a PDF with the full Table of Content here

The Cool Stuff in Premiere Pro
Published by Jarle Leirpoll, Elverum, Norway, April 2015
EAN/ISBN for PDF version: ISBN 978-82-993648-7-4
Sponsored by Østnorsk Filmsenter AS
(East Norwegian Film Center), www.ostnorskfilm.no
Layout by Steve Williams, Red Inc.
http://redinc8.wix.com/redinc
Visit the books web site at http://premierepro.net
for lots of tutorials, free presets and templates.
To navigate this PDF file, click the logo in the top banner on any page
to go to the Table of Contents.
Click the name of the chapter in the footer to go to the start of the chapter.
Click any topic in the table of contents to go to
the page where that topic starts.
Foreword
Why I wrote this book
Jarle Leirpoll, Photo by Polina Sudokova
It’s been bothering me for a few years that there were no
really advanced books on editing in Premiere Pro. The
existing books tend to start from scratch and take the
reader to a certain level. That leaves no room for the really
advanced stuff.
A few years back, I read Mark Christiansen’s excellent book
on Compositing in After Effects. It was very hands-on and
practical, and at the same time it had the technical info that
visual effects professionals need to work efficiently in the
high-end VFX industry.
I wanted to write a book for video and film editors with the same level of practical and
hands-on info for professional editors, as well as those who want to become professional
editors. My assumption is readers are already familiar with the basics of Premiere Pro
software, though there should be new and useful information here for editors of all levels.
My sincere thanks to:
Everyone who has given me permission to use their footage, and to those who shot and
created specific video or stills material for me. There would be no book without you!
Grete Nordhagen, my partner in love – for your patience and support. My grown-up
children Anders and Marte, and my bonus daughters Tove and Ida – you have not gotten
the attention you deserve while I was writing, but you never complained.
Fredrik Johannesson (former Adobe), who once believed I would be the perfect person to
present new versions of Adobe software to Norwegians, and got me into beta testing of
Adobe software. You changed my life!
All my students. Your questions have forced me to always explain not only how, but also
why we do things one way instead of another. I’ve learned a lot from that.
Immanuel Heims, for proofreading. You’ve spotted hundreds of errors.
Huge heaps of thanks go to the entire Adobe Premiere Pro team who have patiently
answered my geeky questions, and a very special thank you to David Kuspa, Al Mooney
and Steve Hoeg. Other Adobe people who have helped me a lot are Max Hagelstam, Colin
Smith (former Adobe), Todd Kopriva and Kevin Monahan. It’s always a pleasure to work
with you all!
Jarle Leirpoll, Elverum, Norway, March 31, 2015.
The Cool Stuff in Premiere Pro
3
Contents
Foreword
Why I wrote this book
My sincere thanks to:
3
3
3
Accelerated workflow
13
Get better Results, faster – much faster 13
Before you start editing
14
Copy Folder Template
14
Create a new Premiere Project
16
Import Template Project
16
Import all the Media via the Media Browser
17
Create Bin from Media Browser
17
Sorting the Clips into Bins
18
Time for Backup
19
Renaming Clips
20
Add Metadata
21
Decide what Metadata to see in the Project
22
Locating Assets in the Project
23
Advanced Search and Search Bins
23
Metadata Origins
24
Sidecar File or Embedded Metadata?
24
Understanding Clip Metadata and File Metadata
24
Link Clip Metadata to File Metadata
25
Deciding on your Keywords
25
Use older Versions for Speech Recognition
26
Order Transcripts online
26
Add Markers
26
Change Marker Colors with Shortcuts
27
Search for Markers in Zipped Project File
27
Use Labels to quickly find Stuff in Timelines and Bins 27
Decide what to do with your Audio
28
Merge Clips? I don’t think so!
29
Backup again
29
Do it!
