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Free delivery worldwide. Bestselling Series. Harry Potter. Books By Language. Books in Spanish. By author Maxim Jago. Description The fastest, easiest, most comprehensive way to learn Adobe Premiere Pro CC release Classroom in a Book Rthe best-selling series of hands-on software training workbooks, offers what no other book or training program adove official training series from Prmiere Systems Incorporated, developed with the support of Adobe product experts. Adobe Premiere Pro CC Classroom in a Book contains 19 lessons cpassroom cover the basics, providing countless tips and techniques to help you become more productive with the program.
You can follow the book from start to finish or choose only those fgee that interest you. In addition to learning the key elements of the Adobe Premiere Pro interface, this completely revised CC release edition covers new features, including "scratch" track recording, Master Clip effects, and masking and tracking visual effects.
Access to all of the project files used in the book's lessons are included with purchase of the book. Print editions come bundled with a DVD читать статью the lesson files, and students who purchase an eBook adobe premiere pro cs5 classroom in a book pdf free receive a code that lets them download the lesson files from their account page on peachpit.
Both print and c5 users also get access to downloadable updates that cover new features that Adobe releases for Creative Cloud members. Everything you need to premiiere the нажмите чтобы увидеть больше is included: clear explanations of each lesson, step-by-step instructions, and the project files for adobe premiere pro cs5 classroom in a book pdf free students.
Other books in this series. Add to basket. ActionScript 3. About Maxim Jago Maxim Jago is an Adobe Master Trainer, award-winning screenwriter, award-winning film director, and media technology specialist. He has authored multiple books and courses on post-production techniques and travels around the world teaching creatives, studios and ссылка на подробности how to make moving images. He speaks regularly about media technology, social trends and futurology - emergent social and technological trends - as well as training, assessing and certifying new trainers.
Maxim lives in London, England. Rating details. Book ratings by Goodreads. Goodreads is the world's largest источник статьи for readers with over 50 million reviews. We're featuring millions of their reader ratings on our book pages to help you find your new favourite book. Close X. Learn about new offers and get more deals by joining our newsletter. Sign up now. Follow us. Christmas Posting dates here.
Adobe Premiere Pro Cs5 Classroom In A Book [PDF] [1iloa75qg] - 2009年06月14日
For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.
Search results will show you not only content from Adobe, but also from the community. This companion application lets you search and browse Adobe and community content, plus you can comment on and rate any article just like you would in the browser.
You can download the application from www. You can contribute in several ways: add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contribute Cookbook Recipes. Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe Premiere Pro CS5 product home page: www. Checking for updates Note: To set your preferences for future updates, click Preferences.
Select how often you want Adobe Updater to check for updates, for which applications, and whether to download them automatically. Click OK to accept the new settings. You can easily obtain these updates through Adobe Updater, as long as you have an active Internet connection.
Adobe Updater automatically checks for updates available for your Adobe software. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems. Unlike collaborating via email and attending time-consuming in-person meetings, Acrobat. Adobe Story is for creative professionals, producers, and writers working on or with scripts.
SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences. NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process. The data is derived from visitor activity to participating Omniture SiteCatalyst customer sites. Unlike other web intelligence solutions, NetAverages innovatively displays data using Flash, creating an engaging experience that is robust yet easy to follow.
Note, this option does not give you access to the services from within your products. See www. You will also get an introduction to some of the new features of this release. Adobe Premiere Pro CS5 extends our capabilities even further. Although this is not a complete list of every new feature in Adobe Premiere Pro CS5, it will give you an idea of some of the improvements you can look forward to as you learn this exciting application. We will use many of these features in the lessons throughout the book: t bit application: Adobe Premiere Pro CS5 is now a bit application.
This allows greater use of RAM and better performance. Edit HD video as smoothly as SD video. When you import the project into Adobe Premiere Pro, metadata from OnLocation makes it easy to create a preliminary rough cut.
