Adobe Premiere 6.5 Tutorials

ADITA Video Inc.
Presents
Premiere 6.5 Tutorials on CD-ROM
Tutorial 3 – Quick Start Editing

© 2002, ADITA Video Inc. Calgary, Alberta • CANADA
Task
1 Starting Premiere ..........................................................4
2 Customizing New Project Settings ...............................6
3 Optimizing the Workspace...........................................8
4 Importing a Video Clip ...............................................12
5 Coordinating Clip and Project Settings ......................16
6 Placing a Video Clip Into the Timeline Window ........18
7 Configuring Timeline Window Options .....................22
8 Project Controls and Controlling Playback ................26
9 Editing the First Clip, Don.mov ..................................32
10 Editing the Second Clip, Ash.mov ..............................36
11 Playing and Navigating the Edited Project .................38
12 Understanding What Happens to Edited Clips ..........40
13 Adjusting Audio Levels ...............................................46

14 Adding Transitions......................................................50
15 Tutorial 3 Summary ....................................................60
TUTORIAL 3
Quick Start Editing
Everything you need to know to complete a basic video production
Premiere is a sophisticated video editing application and it will take some time to learn
all of its capabilities. However, you can create some remarkable productions once you
have mastered the basics. After working through this tutorial, you will have seen the
essential techniques required to edit your own programs.
NOTE: Before starting this tutorial, we strongly recommend that you carefully go
through Tutorial 1. It explains how to optimize your computer to get the best
performance for video editing.
FILES REQUIRED FOR TUTORIAL 3

Copy the files required in this tutorial from the ADITA Premiere 6.5 CD-ROM to your
hard drive. We strongly recommend that you copy the entire Prem6.5Tut folder from
the CD-ROM to your hard drive (C:\) or a video drive. If you are low on hard disk
space, you may prefer to copy only the files that are required for this lesson.
The files you will be using in Tutorial 3 are:

• Don.mov from the Prem6.5Tut\Video folder
• Ash.mov from the Prem6.5Tut\Video folder
Task 1 Starting Premiere
Deleting the Premiere Preferences File

Before we begin this tutorial and before starting once on its name and then press the <DELETE>
Premiere 6.5, we will delete an important prefer- key and send the file to the Recycle Bin. Premiere
ences file used by Premiere. Using the Windows will automatically create a new Premiere 6.5
Search Utility on the menu, enter the Prefs file using the original "factory" settings when
name “Premiere 6.5 Prefs” (be sure to include you start the program. With this done, your
the quotation marks) and look in the C:\ drive. Premiere screens will look just like the views in
When the file appears in the search window, click these tutorials.
NOTE: When you start working on your own video productions in Premiere,
there will be no need to routinely delete the Premiere 6.5 Prefs file. However,
sometimes your computer “crashes” during an editing session and you discover
that Premiere is not functioning well after restarting your system. In this case,
you can often fix a host of problems by exiting Premiere, deleting the prefer-
ences file, and reloading your project.
Deciding on an Editing Style

(Initial Workspace)
Click on the menu and load Premiere
from the Adobe program group.
After Premiere loads, you are asked to select an

Initial Workspace or “editing environment.” The
two choices are A/B Editing or Single-Track
Editing. Click on .
NOTE: In these tutorials we will primarily use the

A/B Editing environment. There are some advan-
tages to Single Track Editing and you will be
instructed to choose it in some of the tutorials.
4 Tutorial 3 • Quick Start Editing

Loading Project Settings
After selecting your Initial Workspace, the Load

Project Settings dialog box appears. It is here
that you choose customized settings for your
particular video project.
If you are using a proprietary video capture card NOTE: When editing full-motion video with a
with your computer, there will be a variety of cus- specific capture card, it is very important to
tom settings listed under Available Presets. For ex- choose a preset that conforms to that card. There
ample, a computer equipped with the Pinnacle will be instructions provided with your video
DV500 capture capture board that outlines how to select the
card will contain proper presets.
numerous addi-
tional presets as For the tutorials in this series, we will be using
highlighted above various settings that are not specific to any
in red. particular capture card. The video clips are all in
QuickTime format (.mov files) so they'll work on
both Macintosh computers and PCs. QuickTime
5.0 was installed at the same time as Premiere.
Starting Premiere 5
Customizing
Task 2 New Project Settings
New Project Settings

To meet the specifications of the clips that were
supplied on the CD-ROM, the best available
preset for this tutorial is Multimedia QuickTime.
Click the mouse once on this selection and then
choose , located on the right side of the
Load Project Settings dialog box.
Customizing General Settings

For Editing Mode choose QuickTime and for
Timebase choose 30. The Time Display should
read 30 fps Non Drop-Frame Timecode.
To access the Video settings press the

button.
You can also click on the drop down menu button

( ) to access any of the five dialog boxes that
make up the New Project Settings. They are
identified as General, Video, Audio, Keyframe
and Rendering, and Capture.
NOTE: For a detailed explanation of all the

project settings, refer to Adobe’s Premiere 6.0
User Guide.

Customizing Video Settings
For Compressor choose Intel Indeo Video 4.4.

Change the Frame Size to 240 x 180, and for
Frame Rate choose 15. Uncheck Recompress.
Leave the remaining items as they are.
NOTE: These settings are specifically chosen to

work with the video clips provided on the tutorial
CD-ROM.
To access the Audio settings press the

button.
Customizing Audio Settings

Leave the audio Rate at 44100 Hz but change the
Format to 16 Bit - Mono. Leave the remaining
items as they are.
To view the Keyframe and Rendering settings

press the button.
Customizing Keyframe and Rendering

No setting changes required here at this time.
To view the Capture settings press the

button.
Customizing Capture Settings
No setting changes required here at this time.
Click the button. Premiere’s editing

interface will appear as shown on the next page.
Customizing New Project Settings 7

Task 3 Optimizing the Workspace
Examining the Interface

At first glance Premiere’s interface appears Tutorial 1 for more information). Your screen may
daunting with its large assortment of windows and not appear as shown below because you are using
palettes. As discussed in Tutorial 1, it is important a different monitor resolution; for example, 800 x
to use a large enough monitor to accommodate 600 or 1152 x 864. Fortunately, Premiere allows
all these items. In these tutorials, all the screen us to customize the interface to suit our preferred
shots are taken from a 19” monitor with a resolu- method of working and save this “environment”
tion of 1024 x 768 pixels (refer to page 11 of as a new Workspace.

Using the “Whole” Monitor
When Premiere first loads, it needs to be

maximized to fill the screen. Click the maximize
button near the top right corner of the screen.
Next, pull down the Windows Taskbar, near the

bottom of the screen, to give you another
valuable 1/2” of screen space.
Arranging a Workspace
Using a monitor set for 1024 x 768 pixels, we NOTE: When moving a window, always click on
recommend working with Premiere by rearranging its colored bar at the top. Do not click and drag
the windows to the positions shown below: the tabs that are named inside the window.
Optimizing the Workspace 9

Saving Your Workspace
When you are satisfied with all the window

arrangements, you can save the entire “look” of
the interface as a Workspace. From the Window
menu select Workspace and choose Save
Workspace... from the drop-down list.
In the Save Workspace dialog box, enter a

descriptive name for your workspace. We have
used Basic Editing 1024x768. It describes the use
of the current arrangement for Basic Editing and
the monitor’s resolution for this environment,
1024x768 pixels.
Click the button.
Click again on the Window menu and select

Workspace. You can see that Basic Editing
1024x768 has been added to the drop-down list.
There are four other preset workspaces defined

by Adobe: Single-Track Editing, A/B Editing,
Effects, and Audio. As you become more
experienced with Premiere, you will want to save
a variety of workspaces that are more suited to
specific tasks. For example, if you are working on
a music video you would use an arrangement of
windows and palettes that are more suited for
audio editing.
Select Audio from the Workspace drop-down

menu. Notice how the windows and palettes are
rearranged and a new Audio Mixer console
window appears.