30
The Rough Cut (String-Out Sequence)
30
To Hover Scrub, or not to Hover Scrub
30
Storyboarding31
Top & Tail Editing
33
Quick Navigation in the Timeline
35
Keep Notes inside of Premiere
36
Trimming and Fine Tuning
36
Dynamic Trimming
38
Avoid complex Timelines - use Nesting 39
Nesting Gotchas
43
Make it shine
46
4
Color Grading
47
Effects and Compositing
47
Motion Graphics
47
Sound Mix
48
Get a second Opinion
49
Output49
Creating a Master File
49
Export to Blu-ray and DVD
50
For the Web, and for Playback on Mac and PC
50
Putting it on the Shelf
50
Make Sequence and Project Dupes
50
Offline (Proxy) Editing
51
Render & Replace
51
More Workflow Tips
51
Comments and Suggestions are welcome
51
Audio in Premiere Pro
53
Oh, what a difference a sound makes 53
Audio adds to the continuity
54
Audio quality matters
54
Always record sound
54
Temporal relations of sound
55
Types of Audio
55
SOT55
MOS55
Dialog56
Ambience, Nat-sound, Atmos, Presence
56
Room tone
56
Wild sound
56
Silence56
Foley56
Sound Motif
57
Sound FX
57
Make your own Sound FX
57
Walla58
ADR, Dubbing, Looping
58
Voice-Over (Narration)
59
Music59
The Audio Chain in Premiere 59
Channel Mapping
60
Audio Gain
60
Clip Volume
60
Clip Channel Volume
61
Clip Audio Effects
61
Clip Pan
62
Track Effects
62
Track Volume, Solo and Mute
63
Post-Fader Track Effects
63
Foreword
Channel Output Mapping
63
Track Meters
64
Track Assignment
64
Track Pan
64
What about Sends?
65
Nesting65
Audio Track Types in Premiere
65
Standard Tracks
65
Mono Tracks
65
Adaptive Tracks
65
5.1 Tracks
66
Master Track
66
Submix Tracks
66
Audio Stuff in the Project Panel
67
Preferences for Audio Channel Mapping
67
Audio Settings for FCP 7 and Avid users
67
Other Audio Preferences
68
Audio channel patching in the Project Panel
69
Get rid of audio channels
70
Modify Audio on Sequences
70
Working with dual system sound
70
Gaining and Normalizing in the Project Panel
72
Break out to mono and Extract Audio
72
Speech Analysis
72
Audio Stuff in the Source Monitor
73
Adjust Audio Volume in Source Monitor
73
Audio waveform in the Source Monitor
74
Edit Multi-Clips in the Source Monitor
75
Audio Stuff in the Timeline
75
Using a Control Surface
75
Ways to adjust Audio Level
76
Panning81
Fast forward with better audio
82
Select Source Audio Channels
82
Changing Source Channel in the Timeline
82
Source Assignment presets
83
Track Height Presets AKA Timeline Views
83
Audio Crossfades
Long exponential fade
Sample accurate audio editing
Recording Voice Over
Merge clips
Linked clips, AKA Multi-Clips
Grouping clips
Time Remapping and Audio
Multi-channel Audio
Multichannel Mono Set-Up
The Cool Stuff in Premiere Pro
85
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89
89
90
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90
What did we just accomplish?
94
Multichannel Adaptive Tracks Set-Up
94
Many other set-ups are possible
95
Editors do it differently
95
Who needs 32 Output Channels?
96
Tweak the Audio Meters
96
Audio Output Mapping preference
96
Multi-channel Audio Export
97
Multichannel out
97
Export Discrete QuickTime Tracks
97
5.1 Track Layout for QuickTime
98
Audio Sweetening, Mastering and Mixing 98
Audio Sweetening and Mastering
98
Mixing Audio
98
Miscellaneous Mixing tips
99
We need variation
99
Choose your reference level
99
Loudness Radar
100
Use Audition for Legalizing
100
Normalizing101
Submixes101
Fill Left with Right/Fill Right with Left
102
Listen in a loop
102
Equalizing102
Targeted switch
103
Dynamics103
Reverb and delays 106
5.1 mixing and editing
108
5.1 Sequence Setup in Premiere
108
Using 5.1 clips in a Multichannel Sequence
110
Sending 5.1 and Stereo to separate Output Channels 110
Sound effects
111
Scary voice
112
Telephone voice
112
Distortion113
Guitar Suite for Distoriton
113
DeNoiser is OK for analogue tape noise
113
Third-Party Audio Plug-ins
113
Using Audition
114
Edit in Audition 114
Fix Problematic Audio
115
Get Audition’s Sound FX & Music Library
117
Speech Volume Leveler
117
Match Volume
118
Make Your Audio Broadcast Compliant 118
Generate Noise and Tones
118
Film Projector Sound 119
Do your final audio mix in Audition
120
5
Export OMF from Audition
Premiere Pro Sequence Audio Signal Path
Color Grading in Premiere Pro 121
122
123
Bring your images to a new level of awesome! 123
If your film isn’t graded, it isn’t finished 123
It’s not black magic
123
You can use the Monitor you have
124
Color Correction, Grading or Look Design?
