Adobe Premiere Pro CC (2016)
5. Essentials of Video Editing
In this lesson, you’ll learn about the following:
• Working with clips in the Source Monitor
• Creating sequences
• Using essential editing commands
• Understanding tracks
This lesson will take approximately 50 minutes.
This lesson will teach you the core editing skills you will use again and again when creating sequences with Adobe Premiere Pro CC.
Editing is much more than choosing shots. You’ll choose your cuts precisely, placing clips in sequences at exactly the right point in time and on the track you want (to create layered effects), adding new clips to existing sequences, and removing old ones.
No matter how you like to approach video editing, you’ll employ a few simple techniques time and again. Most of the practice of video editing is making partial selections of your clips and selectively placing them in your sequence. There are several ways of doing this in Premiere Pro.
Before you begin, make sure you’re using the Editing workspace.
1. To begin, reset the workspace to the default. In the Workspaces panel, click Editing. Then click the menu adjacent to the Editing option and choose Reset to Saved Layout.
2. For this lesson, you’ll use the project file you used in Lesson 4, “Organizing Media.” Continue to work with the project file from the previous lesson, or open it from your storage drive.
3. Choose File > Save As.
4. Rename the file Lesson 05.prproj.
5. Choose a preferred location on your hard drive and click Save to save the project.
If you do not have the previous lesson file, you can open the Lesson 05.prproj file from the Lesson 05 folder.
You’ll begin by learning more about the Source Monitor and how to mark your clips to get them ready to be added to a sequence. Then you’ll learn about the Timeline, where you’ll work on your sequences.
Using the Source Monitor
The Source Monitor is the main place you’ll go when you want to check your assets before including them in a sequence.
Change clip interpretation by right-clicking it in the Project panel and choosing Modify > Interpret Footage.
When you view video clips in the Source Monitor, you watch them in their original format. They will play back with their frame rate, frame size, field order, audio sample rate, and audio bit depth exactly as they were recorded, unless you change the clip interpretation.
When you add a clip to a sequence, Premiere Pro conforms it to the sequence settings. This means the frame rate and audio type might be adjusted so that all the clips in the sequence play back the same way.
As well as being a viewer for multiple file types, the Source Monitor provides important additional functions. You can use two special kinds of markers, called In marks and Out marks, to select part of a clip for inclusion in a sequence. You can also add comments in the form of markers that you can refer to later or use to remind yourself about important facts relating to a clip. You might include a note about part of a shot you don’t have permission to use, for example.
Loading a clip
To load a clip, do the following:
1. Browse to the Theft Unexpected bin. With the default preferences, double-click the bin in the Project panel while holding the Control (Windows) or Command (Mac OS) key to open the bin in the existing panel. To navigate back to the Project panel contents, click the Navigate Up button ().
Notice that the active panel has a blue outline. It’s important to know which panel is active because menus and keyboard shortcuts sometimes give different results depending on your current selection. For example, if you press Shift+` (grave), the currently selected frame will toggle to full-screen, regardless of the location of your mouse.
2. Double-click a video clip, or drag and drop a clip into the Source Monitor.
Either way, the result is the same: Premiere Pro displays the clip in the Source Monitor, ready for you to watch it and add markers.
3. Position your mouse pointer so that it is over the Source Monitor and press the ` (grave) key. The panel fills the Premiere Pro application frame, giving you a larger view of your video clip. Press the ` (grave) key again to restore the Source Monitor to its original size. If your keyboard does not have a ` (grave) key, you can go to the panel menu and choose Panel Group Settings > Maximize Group Panel.
Viewing video on a second monitor
If you have a second monitor connected to your computer, Premiere Pro can use it to display full-screen video.
Choose Edit > Preferences > Playback (Windows) or Premiere Pro > Preferences > Playback (Mac OS), make sure Mercury Transmit is enabled, and select the check box for the monitor you want to use for full-screen playback.
You also have the option of playing video via a DV device, if you have one connected, or via third-party hardware.
Loading multiple clips
Next you’ll create a selection of clips to work with in the Source Monitor.