Loading a Workspace
You can load any of the Adobe preset workspaces

or any of your own customized workspaces simply
by making a selection from the
Window > Workspace drop-down menu.
Choose Basic Editing 1024x768 to return to the

workspace we have created for this tutorial.
Deleting a Workspace
From the Window > Workspace drop-down
menu, select Delete Workspace....
In the Delete Workspace dialog box click on the

drop-down arrow and select the workspace you
want to delete. Since we do not actually want to
delete anything at this time, simply click the
button.
NOTE: You cannot delete any of the four preset

workspaces.
Optimizing the Workspace 11

Task 4 Importing a Video Clip
The Project Window

All of the “ingredients” used in your production
such as video clips, audio clips, still images and
titles are organized in the Project window. Large
projects can contain hundreds of clips. It is
essential to learn how to keep track of all the
elements used in a production. This topic is
covered thoroughly in Tutorial 6, Managing Large
Projects.
The Project window uses folders called Bins to

organize the files used in a production. When you
start a new project in Premiere, there is a single
folder available for your clips called Bin 1. In this
tutorial, we will be working with just two clips in
the Project window.
Importing the First Video Clip
We’ll begin this new project by importing our first

video clip. From the File menu select Import and
then choose File.... Locate the folder on your
hard drive called C:\Prem6.5Tut\Video and
double-click on Don.mov.

A small thumbnail of Don appears in the Project
window. The clip is contained inside Bin 1.
REMINDER: As mentioned earlier, the video clips

used throughout these tutorials are in the
QuickTime format. They are designed to function
on both Macintosh computers and PCs. Be certain
you have properly installed QuickTime on your
computer. Normally, this is done automatically
when you install Premiere 6.5.
Viewing the Clip’s Properties

Place the mouse pointer over the thumbnail of
Don. The pointer changes into a hand, . Click
the left mouse button and a thumbnail viewer for
Don appears at the top of the Project window.
Next to the thumbnail viewer is detailed

information that describes the clip — its size (240
x 180 pixels), duration (1 minute 23 seconds and
6 frames), frame rate (15 frames per second),
audio parameters (44,100 Hz, 16-bit, mono) and
average data rate (441.25 kilobytes per second).
Previewing the Clip
Click the Play button ( ) on the left side of the

thumbnail viewer to preview the clip, complete
with video and audio playback. Click the button
again ( ) to pause playback. You can also start
and stop playback by pressing the
<SPACE BAR> on your keyboard.
Importing a Video Clip 13

Scrubbing the Clip
You can click and drag the mouse on the Play

Slider ( ) of the thumbnail viewer to quickly
scrub forwards or backwards through the clip.
NOTE: If your video capture card supports an

external TV monitor (e.g. the Pinnacle DV500 or
the Pinnacle Pro-ONE), you will also see full-
motion playback on a connected TV when
working with clips that have been captured with
the card. You will not see output on an external
TV monitor when using the QuickTime clips
provided with these tutorials.
Setting a Poster Frame

By default, Premiere displays the first frame of
each video clip as a thumbnail in the Project
window. Later, in Tutorial 6, you will learn how to
change the image thumbnail by clicking the small
button ( ) on the right side of the thumbnail
viewer. For now, do not click this button.
Project Window Viewing Options

There are several ways to view clips in the Project
window. The current display is called Thumbnail
View. Dragging the scroll bar at the bottom of the
Project window reveals additional areas to enter
descriptive information — Notes, Label 1, Label 2
and Label 3. This information can be very helpful
in categorizing scenes in large projects. This topic
is covered thoroughly in Tutorial 6, Managing
Large Projects.

Project Window • Icon View
Click the Icon View button ( ) to display just

the clip’s thumbnail and duration. This is a
compact view that allows more thumbnails to be
seen within the Project window.
Project Window • List View
Click the List View button ( ) to display more

detailed information about clips in the Project
window. You will not see image thumbnails in this
view. Dragging the scroll bar at the bottom of the
Project window reveals additional information
about the clips — Media Type, Duration,
Timecode, Video Info, Audio Info, and Log
Comment.
List View is more versatile than the other two

views. For example, you can change the order of
the columns simply by dragging the column
headings over to new positions. You can choose
which column headings you want to display and
you can sort information based on specific criteria
(refer to Tutorial 6, Managing Large Projects).
NOTE: Before continuing with this tutorial, select

Thumbnail View by clicking on its button ( ).
Importing a Video Clip 15

Coordinating
Task 5 Clip and Project Settings
Real Time Editing

Premiere is a “real time” editing application. This To benefit from real time editing in Premiere, it is
means that video clips used in a project can play essential to match the Project Settings to the
back without the need to generate a separate specific characteristics of the clips used in the
playback file. In the past, it was necessary to project.
“Print to Video,” “Export Video” or “Render
Video” before a project would play back. This In Task 2 (pages 6, 7) you learned how to define
required additional hard disk space to store the specific project settings for this tutorial. We will
rendered “movie” and lengthy processing times in examine the settings of the video clips used in this
the computer to generate the playback files. lesson and compare them to the Project Settings.
Inspecting a Clip’s Properties
Place the mouse pointer over the Don thumbnail

in the Project window. Click the right mouse
button and select Properties from the drop-down
menu.
This will bring up a new window showing very

detailed information (Properties) of the selected
clip, Don.mov.
Notice that all the clip’s parameters—frame size,

frame rate, compressor, audio quality—match the
Project Settings we defined on pages 6 and 7.
This is essential to achieve real time performance
from Premiere.

If you click on the Data Rate button ( )
at the bottom of the Properties window, you will
see a bar graph that charts each frame of video
within the clip. When you work with DV clips
captured from your own camcorder, the graph
will show much more uniform data rates.
After viewing the graph, click to close this

window and click to close the Properties
window.
The Settings Viewer
The idea of matching clip settings to project

settings is so important that Premiere includes a
Settings Viewer that allows you to compare
essential settings at a glance. Select Settings
Viewer... from the Project menu.
If there is inconsistency from Capture to Project to

Clip to Export Settings, they are flagged in red.
For our purposes, the settings for Don.mov match
the Project Settings and this is sufficient.
Click to close the Settings Viewer.
Coordinating Clip and Project Settings 17

Placing a Video Clip
Task 6 Into the Timeline Window
Placing Don.mov Into the Timeline

Position the mouse pointer over the Don.mov
thumbnail in the Project window. The mouse
pointer will change to a hand ( ).
Click and drag the thumbnail into the Timeline

window. There are three possible places to
position the clip:
• onto the Video 2 track

• onto the Video 1A track
• onto the Video 1B track
As you prepare to position the clip, you will see a You will also see a second gray bar that corres-
dark gray “shadow” bar in the Timeline window ponds to the audio component that is linked to
representing which track is being chosen. the video clip, as explained on page 20.