124
Why color grade in Premiere?
124
Grading Software may cause a convoluted Workflow 125
Is this Chapter for you?
125
How much can you push it?
126
What is YUV?
127
Chroma Compression via Subsampling
128
LIN, LOG and RAW formats explained
129
Why we get clipped highlights and crushed blacks 129
Working with LOG Material
132
Use LUTs and Looks in Premiere with Lumetri
132
Tweaking the Camera Settings
133
Working with RAW Footage
135
Working with ARRIRAW Material
135
Working with CinemaDNG Material
136
Sony RAW
136
REDCODE RAW
137
Cinestyle vs RAW
138
32-bit Magic
139
Transcoding does not increase Quality
139
See the 32-bit Magic in Action
140
Multi-Generation Production Workflows
143
8-Bit Effects Advice
143
Using the Scopes
144
The Reference Monitor
144
Why use Scopes?
144
Scopes are partially rendered on the GPU
144
GPU accelerated Scopes in real-time
145
Color Correction Workflow Overview
152
Workflow for Primary Color Correction
155
Curves – my Grading Tool of Choice
158
The versatile Three-way Color Corrector
160
Memory Colors
161
Skin Tone
162
Sky163
Foliage and Grass
164
Perceived Color and Contrast
164
Secondary Color Correction
165
Qualifiers165
Masking166
6
Random Masking Tips
168
Tracking Masks
169
Combine Qualifiers and Masks
172
Use Masks and Curves for Dodge & Burn
172
Vignettes173
Shot matching
174
Procedure for matching shots 176
Walkthrough of a simple shot matching job
177
Miscellaneous tips on shot matching
179
Fixing problematic Video
180
Achieving a “Look”
185
Sepia186
Bleach Bypass 186
Teal & Orange
188
Presets – your secret Weapon
190
More useful Presets you may need
190
Additional Tips on Color Grading
199
Master Clip Effects
201
Use Adjustment Layer as an Effect Preset
202
Use a neutral Image to assist your Color Matching
202
Use Difference Mode to see what you need to add 203
Huge Project Size with Warp Stabilizer
204
Don’t make Color Grading your only Tool
204
Graphics in Motion
205
A few Workflow Tips before we start
206
The Building Blocks of Motion Graphics
206
Animating a Path on a Map
208
Rotating Earth
211
Video inside Text
215
Comic Book Video Presentation
216
A grungy Frame for Stills and Video
220
Band-Aid holds Images
221
Notepad Paper
222
Polaroid Images on Cork Board
227
Dangling Sign
229
Reflections231
Cover Flow
232
Splatter235
Silhouettes235
Lower Thirds
236
Use a dedicated Workspace
238
Some Samples
239
Put Logos on separate Layers
240
Use Photoshop to automate Title Creation
240
End Credits
241
Pro’s use more interesting Fonts
241
Pro’s use simple Color Schemes
241
Foreword
Pro’s use smaller Font Sizes
242
Remedy for Jittery and stuttering Rolling Text or Pans 242
Creating Smooth Rolling Titles
243
Windows Set-Up
243
Mac OS Set-Up
244
HDMI on an HDTV Set should be a safe Bet
244
Settings in Premiere
245
Now for a Smooth Credit Roll – the easy Way!
245
Smooth Credit Roll with smooth slow-down
246
Create a Smooth Pan on an Image
248
Does it have to roll?
249
Subtitles250
Create Subtitles in Premiere
250
Creating Subtitles with third-party Software
252
Creating SRT Files with Notepad
254
What to do with the exported Subtitles File
254
Use Microsoft Word (!)