1. Click the Source Monitor panel menu (on the panel tab) and choose Close All. This clears the monitor and also clears the list of recent items shown on the menu.
2. Click the List View button on the Theft Unexpected bin, and make sure the clips are displayed in alphabetical order by clicking the Name heading.
3. Select the first clip, Cutaways, and then hold down the Shift key and click the clip Mid John.
This makes a selection of multiple clips in the bin.
4. Drag the clips from the bin to the Source Monitor.
Now just the clips selected will be displayed in the Source Monitor panel menu. You can use the menu to choose which clip to view.
Using Source Monitor controls
As well as playback controls, there are some important additional buttons in the Source Monitor.
• Add Marker: This adds a marker to the clip at the location of the playhead. Markers can provide a simple visual reference or store comments.
• Mark In: This sets the beginning of the part of the clip you intend to use in a sequence. You can have only one In mark. A new In mark will automatically replace the existing one.
• Mark Out: This sets the end of the part of the clip you intend to use in a sequence. You can have only one Out mark. A new Out mark will automatically replace the existing one.
• Go to In: This moves the playhead to the clip In point.
• Go to Out: This moves the playhead to the clip Out point.
• Insert: This adds the clip to the sequence currently displayed in the Timeline using the insert edit method (see “Essential editing commands” later in this lesson).
• Overwrite: This adds the clip to the sequence currently displayed in the Timeline using the overwrite edit method (see “Essential editing commands” later in this lesson).
Selecting a range in a clip
You will usually want to include only a specific part of a clip in a sequence. Much of an editor’s time is spent watching video clips and choosing not only which ones to use but also which parts to use. Making a selection is easy.
1. Use the Source Monitor panel menu to select the clip Excuse Me (not Excused Me Tilted). It’s a shot of John nervously asking if he can sit down.
2. Play the clip to get an idea of the action.
John walks onscreen about halfway through the shot but takes a moment to speak.
3. Position the playhead just before John enters the shot or just before he speaks. Around 01:54:06:00, he pauses briefly and speaks. Note that the timecode reference is based on the original recording and does not start at 00:00:00:00.
4. Click the Mark In button. You can also press the I key on your keyboard.
Premiere Pro highlights the section of the clip that is selected. You have excluded the first part of the clip, but you’ll be able to reclaim this part later if you need to do so—that’s the wonderful freedom of nonlinear editing.
5. Position the playhead just as John sits down. Around 01:54:14:00 is perfect.
6. Press the O key on your keyboard to add an Out point.
In and Out marks added to clips are persistent. That is, they will still be present if you close and open the clip again.
Now you’ll add In and Out marks for the following two clips.
7. For the HS Suit clip, add an In point just after John’s line, about a quarter of the way into the shot (01:27:00:16).
8. Add an Out point just as the screen goes dark (01:27:02:14).
Some editors prefer to go through all available clips, adding In and Out marks as required, before building a sequence. Some editors prefer to add In and Out marks only as they use each clip. Your preference may depend on the kind of project you are working on.
9. For the Mid John clip, add an In point just as John sits down (01:39:52:00).
10. Add an Out point after he has a sip of tea (01:40:04:00).
To help you find your way around your footage, Premiere Pro can display timecode numbers on the time ruler. Toggle this option on and off by clicking the Settings button () and choosing Time Ruler Numbers.
If your keyboard has a separate numerical keypad, you can use it to enter timecode numbers directly. For example, if you type 700, Premiere Pro will position the playhead at 00:00:07:00. There’s no need to enter the leading zeros or number separators. Be sure to use the numerical keypad, on the right on your keyboard, and not the numbers along the top of your keyboard (these have a different use).
The tool tip that pops up if you hover your mouse over a button tells you the keyboard shortcut key in brackets after the name of the button.
Editing from the Project panel
Because In and Out marks remain active in your project until you change them, you can add clips to a sequence directly from the Project panel, as well as from the Source Monitor. If you have already looked at all your clips and chosen the parts you want, this can be a quick way to create a rough version of a sequence.