Adobe Premiere Pro lets you do things nonsequentially. You can edit video segments separately and tie them together later. With current digital video technology, media acquisition has also become nonlinear. With tapeless media, Adobe Premiere Pro can read the media directly. Or, use Adobe OnLocation CS5 to record video right to your workstation hard drive bypassing the capture step.
Adobe Premiere Pro supports each of these steps with industry-leading tools. Create and place 5. The GPU acceleration mode requires a compatible graphics card in your workstation.
See Adobe. Adobe Premiere Pro displays all the camera tracks in a splitview monitor, and you can set the camera view edits by clicking the appropriate screen or by using shortcut keys. View, delete, move, search for, and reorganize clips and bins. Consolidate your projects by moving just the media actually used in a project and copying that media to a single location.
Then reclaim drive space by deleting unused media. It has all the components you need to produce some absolutely amazing videos. Then use them in Adobe Premiere Pro. Apply complex motion and animation, and then send those updated motion sequences back to Adobe Premiere Pro. Use those compositions in Adobe Premiere Pro. A lot of careful consideration went into its design and layout.
The principal elements are shown here. You can dock multiple panels in a single frame. Some items with common industry terms stand alone, such as Timeline, Audio Mixer, and Program Monitor. One strength of sequences is that you can nest them—place sequences in other sequences. In this way, you can break up a production into manageable chunks. Video clips in higher-numbered tracks cover whatever is directly below them on the Timeline.
To place a clip in the Source Monitor, double-click it in the Project panel. The Program Monitor on the right is for viewing your project in progress. You can change to a single-monitor view if you choose. Click the Close button on the Source tab to close that monitor. You can use bins—or folders—to organize your assets. We will show how to use the Media Browser in future lessons to locate and import video, stills, and audio assets.
This interface looks a lot like audio production studio hardware, with its volume sliders and panning knobs—one set of controls for each audio track in the Timeline, plus a master track. This will give you a small taste of many lessons to come.
The Selection tool is context-sensitive, which means it changes appearance to indicate the function that matches the circumstances. When you back up to a previous condition, all steps that came after that point are also undone. In other words, you cannot extract a single misstep buried within the current list. You can save your workspace as a custom workspace, and you can save as many custom workspaces as you like.
This is to accommodate those editors who work in editing bays in darkened rooms. When done, click OK. Then, click and drag left and right to change the sizes of those frames.
Note: As you move a panel, Adobe Premiere Pro displays a drop zone. If the panel is a rectangle, it will go into the selected frame as an additional tab. Drag up and down to change the sizes of these frames. Touring Adobe Premiere Pro CS5 5 Click the gripper area in the upper-left corner of the History tab, and drag it to the top of the interface, next to the Project tab, to dock the History panel in that frame.
In this case, a slider appears above the tabs. Slide it left or right to reveal all the tabs. You can also open a hidden or any other panel directly from a menu by choosing Window and then clicking a panel name. As shown here on the left, the drop zone is a trapezoid that covers the lower portion of the Project panel. Release the mouse button, and your workspace should look something like the one shown here on the right.
Expand it by dragging from the corner. Type a workspace name, and click OK. What is the purpose of the Program Monitor? When working with two monitors—Source and Program—you can view and trim your raw footage in the Source Monitor and use the Program Monitor to view the Timeline sequence as you build it.
All you need to do is adjust the sequence settings and preferences. You might have a mix of source media—wide-screen, standard, HDV, and P2, for example—among your project assets. The startup screen appears. The Recent Projects list should be populated with the projects you last opened.
General tab The General tab contains these sections: t Action and Title Safe Areas: It is recommended you leave the settings in this section at their default values.
They simply determine where guides are displayed on the Program Monitor and Source Monitor to help plan title placement and see where TV overlay molding may hide the edges of video. This feature will be discussed in detail in Lesson 8. Note: Partitioning a single drive into multiple drives is not helpful for performance.
When you start capturing your own video clips, feel free to customize the scratch disks to your environment. Since Adobe Premiere Pro assumes you need at least one sequence in your project, it prompts you for sequence settings when starting a new project.