We’ll choose the Video 1A track. Release the
mouse button and the Don.mov clip will be
situated on the Video 1A track.
We cannot see the whole clip in the Timeline

window. Press the backslash key ( \ ) on your
keyboard. This will automatically change the scale
of the timeline so the entire clip becomes visible.
Placing a Video Clip Into the Timeline Window 19

Video and Audio Tracks in Premiere
Each video track has a corresponding audio track:
• Video 1A track has corresponding Audio 1 track

• Video 1B track has corresponding Audio 2 track
• Video 2 track has corresponding Audio 3 track
NOTE: This does not appear too logical. It would

make more sense if the tracks were simply called
Video 1, Video 2, Video 3 and they coincided
with Audio 1, Audio 2, Audio 3. However,
Adobe decided to maintain consistency with their
older edition of Premiere, version 5.1.
Video 1A and Video 1B are the Main editing

tracks. Video 2 is known as a Superimpose track.
Premiere includes 96 additional Superimpose
tracks called Video 3 to Video 98. The differences
between Main tracks and Superimpose tracks are
fully explained in Tutorial 7.
There is a single track located between Video 1A

and Video 1B. This is the Transition track where
we will position special effects such as wipes and
dissolves (explained later in this tutorial).
Saving the Project

As with any computer application, it is important
to save your work—and save often!
From the File menu choose Save. We will call this

project Talking Heads and save it in on your hard
drive in the C:\Prem6.5Tut\Projects folder.

In the Save File requester, navigate to the
Projects folder. There are several other existing
projects that were supplied on your CD-ROM. In
the File name box enter the name Talking Heads
and click the button.
The name Talking Heads.ppj now appears in the

title bar at the top of the Project window.
The Info Palette

You can obtain important information about any
clip used in your project from the Info palette.
Click Info to activate this palette.
Next, click anywhere on the Don.mov green bar

on the Video 1A track. Glance at the Info palette.
It shows the clip’s starting point is 0:00:00:00.
This represents 0 hours, 00 minutes, 00 seconds
and 00 frames. Whenever you want to see where
a clip is situated in time, simply click on the clip’s
bar in the timeline and refer to the Info palette.
When a clip is selected, you will see an animated

marquee (resembling “marching ants”) around the
clip’s bar in the Timeline window. The marquee
surrounds Don.mov on the Video 1A track and its
corresponding audio component on the Audio 1
track.
NOTE: The easiest way to deselect anything in the

Timeline window is to click the mouse anywhere
on the open gray area below the audio tracks. You
Click the mouse anywhere in this area
can also press the letter V or the key combination, to deselect in the Timeline window.
<CTRL>+<SHIFT>+<A> , to deselect.
Placing a Video Clip Into the Timeline Window 21

Configuring
Task 7 Timeline Window Options
Timeline Window Track Format

You can change the way clips appear in the
Timeline window by selecting different options.
Click the right mouse button on the Timeline
window’s title bar.
Click the left mouse button on .
The Timeline Window Options dialog box

appears.

The current Icon Size is medium (the middle
selection) and the current Track Format displays
only the clip’s Filename (the fourth choice).
We will change the Track Format by selecting the

second choice which displays the clip’s Filename
and adds thumbnails at the beginning and end of
the clip. This format is commonly called “Heads
and Tails.”
Click to close the Timeline Window

Options dialog box.
There are two thumbnails of Don in the timeline.

The image at the beginning is the first frame of the
clip (the “Head”) and the image at the end is the
last frame of the clip (the “Tail”).
You may have noticed that there is a small

diagonal notch at the “Head” and “Tail” that
shows up in both the Video 1A track and the
corresponding Audio 1 track. These notches
indicate that the clip has not yet been edited. We
will edit this clip later in this tutorial.
If any content is edited out from the start of the

clip, the notch at the “Head” of the clip will
disappear. If any content is edited from the end of
the clip, the notch at the “Tail” will disappear.
Diagonal Notch >
Configuring Timeline Window Options 23

There is another way to access the Timeline
Window Options. Click the small arrow ( )
located at the upper right side of the Timeline
window to bring up its flyout menu. There are a
dozen options on this menu and we’ll examine
them throughout these tutorials. For now, choose
Timeline Window Options....
Select the top choice for the Track Format. This

will display continuous thumbnails throughout the
entire clip. Click to close the Timeline
Window Options dialog box.
Continuous thumbnails appear in the timeline.

You can use these images to assist with editing
clips. This topic is covered thoroughly in Task 3 of
Tutorial 8.
Notice the number 10 Seconds appears in the

lower left corner of the Timeline window. This
number represents the current scale on the
timeline ruler. Next, you will learn how to
increase or decrease the scale of the timeline.

Changing the Time Scale
Premiere allows us to change the scale of the

timeline. We might want to work at either a highly
magnified scale to fine tune specific edits or
“zoom out” for an overview of the entire project.
Currently, the scale is set for 10 Seconds and the

entire Don.mov clip is visible on the timeline.
Click the small drop-down arrow ( ) next to the

time display.
From the list that appears, select 1 Second for the

scale.
At the 1 Second scale, Don.mov extends well

beyond the end of the Timeline window. You can
use the scroll bar
at the base of the window to move ahead through
the clip.
If you click and hold the left mouse button on the

arrow buttons at either end of the scroll bar,
, you will see an
effect that resembles scrolling through movie film.
Nifty!
Timeline Keyboard Shortcut
You will find that changing the time scale is an

operation you will do many times while editing.
Fortunately, there is an easy keyboard shortcut to
facilitate this. Simply press the + key or - key on
the keyboard (NOT the numeric keypad) to
enlarge or reduce the time scale.
The small tick marks on the timeline ruler change

as you vary the time increment. For example, at
the 1 Second scale, the larger tick marks
represent each full second, while the smaller tick
marks represent 1/2 second positions.
Configuring Timeline Window Options 25

Project Controls and
Task 8 Controlling Playback
Playing a Project
NOTE: As projects get larger and more complex,
it takes longer for Premiere to refresh the timeline
as you scroll about. We recommend routinely
using the “Heads and Tails” Track Format when
editing. Before continuing with this tutorial, switch
back to “Heads and Tails” as discussed on page
23.
Set the time scale back to 10 Seconds.
Click on the Timeline window title bar to make it

the active window. Alternately, you can also press
<CTRL>+<TAB> to activate different windows.
The active window has a blue title bar.
Press the <SPACE BAR> and the project will

play back. The video appears in the Monitor
window. At any time, you can press the <SPACE
BAR> to pause playback. Pressing the <SPACE
BAR> toggles between pause and playback.
SPECIAL NOTE FOR PREMIERE 5.1 USERS:

If you are familiar with Premiere 5.1 you know
that the Monitor window used to consist of two
parts, a Source View and a Program View. This
layout is still possible in Premiere 6.5, but you will
need a large monitor with a minimum resolution
of 1152 x 864 pixels to handle the wider display.
We have chosen to use the single Monitor
window throughout these tutorials because it
allows space to always keep other important
palettes on the screen in a smaller physical
workspace, such as 1024 x 768 pixels.