255
Text Techniques in the Titler 255
Set new Font as the default
255
Animate your Text Effects
257
Glowing Text 259
Slant it
261
Texturize it
265
Add some Bounce
267
Add some 3D
269
Computer Gibberish
269
Word Clouds
270
Titler Tips 271
Think BIG
271
Use Align & Distribute
271
Do the Math
272
Copy smart
273
Move the Anchor Point to a good Position
273
Use Integers in Sizes and Positions
274
Use the Shape Tools as a starting Point
274
Copy Color the easy Way
275
Center your Titles if you animate them
275
Save a Title with special Characters
277
The Titler – so much more than Text 277
Can you draw it in the Titler?
277
Shiny Buttons
279
Easy Button
280
Simple Text Box with rounded Corners
280
Magazine style Text Box
281
Motion Graphics for non-standard Screens 281
Vertical Screen Ads
281
Stadium Advertising LED banners
283
Clear Channel 2 Screen Set-Up
286
The Cool Stuff in Premiere Pro
Video for any Screen
286
Output to Video Walls and non-standard Screens
287
Split Screens and PiPs 288
Split Screen Basics
288
Vertical Split Collage
288
Making the Mattes
288
Placing Clips in nested Sequences
289
Stack it all
289
Nice and tidy Many-Ups
290
Picture in Picture (PiP)
290
More advanced Split Screens
292
Random Motion Graphics Tips
293
Add Motion Blur with the Transform Effect
293
Use Live Type and Motion Files in Premiere
294
Royalty Free Video on Vimeo
294
Free Map Resources
295
Get rid of unwanted Fonts
295
Hebrew295
That’s it!
295
Compositing in Premiere Pro 297
The wonderful and versatile Track Matte Key 297
What can the Track Matte Key do?
298
Witness Protection Effect
299
More Track Matte Fun with more Sources
302
Track Matte Key as a Wipe Transition
303
Use a Texture or a Video Clip as your Matte
305
Re-lighting a Scene with Track Matte Key
306
Using Secondary Color Correction for Track Mattes 306
Digital make-up
308
Blending Modes
310
The five most useful Blending Modes
310
Cycle through Blending Modes
311
Some cool uses of Blending Modes
312
Keying Skills
316
Lighting for Chroma Key
317
Shooting for Chroma Key 318
One-click Key? No, it’s never that easy
321
Garbage mattes
321
Core Matte 322
Edge Key
323
Use separate Settings on different Areas of the Image 324
Fine-tuning your Key
325
Sharpen the Composite Image
326
Blur the Edge
328
Light Wrap
329
Matching color
333
What have we achieved with all this?
335
7
Now match everything else
335
Ultra Key Tips
339
Third-party Plug-Ins
341
Some good ones
341
Cycore plug-ins in Premiere
342
Compositing in AE
343
Track Matte Workaround
343
Composite in Linear Mode
343
Choose the right Blur
344
Premultiplied and Straight Alpha
345
RAW Formats in VFX
345
Free Green Screen Plates
345
Current Bug with Adjustment Layers and Track Matte 346
Editing Tips & Techniques 347
Random Time-saving Tips to boost your Editing 347
JKL on Steroids
347
Other Keyboard Shortcuts and Modifiers
347
Multi-Sequence Workflow Tips
350
Nesting352
Un-Nesting352
Sometimes, Grouping is better
353
Random Tips for Project Panel and Bins
353
Random Info about the Premiere Pro Timeline
354
Preview Render Codec
354
Audio Track Types
354
Hide Keyframes in New Sequences
354
Track Targeting and Source Patching Behavior
355
Sync Lock Behavior
355
Which Settings where?
356
Making Selections
357
Playback Resolution is stored per Sequence
357
Allow current Tool to change Trim Type
357
FX Badge Color Codes
358
Navigating the Timeline
358
Deleting multiple Gaps in a Track at once
359
Adding Gaps
360
Delete many Keyframes
360
Copy/Paste Transitions to multiple Edit Points
360
Working with Interlaced Footage
360
Interlaced Footage in an Interlaced Sequence
361
Progressive Footage in an Interlaced Sequence
361
Psf Footage in Premiere
361
Closed Captions
362
Moving, adjusting and swapping Clips
363
Dragging Video and Audio to different Tracks
363
What exactly are Three and Four Point Edits?