Premiere Pro applies the same editing controls when you’re working from the Project panel as it does when you’re using the Source Monitor, so the experience is similar–and a few clicks quicker. While it’s faster to work this way, there’s also value in having one last look at your clips in the Source Monitor before you add them to a sequence. The more familiarity you have with your media, the better.
If you have a long clip, you might want to use several parts in your sequence. It can be useful to separate the parts so they can be organized prior to building your sequence.
This is exactly why subclips were created. Subclips are partial copies of clips. They are commonly used when working with long clips, especially when there are several parts of the same original clip that might be used in a sequence.
Subclips have a few notable characteristics.
• They can be organized in bins, just like regular clips, though they have a different icon () in the Project panel List view.
• They have a limited duration based on the In and Out marks used to create them, which makes it easier to view their contents when compared with viewing potentially much longer original clips.
• They share the same media files as the original clip they’re based on.
• They can be edited to change their contents and even converted into a copy of the original full-length clip.
Let’s make a subclip.
1. Double-click the Cutaways clip in the Theft Unexpected bin to view it in the Source Monitor.
2. While viewing the contents of the Theft Unexpected bin, click the New Bin button at the bottom of the panel to create a new bin. The new bin will appear in the existing Theft Unexpected bin.
3. Name the bin Subclips and open it to see the contents. Hold the Control (Windows) or Command (Mac OS) key while double-clicking the bin to have it open in the same frame, rather than floating as an independent frame.
4. Choose a section of the clip to make into a subclip by marking the clip with an In point and an Out point. The moment roughly about halfway through when the packet is removed and replaced might work well.
5. To create a subclip from the selection between your In and Out marks, do one of the following:
• Right-click in the picture display of the Source Monitor and choose Make Subclip. Name the subclip Packet Moved and click OK.
• With the Source Monitor active, click the Clip menu and choose Make Subclip. Name the subclip Packet Moved and click OK.
• With the Source Monitor active, press Control+U (Windows) or Command+U (Mac OS). Name the subclip Packet Moved and click OK.
• While holding the Control (Windows) or Command (Mac OS) key, drag the picture from the Source Monitor into the Project panel bin. Name the subclip Packet Moved and click OK.
If you select Restrict Trims To Subclip Boundaries, you won’t be able to access the parts of your clip that are outside your selection when viewing the subclip. This might be exactly what you want (and you can change this setting by right-clicking the subclip in the bin and choosing Edit Subclip).
The new subclip is added to the Subclips bin, with the duration you specified with your In and Out marks.
Navigating the Timeline
If the Project panel is the heart of your project, then the Timeline is the canvas. The Timeline is where you add clips to your sequences, make editorial changes to them, add visual and audio special effects, mix soundtracks, and add titles and graphics.
Here are a few facts about the Timeline:
• You view and edit sequences in the Timeline.
• You can open multiple sequences at the same time, and each will be displayed in its own Timeline.
• The terms sequence and Timeline are often used interchangeably, as in “in the sequence” or “on the Timeline.”
• You can have up to 99 video tracks. Upper video tracks play “in front” of lower ones, so you would normally place graphics clips on tracks above background video clips.
• You can have up to 99 audio tracks that all play at the same time to create an audio mix. Audio tracks can be mono (1 channel), stereo (2 channels), 5.1 (6 channels), or adaptive—with up to 32 channels.
• You can change the height of Timeline tracks to gain access to additional controls and thumbnails on your video clips.
• Each track has a set of controls, shown on a track header on the far left, that change the way it functions.
• Time always moves from left to right on the Timeline, so when you play a sequence, the playhead will move in that direction.
• The Program Monitor shows you the contents of the currently displayed sequence at the position of the playhead.
• For most operations on the Timeline, you will use the standard Selection tool. However, there are several other tools that serve different purposes, and each tool has a keyboard shortcut. If in doubt, press the V key. This is the keyboard shortcut for the Selection tool.
• You can zoom in and out of the Timeline using the = and – keys (usually at the top of your keyboard) to get a better view of your clips. If you have a \ key, this will toggle the zoom level between your current setting and showing your whole sequence. You can also double-click the navigator at the bottom of the Timeline to view the whole timeline.