Controlling Playback – Timeline Window
As the project plays, you will see a black vertical

line moving across the Timeline window. This line
is commonly called the Playback Head or Edit
Line.
Edit Line
The following keyboard commands are very
useful for controlling playback in the Timeline
window. Try all of them:
<SPACE BAR> toggles play and pause

<L> or <~> starts forward playback
<K> pauses playback
<J> starts reverse playback
<L>+<L> starts high speed forward playback

<J>+<J> starts high speed reverse playback
<ARROW RIGHT> NOTE: When editing with specific hardware on

advance ahead one frame at a time your computer, not all of these keyboard
commands will function as described above.
<ARROW LEFT> Software drivers for various capture cards often
reverse direction one frame at a time disable or override some of these keyboard
shortcuts.
<SHIFT>+<ARROW RIGHT>
advance ahead five frames at a time
<SHIFT>+<ARROW LEFT>
reverse direction five frames at a time
<ARROW UP> go to beginning of project
<ARROW DOWN> go to end of project
Premiere Help
Premiere 6.5 offers extensive on-line help. For
additional information on keyboard shortcuts, go
to the Help menu and select Keyboard....
You can also refer to the Quick Reference Card

that came with Premiere. Always keep it handy by
your computer when editing.
Project Controls and Controlling Playback 27

Controlling Playback – Monitor Window
There are several buttons in the Monitor window

for controlling playback:
Click - starts playback. The keyboard

equivalent is the <SPACE BAR> or <L> or
<~>.
Click - pauses playback. The keyboard

equivalent is the <SPACE BAR> or <K> .
Click - looped playback. No keyboard

equivalent. The video will play repeatedly until
stopped. One of the most useful applications of
looped playback is to make a continuous repeat
copy of a video. For example, your total finished
program might be 3 minutes long. The video is
going to be used at a trade show where it will be
viewed continuously. You can fill a two-hour tape
by outputting the finished 3-minute video as a
continuous loop dub.
Click - plays from in to out. No keyboard

equivalent. This feature is useful for checking
playback on edited clips. In Points and Out
Points are discussed in Task 9 , page 33.
Click - single frame forward. The keyboard

equivalent is the <ARROW RIGHT> key. It
allows you to step forward (in time) frame-by-
frame. Remember, there are 30 frames of video
per second. If you hold down the <SHIFT> key
while you click on the key, you will step
forward 5 frames at a time. Pressing the two keys,
<SHIFT>+<ARROW RIGHT>, gives the
same result.
Click - single frame backward. The keyboard

equivalent is the <ARROW LEFT> key. It allows
you to step back (in time) frame-by-frame. If you
hold down the <SHIFT> key while you click on
the key, you will step backwards 5 frames at a
time. Pressing <SHIFT>+<ARROW LEFT> ,
gives the same result.

Jog Control - Click and drag the mouse (either
right or left) on the wide stippled area to move
slowly forwards or backwards through the
timeline.
Shuttle Control - Click and drag the mouse

(either right or left) on the blue arrow pointer ( )
to move rapidly forwards or backwards through
the timeline.
Numerical Entry - You can also control where

you are located in a program by typing the
numerical value (timecode) directly in the Monitor
window. Simply click the mouse over the
numerical display just below the Shuttle Control
area. The display will turn blue to indicate that
the area is active and ready to accept your input.
Next, type a new timecode location such as

11100. This means 1 minute, 11 seconds and 00
frames. Press <ENTER> to go to the precise time
that was typed. You must remember to press
<ENTER>.
After pressing the <ENTER> key, the Edit Line

(or Playback Head) moves precisely to that
location in the Timeline window.
Volume Control
Notice the small speaker icon ( ) just to the
right of the Numerical Entry area. If you click this
icon, you will turn the sound off ( ) during
playback—handy when you get a nagging phone
call while editing. Click the icon again ( ) and
the project will play back at a lower volume—
handy if you’re getting a headache during a long
editing session!

More Project Controls
To learn some more commands and controls,

we’ll add a second clip to our project. From the
File menu select Import and then choose File....
Navigate to the C:\Prem6.5Tut\Video folder and
double-click on Ash.mov. Refer to Task 4,
Importing a Video Clip, pp 12 and 13.
The clip is added to the Project window. It

appears before Don.mov because the clip names
appear in alphabetical order. Notice the small
icons ( ) that appear next to Don.mov but
not with Ash.mov. These icons indicate that Don’s
clip currently has both its video ( ) and audio
( ) in the project timeline.
Place Ash.mov immediately to the right of

Don.mov on the Video 1 A track. Notice the
icons ( ) appear next to Ash.mov in the
Project window because the Ash’s video ( ) and
audio ( ) are now in the timeline.
Press the back slash key ( \ ) on the keyboard.

This command squeezes all the clips used in the
timeline to fit into its window.
SAVE your project again, <CTRL>+S .
Click on the Timeline window title bar to make

this window active.
Press the <HOME> key or <ARROW UP> key

to position the Edit Line at the beginning of the
timeline. Press the <SPACE BAR> or the letter
<L> to view the production.
Press the <SPACE BAR> or the letter <K> to

stop playback.

Navigating the Timeline
With more than one clip in the timeline, we can

introduce some important new keyboard
commands:
<CTRL>+<SHIFT>+ARROW RIGHT>
moves from clip to clip (i.e. edit to edit) going
forward in the timeline. This command will work
with either the Timeline or Monitor window
active.
<CTRL>+<SHIFT>+ARROW LEFT>
moves from clip to clip (i.e. edit to edit) going
backward in the timeline. This command will
work with either the Timeline or Monitor window
active.
You can also use the mouse to click on the Next

Edit ( ) and Previous Edit ( ) buttons in the
Monitor window.
When you come to the edit point between

Don.mov and Ash.mov, the Monitor window
displays a split screen that shows the last frame of
Donald next to the first frame of Ashleigh.
Edit Line – Manual Control

You can grab the Edit Line or Playback Head in
the Timeline window and click and drag it
forward or backward. Try moving the Head
manually across the Don/Ash edit point and
watch the result in the Monitor window.

Editing the First Clip,
Task 9 Don.mov
Editing in the Clip Window, Don.mov

So far we have simply placed a couple of “raw”
or unedited video clips into the timeline. These
clips need to be edited to make a more “fluid”
program. In this part of the tutorial, we’ll extract
some good segments from both Don.mov and
Ash.mov to make a nicely edited production.
Double-click the mouse on Don.mov on the

Video 1A track in the Timeline window. The
video appears in a Clip window near the top of
the screen.
You can enlarge or reduce the size of the viewing

area by clicking and dragging the resize button
( ) at the lower right corner of the Clip window.
Drag downwards about 3/4” to extend the

window area and you will see the video window
is currently sized to 240 x 180 pixels. Release the
mouse button.

