively by Premiere Pro. Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system. To customize most sequence settings, you muststart a new sequence, select an existing preset, and change itssettings. Note: Every editing mode does not support every possible frame rate. To create a custom preset with, for example, a 23.976-fps, select “Custom” as the Editing Mode. Then, select 23.976-fps frame rate from the Timebase menu.
You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed.
The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project. For example, if your target output is DV NTSC, use the DV NTSC editing mode. Changing these settings arbitrarily often results in a loss of quality. Editing Mode Editing mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card. The editing mode does not determine the format of your final movie. Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Note: (Windows only) To access the Uncompressed UYVY 422 8-Bit codec or the V210 10-bit YUV codec, select Desktop for the Editing Mode. Timebase Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. In general, choose 24 for editing motion-picture film, 25 for editing PAL (European standard) and SECAM video, and 29.97 for editing NTSC (North American standard) video. Video
Note: When working with NTSC video assets, use 30-fps drop-frame timecode. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately. Audio
Video Previews
Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here. Maximum Bit Depth Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences. This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit (256-color) palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files. Maximum Render Quality Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply. At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with enough RAM. The Maximum Render Quality option is not recommended for systems with the minimum required RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening. Note: For best results with Maximum Render Quality, select Memory from the Optimize Rendering For menu in preferences. For more information, see Optimize rendering for available memory. Save Preset Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Note: Save and name your sequence settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings. Note: Some sequence presets have only one file format and codec choice. Create a widescreen sequenceYou can edit widescreen footage shot in DV,HDV, or HD formats. To display and play back widescreen assets correctly,you must set your sequence settings to accommodate widescreen assets.
Create an HDV or HD sequenceYou can edit HDV footage or HD footage in 720p, 1080p, or 1080i. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage. The DVCPROHD presets included with are for editing material recorded to MXF files with a Panasonic P2 camcorder. Premiere Pro has presets also for AVCHD, XDCAM HD, and XDCAM EX. More HD sequence presets are installed into Premiere Pro when an HD capture card that supports Premiere Pro is installed. For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence.
Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage. For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help. Create a sequence with uncompressed video playbackFor the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. Uncompressed 8 bit (4:2:2 YUV) is suitable for projects meant for SD output, while Uncompressed 10 bit (4:2:2 YUV) is best for projects meant for HD. Also, with Uncompressed 10-bit (4:2:2 YUV) and high bit-depth color rendering Premiere Pro uses the color information in 10-bit assets and up samples other assets in a sequence to generate 10-bit preview files. Premiere Pro delivers the best preview performance when using these preview file formats on a system with a supported SD-SDI or HD-SDI card installed. Both these uncompressed formats do subsample video files at 4:2:2 YUV. Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression. And hence retain much higher color depth in the previews than the compressed formats. Therefore, uncompressed preview files can be quite a bit larger than compressed preview files.
Create 24p sequencesFootage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced (progressive) fps is called 24p footage. This footage emulates film in its picture quality and depiction of movement. The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines (not from interlaced half-frame fields). 24p formats have become popular among low-budget digital filmmakers because they lend a film look to its subjects. Adobe Premiere Pro Sequence PresetsPremiere Pro includes two alternate 24p pulldown schemes for DV 24p: Repeat Frame and Interlaced Frame. Both options convert 24p footage so that it plays back at 29.97 fps, but there are subtle visual and performance differences between them. You can select one of these options in the New Sequence settings when starting a new DV-24p sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and 24-Pa footage only from cameras using these pulldown schemes.
Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. You set playback settings when you create a sequence.
By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation.
When you import 24p footage, Premiere Pro treats it as 23.976-fps progressive footage. When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in 30-fps non-drop-frame timecode. When you log 24p footage for capture, you log clips according to the camera’s timecode count of 30- fps non-drop-frame timecode. If you use 30-fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as 23.976, but the timebase as 29.97. If you’d prefer to read a clip’s original timecode, do the following: Adobe Premiere Cs6 Sequence Presets
Start a mobile device sequenceYou can edit video for delivery to mobile phones, portable media players, and other portable devices. Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices.
A single project can contain multiple sequences with different settings. You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created.
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