The New Sequence dialog contains three tabs, which are as follows: t Sequence Presets: This tab allows you to choose a preset for the most commonly used and supported media types.
When you capture your own video clips, choose the preset that matches your media. You may save your custom preset by clicking the Save Preset button near the bottom of the General tab. You can also add audio or video tracks later. To do so, choose your settings, and then click the Save Preset button on the General tab.
Give your customized project settings preset a name on the Sequence Presets tab, and click OK. The name will appear in the Custom folder under Available Presets. In this case, choose one of the standard presets on the Load Preset tab. Preferences include default transition times, timing and number of autosaves, Project panel clip label colors, and user interface brightness you adjusted this in Lesson 1.
Note: Unlike Lesson If you need to start fresh, load the Lesson Note: You can select any of the Preferences submenus. All choices take you to the Preferences dialog, with the appropriate category selected. You can easily move from one category to another by clicking a category name in the list on the left. You saw this in Lesson 1. If this option is selected, any media you import will automatically scale to the frame size of the sequence. This may be desirable for importing a lot of still images.
If you intend to do a lot of zooming or panning, you may not want stills to automatically scale. It is recommended that you start with the default settings.
However, some third-party capture cards may add their own video players, which you can choose to use here. You can change them again at any time. Note: Some sequences, such as those containing high-resolution source video or still images, require large amounts of memory for the simultaneous rendering of multiple frames. In these cases, you can maximize the available memory by changing the Optimize Rendering For preference from Performance to Memory. Change this preference back to Performance when rendering no longer requires memory optimization.
Adding those links to the Project panel—importing assets, in Adobe Premiere Pro parlance—is easy. But you should keep a few issues in mind. You should see the standard Adobe Premiere Pro opening workspace. All the frames should be empty except for the Sequence 01 item in the Project panel and in the Timeline.
Then click Open. Selecting Settings, Adjusting Preferences, and Managing Assets 3 In the Project panel, double-click the empty space below the newly added clips. The Project panel simply lists links to your assets, wherever they may be.
Note: Notice that You could have selected one of the Merge Layer options to import the Photoshop image into a single layer. Note: Adobe Premiere Pro up-converts all audio to the project setting, thereby ensuring no quality is lost during editing. Floating-point data allows for even more precise and smoother edits. Click the Info panel located in the lower-left area of the workspace. Now click various assets in the Project panel to observe the properties being displayed in the Info panel.
If you need to start fresh, just open Lesson It merges them. If you have Illustrator installed on your computer, selecting Edit Original will open this graphic in Illustrator, ready to be edited.
This is also another way to see properties of the assets. You can move columns left or right to suit your style of work. Click Play in the Program Monitor to view the video. Zoom the Timeline so it appears close to what is shown here. Notice that the JPEG clip is too large not all of it is visible and that the Illustrator clip has a transparent background. Note: As you drag the current-time indicator, look at the Program Monitor. You will see only a portion of the JPEG image because it is larger than the project preset dimensions.
By default, Adobe Premiere Pro centers the images on the screen and displays them in their original resolution. The next step explains how to view them in their entirety, without changing the aspect ratio of the images. You should now see the entire image.
You can manually scale the image to any size you like. Otherwise, you have to scale up the image, and it will lose some of its sharpness. Square vs. By contrast, computer monitors use square pixels. Images created in graphics software typically are square.
So when you create graphics or images with square pixels, create them with your TV standard in mind: x for NTSC that frame size will become x after Premiere Pro squashes the square pixels into rectangles and x for PAL.
Each listed media asset is a link. Bins behave like folders as a way to organize and categorize your assets visually within Adobe Premiere Pro. Importing and logically arranging your assets in the Project panel is simple. You can create new bins as well as bins inside bins. In this exercise, you will check out some of the Project panel options and then rearrange the clips you have been working with. If you need to start fresh, open Project That changes the Project panel display from a list to thumbnails and icons.