Here is the Clip window sized to 240 x 180
pixels. The advantage of having a properly sized
window—that matches the clips physical
dimensions—is that the playback will be clearer. If
you drag up and make the window smaller than
240 x 180, the pixels will be “interpolated” to fit
the smaller space resulting in poorer visual quality
on the computer screen.
The control buttons in the Clip window function

the same way as those in the Monitor window
(described on pages 28 and 29).
Press the <SPACE BAR> to start playing the

clip. When Don starts to say, We’ve all heard the
saying..., press the <SPACE BAR> to pause
the clip. Watch Don’s mouth movements while
using the keyboard’s <ARROW LEFT> or
<ARROW RIGHT> keys to fine tune the
starting point of the clip. You should be at
00:00:02:00, or 2 seconds into the clip, just
before Don says, We’ve all heard....
Click the In Point button ( ). If you wish, you

can use the keyboard equivalent for setting an
In Point—the letter <I> . This marks a new
starting point for the clip.
Press the <SPACE BAR> again to resume

playback. When Don finishes the sentence with
...and security in old age, press the <SPACE
BAR> to pause playback.
Use the <ARROW LEFT> or

<ARROW RIGHT> keys to fine tune this edit
point. A good place for this edit is 00:00:16:20,
where Don finishes with, ...in old age. Click the
Out Point button ( ) or press the letter <O> on
the keyboard.
Editing the First Clip, Don.mov 33

Click the Play In to Out button ( ) to confirm
how the clip sounds when its played back.
NOTE: You can quickly go to your In Point by

pressing <CTRL>+<ARROW UP> or your
Out Point by pressing <CTRL>+<ARROW
DOWN>.
The yellow bar ( ) in the Clip window

shows the edited portion of Don.mov which goes
from 00:00:02:00 to 00:00:16:20.
The duration of this interval is 14:21—14 seconds

and 21 frames—as shown by .
To invoke this edit, click the button at the

bottom of the Clip window.
Click the at the top of the Clip window to

close it.
In the Timeline window you will see a large gap

between Don.mov and Ash.mov because we
have edited out a large segment of Don’s clip.
If you look closely, you will also see a small gap to

the left of Don.mov because we also edited out 2
seconds from the start of Don’s clip.
We’ll close the big gap first. Position the mouse

pointer on the Video 1A track in the area of the
large gap and click the right mouse button. From
the menu that appears, choose Ripple Delete.
The gap in the timeline is closed and Ash.mov is

positioned immediately next to Don.mov.

Press the backslash key ( \ ) on the keyboard to
better fit the clips into the timeline. In this
example, the time scale has changed from
20 Seconds to 10 Seconds.
Next, we will close the small gap to the left of

Don.mov at the start of the timeline. Carefully
position the mouse pointer on the Video 1A track
in the area of the small gap and click the right
mouse button. From the menu that appears,
choose Ripple Delete.
NOTE: Make sure you click on the gap (gray area)

of the timeline and not on Don’s clip. If you see a
double edge arrow ( ), explained in Task 10 of
Tutorial 4, you are too close to the clip. You can
increase the scale of the timeline to make it easier
to click on the gap.
The gap is closed and Don.mov now starts at the

beginning of the timeline.
Notice there are no small diagonal notches at

either end of Don’s clip. Recall from page 23 that
if any content is edited from the start of the clip,
the notch at the “Head” of the clip will disappear.
If any content is edited from the end of the clip,
the notch at the “Tail” will disappear. Since we
edited out video from both the start and end of
Don’s clip, the notches are gone. Ashleigh’s clip is
still unedited, so it still has both of its notches.
Editing the First Clip, Don.mov 35

Editing the Second Clip,
Task 10 Ash.mov
Editing in the Clip Window, Ash.mov

Next, we will edit a selection from Ashleigh’s
video clip. Double-click the mouse on Ash.mov
on the Video 1A track in the Timeline window.
Again, the video appears in a Clip window near
the top of the screen.
Press the <SPACE BAR> to start playing her

clip. Pick an In Point at 00:00:06:00 just before
Ashleigh says, As the world becomes more
complex....
Pick an Out Point at 00:00:20:20 just after

Ashleigh says, ...that is to make a video that helps
people.
Click the Play In to Out button ( ) to confirm

how the clip sounds when its played back.
The yellow bar ( ) in the Clip window

shows the edited portion of Ash.mov which goes
from 00:00:06:00 to 00:00:20:20.
The duration of this interval is 14:21—14 seconds

and 21 frames—as shown by
(coincidentally the same length as Don.mov).

To invoke this edit, click the button at the
bottom of the Clip window.
Click the at the top of the Clip window to

close it.
In the Timeline window you will see a gap

between Don.mov and Ash.mov because we
have edited out a segment of Ashleigh’s clip.
To close the gap, position the mouse pointer on

the Video 1A track in the area of the gap and
click the right mouse button. From the menu that
appears, choose Ripple Delete.
The gap in the timeline is closed and Ash.mov is

positioned immediately next to Don.mov.
Press the backslash key ( \ ) on the keyboard to

better fit the clips into the timeline. In this
example, the time scale has changed from
10 Seconds to 2 Seconds.
There are no longer any notches at either end of

Ash.mov because we edited out video from both
the start and end of Ashleigh’s clip.
Editing the Second Clip, Ash.mov 37

Playing and Navigating
Task 11 the Edited Project
Using the Work Area Bar Playback Using the <SPACE BAR>
Save the project again, <CTRL>+<S> . When you press the <SPACE BAR> the
program will start playing from wherever the
Press the <HOME> key or <ARROW UP> key Playback Head is situated, whether inside or
so the Playback Head goes to the start of the outside the location of the Work Area Bar.
timeline.
Press the <SPACE BAR> or press <ENTER>

and the program will play. Playback Using the <ENTER> Key
Notice the yellow line ( ) near the When you press the <ENTER> key, the program
top of the Timeline window. This line is called the will begin playing from the starting point of the
Work Area Bar and it controls which portion of yellow Work Area Bar ( )and stop playing at the
the program will play when you hit the ending point of the Work Area Bar ( ).
<ENTER> key. Therefore, you have full control over what part of
the timeline you wish to view.
You can adjust the width of the yellow bar by
clicking and dragging its control handles ( or ) Set the Work Area Bar as shown below. When
at either end. You can click and drag anywhere on you press the <ENTER> key, notice how the
the yellow portion ( ) to move the location Playback Head moves from left to right only
of the entire Work Area Bar in the timeline. across the selected portion of the timeline.

Timeline Navigation
Click on the Navigator tab to bring up the

Navigator palette. The Navigator gives you a
simplified view of the Timeline window. It also
allows you to access any portion of the timeline,
change the time scale, and quickly scrub through
your entire program. This is especially important
as your projects get larger.
Navigation Controls
This enlarged image shows how the Navigation
palette relates to the Timeline window.
Video 2 Track ––––––––

Video 1A Track ––––––––
Transition Track ––––––––
––– Playback Head Location
Video 1B Track ––––––––
Audio 1 Track ––––––––
Audio 2 Track ––––––––
Audio 3 Track –––––––– ––– Current Section Covered
by yellow Work Area Bar
Current Viewing Area Inside Timeline Window –––––––––
Current Timecode Location ––––––––
of Playback Head
Click repeatedly on the button to increase the Click and drag the mouse anywhere inside the
scale of the timeline. The scale can be enlarged to green rectangle to move back and forth through
the 1 Frame level where each tick mark on the the timeline.
timeline ruler represents 1 frame of video (or
1/30th second). Hold down the <SHIFT> key and click and
drag precisely on the red line in the Navigator
Click repeatedly on the button to reduce the palette to scrub through your program. You will
scale of the timeline. The scale can be reduced to see the video being displayed in the Monitor
8 minutes which can be useful in very long window. If you do not see the video changing
projects. in the Monitor window while scrubbing, then
first click on the Monitor window, then hold
Click and drag the mouse on the button to down the <SHIFT> key while you click and
increase (drag right) or reduce (drag left) the scale drag on the red line.
of the timeline.
Playing and Navigating the Edited Project 39

Understanding What
Task 12 Happens to Edited Clips
What Happens to Clips that are Edited?