363
Understanding Slip and Slide Edits
364
Moving Clips
365
8
Rolling Edits Ripple Edits
Extend Edits
Lift and Extract
Replace Edit
Replace with Clip, Match Frame
Shuffle Editing
Get back missing Video or Audio
Disable – don’t delete
Trim with the Keyboard
Trim Preferences
Ripple Trim to Playhead
Trim or Extend to Playhead
Time-saving Trim Shortcuts
Selecting Trim Points with the Mouse
Dynamic Trimming
Juggling Frame Rates and Manipulating Time
Freeze Frames
Easy Fast and Slow Motion
Change Duration of many Clips
Rate Stretch Tool
Mixing Frame Rates
Time Remapping for variable Speed
Removing the Time Remapping effect
Time Remapping in the Effect Controls Panel
Refine Time Remapping in After Effects
Fit to fill
Time Warp
So what Method will give the best Slo-Mo?
Some Shutter Speed Science
24p Footage and Pulldown
23.976 in 24 – and the other way around
Removing Pulldown with After Effects
Working with Still Images
Still Image Duration
Large Stills and RAM
Set your Rendering Preferences
Still Image Flicker Removal
Storyboarding a Still Image Sequence
Pan & Scan Photo Montage
Working with Image Sequences
Editing Time-Lapse Footage
Editing Stop Motion Animation
Multi-Camera Editing
Multi-Camera from Bin
Camera Order
Choose what to do with Audio
Multi-Camera Audio Channels Preset
365
365
366
367
368
369
369
370
370
371
372
372
373
374
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375
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376
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388
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389
390
392
394
397
397
397
400
400
403
Foreword
Create a Multi-Camera Source Sequence from scratch403
Flatten the Edit
407
Manual Sync Offsets
407
Multi-Camera Color Correction
408
Multi-Camera instead of Merge Clips
408
Multi-Camera Interview Editing 410
Multi-Camera Cooking Show
410
Multi-Camera Reality Shows
411
Multi-Camera Performance
411
Cut with Proxies, link to High-Res
412
File Metadata and Proxies
413
Quasi-Proxy Editing
413
Random Multi-Camera Editing Tips
414
Multi-Camera can be cut on all Tracks
414
There is no “right” Way to cut Multi-Camera
417
Multi-Camera Gotchas
418
Match to Timecode – Poor Man’s Multi-Camera
418
Working with multiple Projects 419
Multiple Media Browsers
419
Open in Source Monitor
419
Open in Timeline
419
Disable writing Clip Markers to XMP
419
Customizing Premiere Pro
Customization is all about Speed Prepare to be amazed Sync Settings
Custom Workspaces and UI Tweaks
Use Clever Names for Workspaces
Hidden Secrets in Panel Menus
Get Rid of the Button Row
Icon View vs List View
Make a Favorite Effects Bin
Create Custom Presets in existing Effect Presets Bin
Populate the Media Browser Favorites List
Custom Metadata Columns in Media Browser
Zoom your UI
Custom Label Colors and Label Names
Custom Label Keyboard Shortcuts
Custom Track Heights
Customize the Track Headers
Customize Metadata
File Metadata vs Clip Metadata
File Metadata can cause slow Back-Ups
Metadata Preferences
Link Clip Data to XMP Metadata
Custom Metadata Fields and Schemas
Manage Metadata Sets
The Cool Stuff in Premiere Pro
421
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422
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423
424
424
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427
427
429
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436
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437
Customize the Metadata View in Bins
437
Metadata Display Settings saved with the Workspace 438
Adding Metadata to Clips
438
Custom Project Templates 439
Custom Start-Up Projects
439
Audio Templates
440
Custom Helper Projects
440
Making a Self-Contained Template Project
441
Using the Template Project
443
Guidelines for Template Projects
444
Share your Templates on PremierePro.net
444
Sample Project: The Evening News
444
Pre-Render Complex Stuff
446
Custom Preferences
446
Custom Sequence Presets
448
Use a High-Quality Preview Codec
448
Ready-Made Audio Routing
448
Custom Frame Sizes
449
Getting rid of Sequence Presets
449
Speed up your Preview Renders
450
Invoke Smart Rendering to Speed up Your Exports 450
Smart Rendering even with Non-Matching Material 451
Dig Deeper
451
Custom Audio Mapping Presets
451
Custom Audio Channel Mapping Presets
452
Custom Source Channel Assignment Presets