What is a sequence?
A sequence is a series of clips that play, one after another—sometimes with multiple blended layers and often with special effects, titles, and audio—making a complete film.
You can have as many sequences as you like in a project. Sequences are stored in the Project panel, just like clips. They have their own icon.
You may need to click the Navigate Up button to see the Theft Unexpected bin.
Let’s make a new sequence for the Theft Unexpected drama.
1. In the Theft Unexpected bin, drag the clip Excuse Me (not Excuse Me Tilted) onto the New Item button at the bottom of the panel.
This is a shortcut to make a sequence that perfectly matches your media.
Premiere Pro creates a new sequence, which shares the name of the clip you selected.
2. The sequence is highlighted in the bin, and it would be a good idea to rename it right away. Right-click the sequence in the bin and choose Rename. Name the sequence Theft Unexpected.
The sequence is automatically open, and it contains the clip you used to create it. This works for our purposes, but if you had used a random clip to perform this shortcut, you might choose to select it in the sequence and delete it now (by pressing the Delete key).
Close the sequence by clicking the X on its name tab in the Timeline.
Sequences have a frame rate, a frame size, and an audio mastering format (mono or stereo, for example). They conform, or adjust, any clips you add to match these settings.
You can choose whether clips should be scaled visually to match your sequence frame size. For example, for a sequence with a frame size of 1920×1080 (regular high-definition) and a video clip that is 4096×2160 (Cinema 4K), you might decide to automatically scale the high-resolution clip down to match your sequence resolution or leave it as it is, viewing only part of the picture through the reduced “window” of the sequence.
When clips are scaled, the vertical and horizontal sizes are scaled equally to keep the original aspect ratio. This means that if a clip has a different aspect ratio from your sequence, it may not completely fill the frame of your sequence when it is scaled. For example, if your clip had a 4:3 aspect ratio and you added it, scaled, to a 16:9 sequence, you’d see gaps at the sides.
Using Motion controls in the Effect Controls panel (see Lesson 9, “Putting Clips in Motion”), you can animate which part of the picture you see, creating a dynamic pan-and-scan effect inside the picture.
You can also drag a sequence into the Source Monitor to use it as if it were a clip. Be careful not to drag a sequence into the Timeline to open it because this will add it to your current sequence.
Opening a sequence in the Timeline
To open a sequence in the Timeline, do one of the following:
• Double-click the sequence in a bin.
• Right-click the sequence in a bin and choose Open in Timeline.
Open the Theft Unexpected sequence and take a look at it in the Timeline.
Much as railway tracks keep trains in line, sequences have video and audio tracks that constrain the positions of clips you add to them. The simplest form of sequence would have just one video track and perhaps one audio track. You add clips to tracks, one after another, from left to right, and they play in the order you place them.
Sequences can have additional video and audio tracks. They become layers of video and additional audio channels. Since the higher video tracks appear in front of lower ones, you can use them to creatively produce layered compositions.
You might use an upper video track to add titles to a sequence or to blend multiple layers of video using special effects.
You might use multiple audio tracks to create a complete audio composition for your sequence, with original source dialogue, music, spot audio effects such as gunshots or fireworks, atmospheric sound, and voice-over.
Premiere Pro has multiple scrolling options, giving you different results depending on the location of your cursor.
• If you hover your mouse over tracks, you can scroll with your mouse to navigate earlier or later; trackpad gestures work too.
• If you hold the Alt key while scrolling with your mouse, the Timeline view will zoom in or out.
• If you hover your mouse over a track header and scroll, you’ll increase or decrease the height of the track.
• If you hover your mouse over a video or audio track header and scroll while holding the Shift key, you’ll increase or decrease the height of all tracks of that type.
If you hold the Control (Windows) or Command (Mac OS) key while you scroll to adjust track height, you’ll have finer control.
Track headers are more than nameplates. They also act as enable/disable buttons for the tracks when making selections to remove parts of a sequence or when rendering effects.