When you edit video and audio clips in Premiere,
there is no change whatsoever to the original files
that were captured to your hard drive. Premiere
simply uses the edit points you’ve made to
determine what sections of the captured clips
play back.
For example, Don’s edited segment is about 15

seconds long, but we know the original clip is
more than 1 minute and 23 seconds. We can
easily add another segment from the Don.mov
clip to our program.
Adding Another Donald Segment

Here’s the procedure. Double-click on the
Don.mov thumbnail in the Project window.
This opens a Clip window with the entire original

clip of Don.mov (1:23:06). The clip segment
already existing in the timeline remains
unchanged. We can now pick an entirely new
section to add to our program.
Pick a new In Point at 00:00:36:10, and a new

Out Point at 00:00:50:20.
NOTE: This time we do not see an Apply button

( ) because we did not double-click on a
clip that was already existing in the Timeline
window.
Instead, we will insert this segment after the

Ash.mov clip in the Timeline window. Click the
Next Edit button ( ) in the Monitor window
until the Edit Line is positioned at the end of
Ashleigh’s clip. Be sure not to click the single
frame forward button ( ) by mistake.

Or, you can click on the blue title bar of the
Timeline window to make it active and press the
<END> key on the keyboard (not on the numeric
keypad).
NOTE: When activating any window in Premiere,

always click on its blue title bar to avoid
accidentally selecting something in a particular
window. You can press <CTRL>+<TAB> to
move from the Timeline window to the Monitor
window when the Clip window is open.
After positioning the Edit Line at the end of the

program, click the right mouse button anywhere
over the video image of Don.mov. From the
menu that appears, choose Insert at Edit Line.
Task 6 and Task 8 in Tutorial 8 explain several

other methods of bringing a clip into the timeline.
Click the at the top right corner of the Clip

window to close it. Click on the Timeline window
and press the backslash key ( \ ) to fit all three
clips into the view. In this example, the time scale
has now changed to 4 Seconds.
Understanding What Happens to Edited Clips 41

Save the project now, <CTRL>+<S> .
Press the <HOME> key to return the Playback

Head to the beginning of the timeline. Press the
<SPACE BAR> to view your program.
Viewing Clip Usage
Although we see only one thumbnail of Don.mov

in the Project window, two different segments of
the clip have been used in the timeline. Premiere
keeps track of how many times a clip is used. To
view clip usage, we must switch the Project
window to List View as described on page 15.
After clicking the List View button ( ), click the

right mouse button within the gray area at the
upper part of the Project window. From the menu
that appears, select Project Window Options....
The Project Window Options dialog box

appears. It shows all the columns currently being
displayed in List View. Click the checkbox called
Video Usage to activate it. Click to close
the dialog box.
Scroll across to the Video Usage column or

stretch out the Project window to see all the
columns. The number 2 listed for Don.mov
indicates the clip appears twice in the timeline.

Adding Another Ashleigh Segment
To complete our program, we’ll add another new

segment from the Ash.mov clip.
Double-click on the Ash.mov icon ( ) in

the Project window.
This opens a Clip window with the entire original

clip of Ash.mov (1:19:26). From here, we can
pick an entirely new segment to add to our
program.
Pick a new In Point at 00:00:38:20, and a new

Out Point at 00:00:48:26.
Click on the blue title bar of the Timeline window

to make it active and press the <END> key on
the keyboard to position the Edit Line at the end
of the program. This time, click the Insert Button
( ) near the lower right corner of the Clip
window. You can also use the keyboard
equivalent which is the comma ( , ).
Click the at the top right corner of the Clip

window to close it.
The fourth segment is added to the timeline. Press

the backslash key ( \ ), if necessary, to fit all the
clips into the window.

Clip Usage
If you check the Project window, you will see that

Video Usage for Ash.mov has been increased to
2. Premiere’s Project window is up-to-date.
Save the project again, <CTRL>+<S> .
Setting the Work Area
There is an easy way to automatically stretch the

yellow Work Area Bar over all the clips used in
the timeline. Simply press and hold the <ALT>
key while you click the left mouse button
anywhere on the yellow bar.
Press <ENTER> to view the entire program.

Cleaning Up the Workspace
With all the changes you made to the Project

window, perhaps your workspace is getting a little
messy. Go to the Window menu, select Work-
space and choose Basic Editing 1024 x 768.
Premiere’s desktop will be reconfigured to the
way we originally laid things out.
Before continuing with this tutorial, click the

Thumbnail View icon ( ) in the Project
window.

Task 13 Adjusting Audio Levels
Inconsistent Sound Volume

As you watch and listen to the clips in this
program, you’ll notice that Donald’s voice is
considerably louder than Ashleigh’s. In video
production, you must pay close attention to audio
quality and consistency as well as video delivery.
In an ideal “world,” all your clips would have

perfect audio quality and maintain consistent
volume throughout. Not all capture boards allow
you to set optimal recording levels when
capturing and digitizing clips. When you start
editing, you will often discover that you want to
further improve or modify your audio levels.
Fortunately, Premiere has the necessary tools to
facilitate working with and “massaging” audio.
Click the twirly arrow ( ) beside the Audio 1

track label ( ) in the Timeline
window to expand the information in the audio
track. The arrow turns down, and the expanded
audio track shows more detail.
Displaying Audio Waveforms

Open the Timeline Window Options dialog box
(refer to page 22). Change the Audio display
section to 10 Seconds and click to close
the dialog box.
Now you can see miniature audio waveforms

that represent audio volume variations as Don
and Ashleigh speak.

Adjusting Audio Levels
If you look closely, you will notice that the audio

waveforms for Don’s clips look substantially
heavier (or “fuller”) than Ashleigh’s. This visual
display confirms what we have already
observed—Don’s voice is louder than Ashleigh’s.
The slender red line ( ) going

through the middle of each audio segment is a
volume control band. We can manipulate this red
line to create audio level variations.
Position the mouse pointer near the middle of the

red line on the first Don.mov clip. The mouse
arrow changes to a pointing finger ( ).
Click the left mouse button once, and a new

control point handle ( ) will be added to the red
line.
Next, press and hold down both the <CTRL>

and <SHIFT> keys while you click and drag on
the new handle. Click and drag this handle up or
down. As you do so, you can see the volume level
displayed as a percentage next to the control
handle. Drag the volume down so that the fade
level is 45% and release the mouse button.
This is not what we actually hoped to accomplish.

