Working with Clips and Markers - Adobe Premiere Pro CC (2016) 

Adobe Premiere Pro CC (2016)

6. Working with Clips and Markers

Lesson overview

In this lesson, you’ll learn about the following:

• Understanding the differences between the Program Monitor and the Source Monitor

• Using markers

• Applying sync locks and track locks

• Selecting items in a sequence

• Moving clips in a sequence

• Removing clips from a sequence

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This lesson will take approximately one hour.

Once you have some clips in a sequence, you’re ready for the next stage of fine-tuning. You’ll move clips around in your edit and remove the parts you don’t want. You can also add comment markers to store information about clips and sequences, which can be useful during your edit or when you send your sequence to other Adobe Creative Cloud applications.

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Adobe Premiere Pro CC makes it easy to fine-tune your edits with markers and advanced tools for syncing and locking tracks when you’re editing clips in your video sequence.

Getting started

The art and craft of video editing is perhaps best demonstrated during the phase after your assembly edit. Once you’ve chosen your shots and put them in approximately the right order, the process of carefully adjusting the timing of your edits begins.

In this lesson, you’ll learn about additional controls in the Program Monitor and discover how markers help you stay organized.

You’ll also learn about working with clips that are already on the Timeline—the “nonlinear” part of nonlinear editing with Adobe Premiere Pro CC.

Open the file Lesson 06.prproj from the Lesson 06 folder.

Before you begin, make sure you are using the Editing workspace.

1. Choose File > Save As.

2. Rename the file Lesson 06 Continued.prproj.

3. Choose a location on your hard drive and click Save to save the project.

4. Reset the workspace to the default. In the Workspace panel, click Editing. Then click the menu adjacent to the Editing option and choose Reset to Saved Layout.

Using Program Monitor controls

The Program Monitor is almost identical to the Source Monitor, but there are a small number of important differences.

Let’s take a look.

What is the Program Monitor?

The Program Monitor displays the frame your sequence playhead is sitting on, or playing. The sequence in the Timeline shows the clip segments and tracks, while the Program Monitor shows the resulting video output. The Program Monitor time ruler is a miniature version of the Timeline.

In the early stages of editing, you’re likely to spend a lot of time working with the Source Monitor. Once your sequence is roughly edited together, you will spend most of your time using the Program Monitor and the Timeline.

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The Program Monitor vs. the Source Monitor

The key differences between the Program Monitor and the Source Monitor are as follows:

• The Source Monitor shows the contents of a clip; the Program Monitor shows the contents of whichever sequence is currently displayed in the Timeline.

• The Source Monitor has Insert and Overwrite buttons for adding clips (or parts of clips) to sequences. The Program Monitor has equivalent Extract and Lift buttons for removing clips (or parts of clips) from sequences.

• Both monitors have a time ruler. The playhead on the Program Monitor matches the playhead in the sequence you’re currently viewing (the name of the sequence is displayed in the top left of the Program Monitor). As one playhead moves, the other moves as well, so you can use either panel to change the currently displayed frame.

• When you work with special effects in Premiere Pro, you’ll see the results in the Program Monitor. There’s one exception to this rule: Master clip effects are viewed in both the Source Monitor and the Program Monitor (for more information about effects, see Lesson 13, “Adding Video Effects”).

• The Mark In and Mark Out buttons on the Program Monitor work in the same way as the ones on the Source Monitor. In and Out marks are added to the currently displayed sequence when you add them to the Program Monitor.


Adding clips to the Timeline with the Program Monitor

You’ve already learned how to make a partial clip selection with the Source Monitor and then add the clip to a sequence by pressing a key, clicking a button, or dragging and dropping.

You can also drag and drop a clip from the Source Monitor into the Program Monitor to add it to the Timeline.

1. In the Sequences bin, open the Theft Unexpected sequence. This is the scene you have been editing.

2. Position the Timeline playhead at the end of the sequence, just after the last frame of the clip Mid John. You can hold the Shift key to snap the playhead to edits, or you can press the Up Arrow and Down Arrow keys to navigate between edits.


Image Tip

You can press the End key (Windows) or fn+Right Arrow key (Mac OS) to move the playhead to the end of the sequence.