453
Custom Title templates
454
Kill the Default Title Templates
454
Customized Title Templates
455
Kill the Default Title Styles
456
Custom Title styles
456
Custom Style Libraries
457
Custom Characters in Title Styles
457
About the Textures Folder
458
Custom Default Still and Roll Templates
458
Custom Effect Presets
459
Custom Multiple-Effects Presets
460
Custom Keyframe Behavior Presets
461
Custom Presets for the Master Track 463
Now Share the Presets with Friends
463
Download Jarle’s Presets
463
Custom Keyboard Shortcuts
464
It’s the Grave Accent Key folks, not the Tilde Key
464
Change Multi-Key Shortcuts to Single-Key Shortcuts 464
Custom Transition Shortcuts
465
Candidates for Replacement
466
Searching for Shortcuts
467
Useful Shortcuts you may not know (Windows)
467
9
Some New Shortcuts I’ve made (Windows)
468
A Shortcut for Find in Timeline
468
Print a Spreadsheet of the Keyboard Shortcuts
469
Print a PDF of the Default Keyboard Shortcuts
470
Sharing the Custom Keyboard Shortcuts
470
NRKs Custom Shortcuts
470
Custom Transition Presets
471
Copy your favorite Transitions from a Sequence
471
Custom Transitions using Adjustment Layers
471
S-Curves on Your Cross Dissolves
472
Camera Flash Transition 472
The oh, so popular Glow and Blur Transition
474
Swish Pan Transition
476
Jarred Cuts
479
Logos as Wipes
480
Logo Reveals
481
Organic Wipes with Gradient Wipe
482
Now Explore the Possibilities
486
Custom Export Settings
487
Avoid Long Lists and Minimize Errors
487
Quality Controlled Exports Company Wide
487
Better Quality H.264 Exports
488
Export Your Preset
488
Import Presets
488
Transfer Your Files to YouTube while you sleep
489
Add Effects to the Exported Video
489
Closed Captions Export
489
Custom Metadata Export
490
Custom Monitor Overlays
491
Custom icons
492
How to create Custom Icons
493
Custom Premiere Icons on a Mac OS System
493
Custom Premiere Project Icons on a Windows System 493
Custom Premiere Icons in Windows Quick Launch
494
Extreme Customization with XML
494
Get Rid of the Factory Presets
494
Re-Import Presets you want to keep
495
Keep the Lens Distortion Removal Presets
495
Ditch the Lumetri Presets too
495
Need to Idiot-Proof a Preset?
495
Custom Intrinsic Effects?
496
Custom Editing Modes
496
Custom Preview Codecs
497
Using the Custom Preview Codecs
499
Custom Meta Data Drop-Down List
499
Fool Proof the Exports Presets Company Wide
501
The Console
502
Custom Panels and Add-ons
503
10
Sample Panel: Pond5
503
Sample Panel, MediaSilo’s Edit Companion
504
Add-Ons504
Create your own Panels and Add-ons
505
Even I can do it!
505
Now combine Techniques
505
That’s it
506
Integration with other Adobe Software 507
Premiere as your Editing Hub 507
Dynamic Link 507
Dynamic Link Workflow
508
Make a Copy before Dynamic Linking 509
Dynamic Link Undo
509
Copy/paste can save your Bacon
510
Live After Effects Text Templates
510
Control any After Effects Parameter from Premiere(!) 511
Render and Replace
512
Project Link
512
Color Spaces and Adobe Dynamic Link 513
Dynamic Link Gotchas
514
Don’t overestimate your System
515
OK, so what can we use After Effects for?
515
Animation that requires Motion Blur
515
Noise Reduction
516
Warp Stabilizer VFX
518
RotoBrush521
Advanced Text Animation
523
3D Camera
525
Timewarp526
Ray traced 3D Shapes
526
3D Camera Tracking
527
Explore After Effects further on your own
529
Direct Link to SpeedGrade
529
SpeedGrade Interface
530
SpeedGrade Features not found in Premiere
531
Direct Link Limitations
532
Save Looks for use in Premiere
532
Shot Matcher
533
Matching the Colors of an Image
534
Legalizing534
Photoshop Magic
535
Make PSD Files from Premiere Pro
535
Edit Original in Photoshop
535
Gotcha with layered PSD files
535
Import Camera RAW Footage
536
Video Clip Fixes with Photoshop
537
Foreword
Spreadsheets to Lower Thirds
Median Magic - making a Clean Plate in Photoshop
More Photoshop Magic to come
Illustrator Vector Graphic Fixes
Extracting Vector Graphics from PDF Files
Resize Vector Graphics
Isolate Elements to treat them separately
Join Elements in Vector Files
Trace Images into Vectors
Make Vector Patterns Unlimited Scaling of Vector Graphics
Integration with Audition
Auto-update Titles with InDesign
Ingest with Adobe Prelude
Adobe Story Workflow
Adobe Anywhere
Phew - that’s it!