What we have done is create a partial audio fade
midway through the clip. In fact, we really want
to reduce the audio volume evenly throughout
the clip.
To eliminate the volume control handle in the

middle of this clip, click on the handle with the
left mouse button, drag it to the top or bottom of
the audio track, and release the mouse. The red
line will “bounce back” like a rubber band and
the handle will disappear.
Adjusting Audio Levels 47

To apply a uniform audio reduction across the
entire segment, proceed as follows. Position the
mouse pointer near the middle of the red line
until the pointer changes to a finger ( ). Next,
press and hold down the <CTRL> and <ALT>
and <SHIFT> keys. The finger changes to the
fade adjustment tool ( ).
Continue dragging downwards until the audio

level reaches 80%. Release the left mouse button
and then release <CTRL> and <ALT> and
<SHIFT> keys.
Notice the red audio band is slightly lower,

representing a reduction in the audio volume for
this clip.
Check the Results

Press the <HOME> key to return the Playback
Head to the start of the timeline. Press <ENTER>
to play back the program. The sound level
consistency between the first two clips has been
improved. Save the project.
Next, we’ll adjust the audio level in the second

Don.mov segment. Position the mouse pointer on
the red audio band in the second clip of Don and
press and hold down the <CTRL> and <ALT>
and <SHIFT> keys. To get an appreciation for
the kind of control you have, try dragging the
mouse upwards to 200% and downwards to 0%
to see the full range of the fade adjustment tool.
You can accurately set the audio level in 1%
increments.
Set the audio level for Don’s clip to 80%, release

the left mouse button and then release the
<CTRL> and <ALT> and <SHIFT> keys.

Audio Mixer – A Brief Introduction
Perhaps you don’t trust your judgement when

listening to the audio play back. Go to the
Window menu and open Premiere’s new Audio
Mixer.
Using the Audio Mixer, you will be able to see a

visual display of audio levels in real time as they Click
play back in the Timeline window. Here >
To activate real-time monitoring, click on the

small icon that looks like eyeglasses ( ) at the
top left corner of the Mixer window.
Next, click the Play button ( ) near the bottom

left corner of the Mixer window. As your project
plays back, watch the volume level meters in the
Audio Mixer. You will see that the levels remain
very consistent throughout the timeline.
Click the at the top of the Mixer window to

close it.
NOTE: In longer projects, you will get better

performance from Premiere when you keep the Volume
Audio Tracks collapsed. Click the downward Level >
pointing twirly arrow ( ) next to Meter
Audio 1 to return this track to its original state.
Even though the track is collapsed, all the fade
adjustments you implemented are still in effect.
Save your project before continuing with the next

section of this tutorial.
Adjusting Audio Levels 49

Task 14 Adding Transitions
Setting Up a Transition
The edits we have created so far are commonly referred to as cuts. The video simply changes from one
clip to the next. Premiere lets you add effects (known as transitions) between clips. To do so, the clips
must be positioned alternately on the Video 1A and Video 1B tracks, and they must overlap.
Click and drag the first Ash.mov segment straight

down to the Video 1B track. You will see a gray
shadow that represents the clip’s new position as
you enter the track.
Release the mouse button.

Notice that the audio portion is automatically
relocated to its corresponding Audio 2 track.
Click once on Ash.mov and the clip will become REMINDER: To unselect a clip you can simply
"selected" as shown by the animated marquee press the letter V or use the key combination,
(like "marching ants") around the clip. <CTRL>+<SHIFT>+<A>.
Look at the Info palette. Notice that this clip starts

at 0:00:14:21.
Click and hold the mouse button on Ash.mov and

try to drag the clip to the left until the Info palette
shows the clip starting at 0:00:13:21.
NOTE: You will probably find it impossible to

move the clip precisely to 0:00:13:21.
Instead, the clip seems to "snap" from place to

place instead of moving smoothly to the proper
position. The reason for this is a default feature in
Premiere called Snap to Edges. Premiere
attempts to position clips somewhat automatically
which gives you less control.
We can toggle this feature off, as shown on the

next page. However, you will often appreciate the
Snap to Edges feature as explained on page 25 of
Tutorial 4.)
Adding Transitions 51
Improving Clip Control
To gain complete control when moving the clip,

you have two options:
1) Enlarge the time scale of the project from its

current setting (4 Seconds) to 1 Second. At this
magnified scale, you will have better control
when moving the clip back and forth in the
timeline. Try it. You should be able to position the
clip exactly at 0:00:13:21.
Before looking at the second option, put the clip

back to its previous position of 0:00:14:21 on the
Video 1B track. Set the time scale back to
4 Seconds.
2) If you don't want to change the time scale,

there is another method you can use. Click the
small arrow ( ) located at the upper right side of
the Timeline window to bring up the Timeline
flyout menu. Click the item, Snap to Edges, and it
will be toggled off.
You have now turned off the Snap to Edges

feature in Premiere. It is generally more
convenient to use the icon at the base of the
Timeline window to toggle Snap to Edges on and
off. Click on this icon a couple of times to try it
out, but when you are finished leave Snap to
Edges off as shown here.
With Snap to Edges disabled, try again to position

Ash.mov to 0:00:13:21 (use the Info window to
guide you). You now have complete and smooth
control of the clip's placement without having to
do all the steps discussed in option 1.

Choosing a Transition
Premiere comes with dozens of transitions and

they are conveniently grouped in folders located
in the Transitions palette.
We will look for a transition called Barn Doors.

Click on the flyout button ( ) at the right side of
the palette and choose Find....
In the Find Transition dialog box, type b a r n

doors and then click the button.
Premiere instantly locates the Barn Doors
transition within the Wipe folder.
Click the button.
Expand the time scale to 2 Seconds. This will

make it easier for you to see how a transition is
placed into the timeline.
Place the mouse pointer over Barn Doors in the

Transitions palette. The mouse pointer changes to
a hand.
Click and drag Barn Doors to the Transition track
and position it to fit into the overlap area between
Don.mov (Video 1A track) and Ash.mov (Video
1B track). With the mouse button still being
pressed, you will see a dark gray "shadow" in the
Timeline window showing you where the NOTE: Even though Snap to Edges is turned off,
transition will be placed. the transition icon will still “snap” into place.
When you release the mouse button, you'll see

the Barn Doors icon ( ) situated between
Don.mov and Ash.mov on the Transition track.
A small red bar ( ) appears just below the

yellow Work Area Bar. It corresponds to the
location of the Barn Doors transition.