To the left of the track headers, you’ll see a set of buttons that represent the available tracks for the clip currently displayed in the Source Monitor or selected in the Project panel. These are the source track indicators, and they are numbered, just like the Timeline tracks. This helps keep things clear when performing more complex edits.
If you drag and drop a clip into a sequence, the position of the source track indicators are ignored. However, when you use a keyboard shortcut or the buttons on the Source Monitor to add a clip to a sequence, source track indicators become important. The position of the source track indicators sets the track a new clip will be added to.
In the following example, the position of the source track indicators means a clip with one video track and one audio track would be added to the Video 1 and Audio 1 tracks on the Timeline.
In the following example, the source track indicators have been moved by dragging and dropping. In this example, the clip would be added to the Video 2 and Audio 2 tracks on the Timeline.
Remember, Timeline track indicators matter when rendering effects or making Timeline selections, but they don’t affect adding clips to a sequence; only the source track indicators do.
Click a source track indicator to enable it or disable it. A blue highlight indicates a track is enabled. You can make advanced edits by dragging the source track indicators to different tracks and selecting which tracks you have on or off.
Using In and Out marks
The In and Out marks used in the Source Monitor define the part of a clip you will add to a sequence.
The In and Out marks you use on the Timeline have two primary purposes.
• To tell Premiere Pro where a new clip should be positioned when it is added to a sequence.
• To select parts of a sequence you would like to remove. You can make precise selections to remove whole clips, or parts of clips, from multiple tracks by using In and Out marks in combination with the track header controls.
The light region indicates the selected part of the sequence, defined by an In mark and an Out mark.
Setting In and Out marks
Adding In and Out marks on the Timeline is almost the same as adding them in the Source Monitor.
One key difference is that unlike the controls in the Source Monitor, the controls on the Program Monitor also apply to the Timeline.
To add an In point to the Timeline at the current position of the playhead, make sure the Timeline or Program Monitor is active and then press the I key or click the Mark In button on the Program Monitor.
To add an Out point to the Timeline at the current position of the playhead, make sure the Timeline or Program Monitor is active and then press the O key or click the Mark Out button on the Program Monitor.
If you have a / key, you can use it to add In and Out marks to the Timeline based on clips you have selected.
Clearing In and Out marks
If you open a clip that already has In and Out marks and you want to remove them (or there are In and Out marks on the Timeline that are cluttering up your view), it’s easy to remove them. You’ll use the same technique to remove In and Out marks on the Timeline, in the Program Monitor, and in the Source Monitor.
1. On the Timeline, select the Excuse Me clip by clicking it once.
2. Press the / key. This adds an In mark to the Timeline at the start of the clip (on the left) and an Out mark at the end of the clip (on the right). Both are added to the time ruler at the top of the Timeline.
3. Right-click the time ruler at the top of the Timeline and take a look at the menu options.
Select the option you need in this menu, or use one of the following keyboard shortcuts:
• Control+Shift+I (Windows) or Alt+I (Mac OS): Remove In Mark (Clear In)
• Control+Shift+O (Windows) or Alt+O (Mac OS): Remove Out mark (Clear Out)
• Control+Shift+X (Windows) or Alt+X (Mac OS): Remove In mark and Out mark (Clear In and Out)
4. That last option is particularly useful. It’s easy to remember and quickly removes both marks. Try it now to remove the marks you added.
Using time rulers
The time rulers at the bottom of the Source Monitor and Program Monitor and at the top of the Timeline all serve the same purpose: They allow you to navigate through your clips or your sequences in time.
Time always goes from left to right, and the location of the playhead gives you a visual reference in relation to your clips.
Click the Timeline time ruler now and drag left and right. The playhead moves to follow your mouse. As you drag across the Excuse Me clip, you see the contents of the clip in the Program Monitor. Dragging through your content in this way is called scrubbing.
Notice that the Source Monitor, Program Monitor, and Timeline all have scroll bars at the bottom of the panel. You can zoom the time ruler by hovering over the bar and using your mouse wheel to scroll. Once you have zoomed in, you can navigate the time ruler by clicking and dragging the bar.