Export
537
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550
550
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559
CPU does the Encoding 559
One GPU = fast Exports. Two GPUS = even faster
559
What happens on what Processor during Export?
559
Hide Banner on Warp Stabilizer
560
Preflight Checklist
560
The Basics
560
Close Gaps
560
Check for Duplicate Frames
561
Letterboxing561
Reduce Noise and Grain
562
Broadcast Safe Video Levels
563
European DPP Delivery Standards
563
Legalization is a Waste of useful Gamut
563
Motion Graphics can cause illegal Levels
564
Beware of the Sharpen Effect
564
Strategies to make the Program Broadcast Safe
564
Brute Force Methods for Broadcast Safe
564
Manual Methods for Broadcast Safe
565
How the Video Limiter works
567
Forget Set-up
569
Broadcast Safe Audio Levels
569
True Peak Level
570
AS-11 Compliant Delivery
570
Understanding the Premiere Pro Export Dialog
571
Make sure you see the Output, not the Source
571
Use Preview Files for Export – or not?
572
Render at Maximum Bit Depth
573
Steve on Maximum Bit Depth
574
The Cool Stuff in Premiere Pro
What is Maximum Render Quality?
575
Steve on Maximum Render Quality
575
Composite in Linear Color
576
To sum up all this Max Quality and Bit-Depth Stuff 576
Frame Blending
577
Effects Settings
577
FTP Export Settings
578
Dear Adobe: There is no PAL or NTSC in HD
578
Export and filter XMP Metadata
578
Smart Rendering
579
Smart Rendering in a Cuts-only Sequence
579
Smart Rendering Long-GOP
579
Smart Rendering a Sequence with Effects
579
Smart Rendering with Preview Renders
579
Criteria for effective Smart Rendering 580
Supported Codecs and Formats for Smart Rendering580
Export to Intermediate and Archive File Formats
581
Widely used Visually Lossless Codecs
581
DNxHD 582
ProRes582
GoPro Cineform
582
Uncompressed DPX
583
Visually Lossless MPEG-2
584
AVC Intra and XAVC
584
Grass Valley HQX Codec
585
Multi-Channel Audio output
585
Digital Cinema Package Export
585
Conforming 25p to 24p in Premiere
587
Conforming 23.976p to 24p in Premiere
589
DCP Subtitlling Tools
589
Checking your DCP
590
Golden Rules for good H.264 Compressions
590
Few Touches
591
How low can you go?
591
Half the Frame Size can be better
591
VBR beats CBR, especially at low Bitrates
591
Ban Non-Square Pixels and Interlacing
592
Audio matters – a lot
592
H.264 for the rest of us
592
H.264 Profiles 592
H.264 Levels 593
Need more Control over the H.264 Export?
593
Export to Vimeo, YouTube etc.
594
Publish to your YouTube Channel automatically
594
4k H.264
596
Alternatives to H.264
596
H.265 - HEVC
596
WebM597
11
Ogg Vorbis and Ogg Theora
Still image export
Beware of Non-Square Pixels
Forget about DPI
Export to tape
Making dailies
Common Export Gotcha’s
Wrong Frame Rate
Pillar Boxes and Letter Boxes
Error Compiling Movie
Use and share your Export Presets
Shiny Disc Export
Add Chapter Markers
Export to DVD Formats
In Encore CS6
Make a DVD Menu
12
597
597
598
598
599
599
600
600
600
600
601
602
603
603
604
605
Set your End Action
Name the DVD
Add Subtitles
Check the DVD with the Flowchart
Preview the DVD
ADD DVD-ROM Content
Build a DVD Folder
Save DVD Image and burn DVD
No Guarantees for Playback
DDP Image output
Dual Layer DVDs
Encore Video Tutorials
Afterword
Now what?
605
605
606
606
607
607
608
608
608
609
609
609
611
611
Foreword