Click the mouse within the numerical time scale
and position the Playback Head close to the Barn
Doors icon as shown below.
Press the <SPACE BAR> to play back the

project from this point.
You were probably surprised to see that no

transition occurred in the Monitor window! Read
ahead to find out why.
Rendering New Video
In Premiere, when new video is created, it must IMPORTANT NOTE: When you start using
be rendered before it will play back. What do we Premiere to edit your own productions, it will be
mean by new video? Up to now, everything that important to specify a hard drive where Premiere
played back when we pressed the <SPACE can save its rendered files. Ideally, you want these
BAR> was material that already existed on the files to go onto your fastest disk drive, dedicated
hard drive. With a transition, there must be new to storing video (refer to Tutorial 1, Task 5).
video created that combines material from both
video tracks. This new video does not yet exist at To specify the location of Adobe Premiere
all. Preview Files, go to the Edit menu and select
Preferences, then choose Scratch Disks and
Rendering takes time because Premiere must Device Control....
"calculate" what each new video frame will look
like and then write a new file to your hard drive It’s important to realize that whenever you delete
that contains the rendered clips. Premiere saves the preferences file (Premiere 6.5 Prefs) as
these files in a folder on your hard drive called discussed on page 4, Premiere loses any record of
Adobe Premiere Preview Files. your specified preferences, and you have to enter
them again.
Instant View
Fortunately, Premiere also provides an instant

viewing feature that lets you see how your
transition will look before it is rendered. To
perform an instant view, first press and hold the
<ALT> key and slowly drag the Playback Head
over the transition. When doing this type of
instant view, there will be no audio playback.
NOTE: Adobe calls this technique a “render-

scrub.” (Refer to page 216 of Adobe’s Premiere
6.0 User Guide.)
<ALT> key is held down
Rendering Transitions (New Video)

To actually render a transition, we must play back
the project by pressing the <ENTER> key rather
than the <S PACE BAR>. We can also specify
the area of the project that we wish to view. This
is accomplished by adjusting the yellow Work
Area Bar ( ) just above the
numerical time scale ruler.

Double-click on the yellow Work Area Bar. This
automatically creates control handles ( or ) at
both ends of the Timeline window (at any scale).
Click and drag each of the control handles to

suitably cover the transition area as shown below.
Press <ENTER> . A Building Preview progress

bar appears. In a few moments, Premiere will
render the transition and the selected area will
play back. In the Monitor window, you will see
the transition in actual time with sound.
A small green bar ( ) appears just below the NOTE: After a segment has been rendered once,
yellow Work Area Bar. The color indicates that it will not have to be rendered again because its
new video has been successfully rendered. Prior new video has been saved on the hard drive.
to rendering, this bar was red ( ). The red color However, if you modify a transition after it has
alerts you about which sections in your project been rendered, or you move any video clips in
still require rendering. the rendered region, Premiere will have to re-
render again before playback.
Remember, the yellow line ( ) is

known as the Work Area Bar. Press <ENTER>
again. Notice how Premiere only plays back the
section of the timeline that is covered by the
Work Area Bar. Save your work again.
NOTE: The length of a transition is determined by

how much overlap there is between the two
video tracks. In this example there was a 1 second
overlap so the Barn Doors effect takes 1 second.
Premiere 6.5 and Real-Time Video
With a generic Firewire card, Premiere 6.5

supports “real-time” playback to a limited extent.
With newer high-speed Pentium computers it is
What Does True Real-Time Video Mean?
now possible to immediately see the results of
your transitions and special effects on your
Some manufacturers, such as Pinnacle Systems
desktop monitor. Note that you will not see the
Inc., have introduced true “real-time” capture
“instant” effects on your NTSC video monitor.
boards. Products like the Pinnacle DV500 or Pro-
ONE are engineered to reduce the need for
To obtain real-time previews, you must select
rendering. When using the Pinnacle transitions
DV-NTSC Real-time Preview from the Load
that “plug into” Premiere, there is no delay when
Project Settings window when you first start
the <ENTER> key is pressed to play back the
Premiere (see page 6). This feature is covered in
project. This is commonly called true real-time
Task 8 of Tutorial 5 starting on page 34.
video (also known as dual streaming).

On Your Own – Assignment
So far, there is only one transition in this project.

On your own, position the remaining clip
segments as shown below and add two more
transitions of your own choice. Make the
transitions 1 second long by using your Info
window as a guide when moving the video clips.
Before pressing <ENTER> to render the project,

it will be necessary to stretch the yellow Work
Area Bar ( ) across the entire
timeline. Remember, there is a keyboard shortcut
that helps you do this automatically. Simply press
and hold the <ALT> key as you click on the
Work Area Bar. This will stretch the bar over all of
the continuous clips in your project, as shown
below.
Tutorial 3
Task 15 Summary
NOTE: This automatic feature is a real help However, if you <ALT> click on the Work Area
because it helps you "discover" accidental breaks Bar and it does not immediately stretch out to the
in your program. Sometimes, you might full extent of the clips in your timeline, then
inadvertently leave a tiny gap between two clips you've detected a "break." The break will be at the
in the timeline. This gap could be as small as a position where the Work Area Bar stops.
single frame and would not easily be detected.
When the Work Area Bar is properly positioned,

press <ENTER> to render and play the project.
You will see two additional green bars ( ) telling
you that all segments have been rendered.
Save your project again. Congratulations, you

have completed the first tutorial!
Summary
As you learn to work with Premiere, you will The fundamentals of basic editing with Premiere
discover that there are often different methods of have been covered in this tutorial. We suggest
performing certain operations. For example, you going through this entire module again before
might choose to use a menu flyout, a right mouse going on to Tutorial 4. Pay particular attention to
button click, or a keyboard shortcut. Try to be the NOTES that are highlighted in red.
consistent with the approaches you use. There is a
lot to learn in Premiere, and you'll progress faster
when you work consistently.

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What is the purpose of the tutorial?

What is the purpose of the tutorial?

What are some important editing techniques covered?

What are some important editing techniques covered?

ADITA Video Inc.

Tutorial 3 – Quick Start Editing

13 Adjusting Audio Levels ...............................................46

FILES REQUIRED FOR TUTORIAL 3

The files you will be using in Tutorial 3 are:

Deleting the Premiere Preferences File

Deciding on an Editing Style

After Premiere loads, you are asked to select an

NOTE: In these tutorials we will primarily use the

4 Tutorial 3 • Quick Start Editing

After selecting your Initial Workspace, the Load

New Project Settings

Customizing General Settings

To access the Video settings press the

You can also click on the drop down menu button

NOTE: For a detailed explanation of all the

6 Tutorial 3 • Quick Start Editing

For Compressor choose Intel Indeo Video 4.4.

NOTE: These settings are specifically chosen to

To access the Audio settings press the

Customizing Audio Settings

To view the Keyframe and Rendering settings

Customizing Keyframe and Rendering

To view the Capture settings press the

Customizing Capture Settings

No setting changes required here at this time.

Click the button. Premiere’s editing

Customizing New Project Settings 7

Examining the Interface

8 Tutorial 3 • Quick Start Editing

When Premiere first loads, it needs to be

Next, pull down the Windows Taskbar, near the

Optimizing the Workspace 9

When you are satisfied with all the window

In the Save Workspace dialog box, enter a

Click the button.

Click again on the Window menu and select

There are four other preset workspaces defined

Select Audio from the Workspace drop-down

10 Tutorial 3 • Quick Start Editing

You can load any of the Adobe preset workspaces

Choose Basic Editing 1024x768 to return to the

In the Delete Workspace dialog box click on the

NOTE: You cannot delete any of the four preset

Optimizing the Workspace 11

The Project Window

The Project window uses folders called Bins to

Importing the First Video Clip

We’ll begin this new project by importing our first

12 Tutorial 3 • Quick Start Editing

REMINDER: As mentioned earlier, the video clips

Viewing the Clip’s Properties

Next to the thumbnail viewer is detailed

Previewing the Clip

Click the Play button ( ) on the left side of the

Importing a Video Clip 13