The navigator on the Program Monitor
You can also double-click the navigator to fully zoom out.
Customizing track headers
Just as you can customize the Source Monitor and Program Monitor controls, you can change many of the options on the Timeline track headers.
To access the options, right-click a video or audio track header and choose Customize, or click the Timeline Settings menu () and choose Customize Video Header or Customize Audio Header.
The video track Button Editor
The audio track Button Editor
To find out the name of an available button, hover your mouse over it to see the tool tip. Some of the buttons will be familiar to you already; others will be explained in later lessons.
To add a button to a track header, drag it from the Button Editor onto a track header. You can remove a button from a track header by dragging it away.
All track headers update to match the one you adjust.
Experiment with this feature, and when you have finished, click the Reset Layout button on the Button Editor to return the track header to the default options.
Finally, click Cancel to leave the Button Editor.
Essential editing commands
Whether you use the mouse to drag and drop a clip into a sequence, use a button on the Source Monitor, or use a keyboard shortcut, you’ll apply one of two kinds of edits: an insert edit or an overwrite edit.
When you add a clip to a sequence that has existing clips at the location at which you want to position the new clip, these two choices—insert and overwrite—will give markedly different results.
Continue working on the Theft Unexpected sequence. So far, you have just one clip, in which John asks if a seat is free.
First you’ll use an overwrite edit to add a reaction shot to John’s request for a chair.
1. Open the shot HS Suit in the Source Monitor. You added In and Out marks to this clip already.
2. You’ll need to set up the Timeline carefully for this edit. It may seem like a slow process when you first learn to use the Timeline, but after practice you’ll find editing is fast.
Position the Timeline playhead just after John makes his request. Around 00:00:04:00 is perfect.
Unless an In or Out mark has been added to the Timeline, the playhead is used to position new clips when editing with the keyboard or onscreen buttons. When you use the mouse to drag and drop a clip into a sequence, the location of the playhead and existing In or Out marks are ignored.
3. Though the new clip has an audio track, you don’t need it. You’ll keep the audio that is already the Timeline. Click the source track selection button A1 to turn it off. The button should be gray rather than blue.
4. Check that your track headers look like the following example (check the track enable/disable buttons carefully). The other track selection buttons will not impact the edit you’re about to perform, so don’t worry about their settings.
5. Click the Overwrite button () on the Source Monitor.
The clip is added to the Timeline, on the Video 1 track. The timing might not be perfect, but you’re now editing dialogue!
The terms shot and clip are often used interchangeably.
By default, when you drag and drop a clip into a sequence using the mouse, you’ll perform an overwrite edit. You can perform an insert edit by holding down the Control (Windows) or Command (Mac OS) key while you drag and drop.
The sequence will not get any longer when you perform an overwrite edit.
To perform an insert edit in the Premiere Pro Timeline, do the following:
1. Drag the Timeline playhead so it is positioned over the Excuse Me clip just after John says, “Excuse me” (around 00:00:02:16).
2. Open the clip Mid Suit in the Source Monitor, add an In mark at 01:15:46:00, and add an Out mark at 01:15:48:00. This is actually from a different part of the action, but it will work well as a reaction shot.
It’s important to be aware of what your audience will know or not know. You can often use footage from different times or spaces without your audience realizing.
3. Check that your Timeline has the source track indicators lined up as in the following example.
4. Click the Insert button () on the Source Monitor.
Congratulations! You have completed an insert edit. The clip Excuse Me, already in the sequence, has been split, with the part after the playhead moved later to make space for the new clip.
5. Position the playhead at the beginning of the sequence and play through your edit. You can use the Home key on your keyboard to jump to the beginning, you can drag the playhead with the mouse, or you can press the Up Arrow key to jump the playhead to earlier edits (the Down Arrow key jumps to later edits).
The words sequence and edit are often used interchangeably.
6. Open the Mid John clip in the Source Monitor. This clip already has In and Out marks.
7. Position the Timeline playhead at the end of the sequence—on the end of the Excuse Me clip. You can hold the Shift key to have the playhead snap to the ends of clips.