You can click any other asset and play it. The Play-Stop Toggle button will be unavailable dimmed for still images and graphics. Note: The new thumbnail appears immediately in the Project panel. The thumbnail image has an audio display in it, indicating that this is a video clip with audio. The new bin appears in the Project panel with its default name—Bin Name it sequences.
You may come up with your own way of organizing, but organizing by asset type, as demonstrated here, is a good way to start. Your Project panel should appear as shown here. It is possible to have thousands of assets movie clips, image clips, audio clips, and so on in your bins. Having multiple bins open at once In Adobe Premiere Pro CS5, you can open multiple bins at the same time in their own window or docked to a panel.
This makes it easy to drag clips between two bins. Note that it opens in its own window. Be sure to click the bin icon, not the name of the bin. Note that the stills bin still exists in the main Project panel. The Find tool is located near the top of the Project panel.
Notice that the movies bin and audio bin automatically expand to reveal the clips that have the letters med in their names. The Media Browser is pretty self-explanatory. This project should have no assets imported yet.
Review answers 1 The General tab is used to customize an existing preset or to create a new custom preset. If you are using a standard media type, the Sequence Preset option is all you should need to select. It rasterizes and anti-aliases Illustrator vector-based art. Adobe Premiere Pro CS5 allows you to edit these formats natively without time-consuming conversions. Adobe Premiere Pro CS5 makes this especially easy because, unlike many competing nonlinear editing systems, Adobe Premiere Pro CS5 does not require the media from these tapeless formats to be converted.
Adobe Premiere Pro supports all the standard P2 variants. You can remove the optical disc from your camera and place it in a deck attached to your workstation.
The AVCHD format is a good format to record and view video, but it has proven a challenge to edit because of its highly compressed nature. Adobe Premiere Pro CS5 has the ability to edit AVCHD video in its native format without converting it to an intermediate or alternate codec, but how smoothly the AVCHD edit process goes will depend largely on the power of the editing system you are using. The details of the Mercury Playback Engine will be discussed in more detail in Lesson 9.
The video from these cameras is another form of tapeless media. You were introduced to the Media Browser in Lesson 2, and you will be using it in this lesson to locate and import the example clips. The clips are already on your hard drive. In this case, the video was shot at x 1.
You may also want to make the Media Browser wider by dragging the right edge of the panel to the right. It opens and plays in the Source Monitor but will not be imported into the Project panel. The clip is now imported and added to the Project panel.
Then right-click and choose Import to add them all to the Project panel. This means they will not need to render in order to preview them. Importing and Managing Tapeless Media Importing P2 media If you were shooting P2 video using a Panasonic P2 camera, you would remove the P2 card from the camera, connect a P2 reader to your editing workstation, and copy the video clips to your local hard drive.
Within this folder are subfolders containing the essence the actual audio and video media and the metadata. The essence is split into components, each sorted into corresponding subfolders, as shown here. Adobe Premiere Pro does not support these proxies.
Adobe Premiere Pro handles this complexity very well. Using the Media Browser makes it easy to browse and select your media. Adobe Premiere Pro CS5 keeps track of what audio goes with what video clip and assembles them for you in the Timeline.
AVCHD media is imported and used in a similar way. You can further improve performance by using a compatible CUDA graphics card. This is covered in more detail in Lesson 9. You can deal with this in a couple of ways. One is to enlarge the SD clip, which will make it a little soft or fuzzy. Notice that the SD clip has a red line over it in the Timeline. So, choose sequence settings that match the majority of your source clips. Play the Timeline, and notice the SD clip is already a picture-in-picture because of its smaller frame size.
Review answers 1 No. Adobe Premiere Pro makes this process fast and easy. To do that, you need to start with high-quality raw material. This lesson gives you tips for shooting great video and then describes how to get that video into Adobe Premiere Pro. You should be constantly on the lookout for that one shot or sequence that best wraps up your story. Get an establishing shot An establishing shot sets a scene in one image.