8. Click either the Insert or Overwrite button on the Source Monitor. Since the Timeline playhead is at the end of the sequence, there are no clips in the way, and it makes no difference which kind of edit you perform.
Now you’ll insert one more clip.
9. Position the Timeline playhead just before John takes a sip of tea, around 00:00:14:00.
10. Open the clip Mid Suit in the Source Monitor and use In and Out marks to choose a part you think would go well between John sitting down and his first sip of tea. An In mark around 01:15:55:00 and an Out mark around 01:16:00:00 might work well.
11. Edit the clip into the sequence using an insert edit.
The timing of the edit may not be perfect, but that’s OK; you can change your mind about the timing later. The important thing, to begin with, is to get the order of the clips right.
If you have an In mark or an Out mark on the Timeline, Premiere Pro will use it in preference to the location of the playhead when performing an edit.
To perform an edit, Premiere Pro needs to know the clip duration you’ll work with, in both the Source Monitor and the Timeline. If, for example, you choose four seconds of a clip in the Source Monitor, Premiere Pro automatically knows it will take four seconds of time in your sequence. This means the duration of one can be worked out from the other, so you need only three marks (often called points), not four.
When you apply an insert edit, it makes your sequence longer: The clips already on the selected track will move later in the sequence to make room for the new clip.
When you made your last edit, Premiere Pro aligned the In mark from the clip (the start of the clip) with the In mark on the Timeline (the playhead).
Even though you didn’t manually add an In mark to the Timeline, you’re still performing a three-point edit, with the duration calculated from the Source Monitor clip.
If you do add an In mark to the Timeline, Premiere Pro uses that to place the new clip, ignoring the playhead.
You can also edit clips into a sequence by dragging from the Project panel or Source Monitor into the Program Monitor. Hold the Control (Windows) or Command (Mac OS) key to perform an insert edit.
You can achieve a similar result by adding an Out mark to the Timeline instead of an In mark. In this case, Premiere Pro will align the Out mark of the clip with the Out mark on the Timeline when you perform the edit. You might choose to do this if you have a piece of timed action, like a door closing at the end of a clip in the sequence, and your new clip needs to line up in time with it.
What happens if you use four marks?
You can use four marks to make an edit: both an In and Out mark in the Source Monitor and an In and Out mark on the Timeline. If the clip duration you select matches the sequence duration, the edit will take place as usual. If they’re different, Premiere Pro will invite you to choose what you would like to happen.
You can stretch or compress the playback speed of the new clip to fit the selected duration on the Timeline or selectively ignore one of your In or Out marks.
The term storyboard usually describes a series of drawings that show the intended camera angles and action for a film. Storyboards are often quite similar to comic strips, though they usually include technical information, such as intended camera moves, lines of dialogue, and sound effects.
You can use clip thumbnails in a bin as storyboard images. Drag the thumbnails to arrange them in the order you would like the clips to appear in your sequence, from left to right and from top to bottom. Then drag and drop them into your sequence, or use a special automated edit feature to add them to your sequence with transition effects.
Using a storyboard to build a rough cut
An assembly edit is a sequence in which the order of the clips is correct but the timing has yet to be worked out. It’s common to build sequences as an assembly first, just to make sure the structure works, and then adjust the timing later.
You can use storyboard editing to quickly get your clips in the right order.
1. Save the current project.
2. Open Lesson 05 Desert Sequence.prproj in the Lessons/Lesson 05 folder.
This project has a Desert Montage sequence that already has music. You’ll add some beautiful shots.
The audio track A1 has been locked (click the padlock icon to lock and unlock tracks). This means you can make adjustments to the sequence without risking making changes to the music track.
Arranging your storyboard
Double-click the Desert Footage bin to open it. There are beautiful shots in this bin.
1. If necessary, click the Icon View button () on the bin to see thumbnails for the clips.
2. Drag the thumbnails in the bin to position them in the order in which you want them to appear in the sequence.
3. Make sure the Desert Footage bin is selected. Select all the clips in the bin by pressing Control+A (Windows) or Command+A (Mac OS).