The close-up shot tells the story: The villain is speaking intensely to the hero. Five times as much is not unusual. Giving yourself that latitude might help you grab shots you would have missed otherwise. The center of interest should fall along those lines or near one of the four intersections, not the center of the image.
Those are not examples of good composition. Avoid large areas of blank space. A shaky camera shatters that illusion. When possible, use a tripod. One nifty trick is to use directed movement as a pan motivator. Use trucking shots Trucking or dolly shots move with the action.
Ground-level shots are great for gamboling lambs or cavorting puppies. Shoot up from a low angle and down from a high angle. Shoot through objects or people while keeping the focus on your subject.
Lean forward or backward The zoom lens can be a crutch. A better way to move in close or away from a subject is simply to lean in or out. Get wide and tight shots Our eyes work like medium-angle lenses. So, we tend to shoot video that way. Instead, grab wide shots and tight shots of your subjects. If practical, get close to your subject to get the tight shot rather than use the zoom lens. Not only does it look better, but also the proximity leads to clearer audio.
Consider a shot from behind a pitcher as he throws a fastball. Get sequences Shooting repetitive action in a sequence is another way to tell a story, build interest, or create suspense. Instead of simply capturing all this in one long shot, piecing these actions together in a sequence of edits is much more compelling. You can easily combine wide and tight shots, trucking moves, and matched action to turn repetitive material into attention-grabbing sequences.
Few circumstances call for such stomach-churning camera work. A slow zoom in, with only a minimal change to the focal length, can add drama to a sound bite. Again, do it sparingly.
You can always edit around that sudden movement later. If you stop recording to make the pan or zoom or to adjust the focus, you might lose some or all of whatever it was you were trying so desperately to shoot. You will also miss any accompanying natural sound.
Shoot cutaways Avoid jump cuts by shooting cutaways. Cutaways are common in interviews where you might want to edit together two second sound bites from the same person. Doing so would mean the interviewee would look like he or she suddenly moved.
To avoid that jump cut—that sudden disconcerting shift—you make a cutaway of the interview. You then edit in the cutaway over the juncture of the two sound bites to cover the jump cut.
The same holds true for a soccer game. If you shoot some crowd reactions or the scoreboard, you can use those cutaways to cover up what would have been jump cuts. In a pinch, do whatever you can to increase available light. Open curtains, turn on all the lights, or bring a couple of desk lamps into the room. Grab good sound bites Your narrator presents the facts. The people in your story present the emotions, feelings, and opinions. Let those bites explain the why.
In a corporate backgrounder, have the narrator say what a product does, and let the employees or customers say how enthusiastic they are about that product. Use those bites as punctuation marks, not paragraphs. Exceptions for idiosyncratic characters These admonitions are not carved in stone. Sound is tremendously important. Listen for sounds you can use in your project.
Even if the video quality is mediocre, grab that audio. In Lesson 3 you learned how to transfer video from tapeless media to Adobe Premiere Pro. Tapeless media has become the most common video format. But there are still plenty of video cameras around that record to tape. To bring footage into an Adobe Premiere Pro project, you can either capture it or digitize it, depending on the type of source material. You capture digital video from a live camera or from tape to the hard disk before using it in a project.
Alternatively, you can use Adobe OnLocation to capture video. You will take a closer look at OnLocation in Lesson You digitize analog video from a live analog camera source or from an analog tape device.
You digitize the analog video and convert it to digital form so your computer can store and process it. The capture command digitizes video when a digitizing card or device is installed in the computer. In the analog world, the capture process takes several steps: transfer, convert, compress, and wrap. Your camcorder transfers the video and audio as analog data to a video capture card.
There are three basic approaches: t You can capture your entire videotape as one long clip. To do this exercise, you need a DV camcorder. You can work with HDV or with a professional-level camcorder with an SDI connector and a specialized video capture card.