4. Drag the clips into the sequence, positioning them on the Video 1 track right at the beginning of the Timeline, above the music clip.
Setting the duration for still images
These video clips already have In and Out marks. These In and Out marks are used automatically when you’re adding the clips to your sequence, even when adding them directly from the bin.
Graphics and photos can have any duration in a sequence. However, they have a default duration that is set as you import them. The default duration can be changed in Premiere Pro Preferences.
Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS) to change the duration in the Still Image Default Duration box. The change you make applies only to clips when you import them. It does not affect clips that are already in the project.
Still images also have no timebase, that is, the number of frames that should play each second. You can set the default timebase for still images by choosing Edit > Preferences > Media (Windows) or Premiere Pro > Preferences > Media (Mac OS) and setting an option for the Indeterminate Media Timebase.
Premiere Pro has the option to sort clips in Icon view based on a number of criteria. Click the Sort Icons button () for the options. Set the menu to User Order to be able to drag and drop the clips into a new order.
5. Play your sequence to see the result.
Automating your storyboard to a sequence
In addition to dragging and dropping your storyboard edit into the Timeline, you can use the Automate To Sequence option.
1. Undo your edit by pressing Control+Z (Windows) or Command+Z (Mac OS), and position your Timeline playhead at the beginning of the Timeline.
2. In the Desert Footage bin, with all the clips still selected, click the Automate To Sequence button ().
Automate To Sequence, as the name suggests, automatically adds your clips to the currently displayed sequence. Here are the options:
• Ordering: This positions clips in your sequence in the order in which they appear in the bin or in the order in which you clicked to select them.
• Placement: By default, the clips will be added one after another. If you have markers on the Timeline (perhaps in time with the beat of your music), you can add clips wherever there is a marker.
• Method: Choose between Insert and Overwrite.
• Clip Overlap: This automatically overlaps the clips to allow for a transition effect.
• Still Clip Duration: This allows you to choose a duration for all still images in this dialog box or to set individual durations using In and Out marks in the Source Monitor.
• Transitions: Choose to have a video or audio transition automatically added between each clip.
• Ignore Options: Choose to exclude the video or audio parts of your clips.
3. Set up the Automate To Sequence dialog box so that the settings match the example, and click OK.
This time, the clips are overlapping with a dissolve effect. The overlap used to create the transition effects decreases the total duration of the sequence.
1. What do In and Out marks do?
2. Is the Video 2 track in front of the Video 1 track or behind it?
3. How do subclips help you stay organized?
4. How would you select a sequence time range to work with?
5. What is the difference between an overwrite edit and an insert edit?
6. How much of your source clip will be added to a sequence if the source clip has no In or Out point and there are no In or Out points in the sequence?
1. In the Source Monitor and in the Project panel, In and Out marks define the part of a clip you would like to use in a sequence. On the Timeline, In and Out marks are used to define parts of your sequence you would like to remove, edit, render, or export. They can also be used to define parts of your sequence you would like to render when working with effects and parts of your Timeline you would like to export to create a video file.
2. Upper video tracks are always in front of lower ones.
3. Though subclips make little difference to the way Premiere Pro plays back video and sound, they make it easier for you to divide your footage into different bins. For larger projects with lots of longer clips, it can make a big difference to be able to divide content this way.
4. You’ll use In and Out marks to define parts of your sequence you would like to work with. For example, you might render when working with effects or export parts of your sequence to export as a file. You also have the option to enable a Timeline Work Area Bar that you can position to make sequence time range selections. Enable the Work Area by clicking the Timeline menu and choosing Work Area Bar. The bar appears at the top of the Timeline and replaces the In mark and Out mark when rendering or exporting.
5. Clips added to a sequence using an overwrite edit replace any content already in the sequence where they are placed. Clips added to a sequence using an insert edit displace existing clips, pushing them later (to the right) and making the sequence longer.
6. If you don’t add In or Out marks to your source clip, the entire clip will be added the sequence. Setting an In mark, an Out mark, or both will limit the portion of the source clip used in the edit.