SDI requires an extra setup procedure. Apple calls this connector cable a FireWire cable while Sony calls it I. If you have an analog camcorder, you need a video capture card that supports S-Video or composite video connectors. The only option with most analog camcorders is to manually start and stop recording. Capturing an entire DV tape To capture an entire tape, follow these steps: 1 Connect the camcorder to your computer.
Do not set it to camera mode. Mac OS may start a default associated application, such as iMovie. Use AC, not a battery When capturing video, power your camcorder from its AC adapter, not its battery. Adobe Premiere Pro prompts you to give the tape a name. For more troubleshooting tips, refer to the Adobe Community Help website. Next Scene B. Set In Point C. Set Out Point D. Rewind E. Step Back F. Play G. Step Forward H. Fast Forward I. Pause J. Stop K.
Record L. Previous Scene M. Go To In Point N. Go To Out Point O. Jog P. Shuttle Q. Slow Reverse R. Slow Play S. Note: To help you identify these buttons, move the pointer over them to see tool tips. If you want to capture only audio or only video, change that setting.
Note: DV is the only format that allows you to select Audio only or Video only. When capturing HDV video, this drop-down box will be unavailable.
Feel free to turn down the speaker on either your camcorder or your computer. The Save Captured Clip dialog appears. Adobe Premiere Pro stores all the clips you capture during this lesson in the Lesson 04 folder on your hard drive. Using batch capture and scene detection When you perform a batch capture, you log the In and Out points of a number of clips and then have Adobe Premiere Pro automatically transfer them to your computer.
Use the logging process to critically view your raw footage. The purpose of using a batch capture is threefold: to better manage your media assets, to speed up the video capture process, and to save hard disk space one hour of DV consumes roughly 13 GB. You might use a naming convention for sound bites such as Bite-1, Bite-2, and so forth. Here are the steps to follow: 1 In the Capture panel, click the Logging tab. You can accept or override this automated naming feature.
Note: Handles are extra frames at the beginning and end of a clip. For example, adding 30 frames as handles would add one second of video to the start and end of your clips. This can be useful for transitions. A very simple Batch Capture dialog opens, allowing you to override the camcorder settings or add more handle frames. Use scene detection Instead of manually logging In and Out points, you might want to use the scene detection feature.
To turn on scene detection, do either of the following: t Click the Scene Detect button below the Record button in the Capture panel.
In the latter case, click Stop when done. Your clips will show up in the Project panel. Most analog capture cards have consumer-quality composite connectors as well as S-Video and sometimes top-of-the-line component connections. With analog video, you have only one capture option: to do it manually. Your clip will show up in the Project panel. HD video requires an SDI card in your computer to connect the coaxial interface from the HD camcorder to your computer.
Review answers 1 Cutaway shots of a crowd, faces, or landscapes are often useful for covering up a bad shot or providing a pleasant transition to another scene. These are known as storyboards, and they can be very useful in planning a project and making sure you get the shots or material you need. Storyboards also help after the shoot ends. Then you can move all those clips to the Timeline for more precise editing.
Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series. Harry Potter.
Books By Language. Books in Spanish. By author Maxim Jago. Description The fastest, easiest, most comprehensive way to learn Adobe Premiere Pro CC release Classroom in a Book R , the best-selling series of hands-on software training workbooks, offers what no other book or training program does-an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.
Adobe Premiere Pro CC Classroom in a Book contains 19 lessons that cover the basics, providing countless tips and techniques to help you become more productive with the program.
You can follow the book from start to finish or choose only those lessons that interest you. In addition to learning the key elements of the Adobe Premiere Pro interface, this completely revised CC release edition covers new features, including "scratch" track recording, Master Clip effects, and masking and tracking visual effects.
Access to all of the project files used in the book's lessons are included with purchase of the book. Print editions come bundled with a DVD containing the lesson files, and students who purchase an eBook edition receive a code that lets them download the lesson files from their account page on peachpit. Both print and eBook users also get access to downloadable updates that cover new features that Adobe releases for Creative Cloud members.
Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Other books in this series. Add to basket. Apple Books Preview. Publisher Description. More Books by Maxim Jago.
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