3. Open the clip HS Suit from the Theft Unexpected bin in the Source Monitor. This is a clip that has already been used in the sequence, but you want a different part.


Image Tip

Remember that you can click the timecode display, type the numbers without punctuation, and then press Enter to send the playhead to that time.


4. Set an In mark for the clip around 01:26:49:00. There’s not much going on in the shot, so it works well as a cutaway. Add an Out point around 01:26:52:00 so you have a little time with the man in the suit.

5. Click in the middle of the picture in the Source Monitor and drag the clip into the Program Monitor.

A large Overwrite icon appears in the middle of the Program Monitor. When you release the mouse button, the clip is edited into the sequence at the playhead position, and your edit is complete.

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Image Note

When you drag a clip into your sequence using the mouse, Premiere Pro still uses the Source Channel Selection buttons to control which parts of the clip (video and audio channels) are used.


Insert editing with the Program Monitor

Let’s try an insert edit using the same technique.

1. Position the Timeline playhead on the edit at 00:00:16:01, between the Mid Suit and Mid John shots. The continuity of movement isn’t good on this cut, so let’s add another part of that HS Suit clip.

2. Add a new In mark and Out mark to the HS Suit clip in the Source Monitor, selecting about two seconds in total. You can see the selected duration at the lower-right corner of the Source Monitor (Image), displayed in white numbers.

3. Hold down the Control (Windows) or Command (Mac OS) key, and drag the clip from the Source Monitor into the Program Monitor. When you release the mouse button, the clip is inserted into your sequence.

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If you prefer to drag clips into your sequence, rather than using keyboard shortcuts or the Insert and Overwrite buttons on the Source Monitor, there is still a way to bring in just the video or audio part of a clip.

Let’s try a combination of techniques. You’ll set up your Timeline track headers and then drag and drop into the Program Monitor.

1. Position the Timeline playhead at 00:00:25:20, just before John takes out his pen.

2. On the Timeline track headers, drag the Source V1 track selection button next to the Timeline Video 2 track. For the technique you’re about to use, the track targeting is used to set the location of the clip you are adding.

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Your Timeline track headers should look like this.

3. Open the Mid Suit clip in the Source Monitor. At about 01:15:54:00, John is wielding his pen. Mark an In mark there.

4. Add an Out mark at about 01:15:56:00. You just need a quick alternative angle.

At the bottom of the Source Monitor, you’ll see the Drag Video Only and Drag Audio Only icons (Image).

These icons serve two primary purposes.

• They tell you whether your clip has video, audio, or both. If there is no video, for example, the filmstrip icon is dimmed. If there is no audio, the waveform is dimmed.

• You can drag them with the mouse to selectively edit video or audio into your sequence.

5. Drag the filmstrip icon from the bottom of the Source Monitor into the Program Monitor. You’ll see a familiar Overwrite icon in the Program Monitor. When you release the mouse button, just the video part of the clip is added to the Video 2 track on the Timeline.

This works even if both the Source Video and Source Audio channel selection buttons are enabled, so it’s a quick, intuitive way to select the part of a clip you want.

6. Play your sequence from the beginning.

The timing may not be perfect, but the edit is off to a good start. The clip you just added plays in front of the end of the Mid John clip and the start of the HS Suit clip, changing the timing. Because Premiere Pro is a nonlinear editing system, you can adjust the timing later. You’ll learn how to do this in Lesson 8, “Advanced Editing Techniques.”


Why are there so many ways to edit clips into a sequence?

This method may seem like yet another way to achieve the same thing, so what’s the benefit? It’s simple: As screen resolution increases and buttons get smaller, it’s an increasingly delicate maneuver to aim and click in the right place.

If you prefer to use the mouse to edit (rather than the keyboard), the Program Monitor represents a conveniently large drop zone for you to add clips to the Timeline. It gives you accurate placement of clips–using the track header controls and the position of the playhead (or your In and Out marks)–while allowing you to work intuitively with the mouse.


Playback resolution

The Mercury Playback Engine enables Premiere Pro to play multiple media types, special effects, and more in real time. Mercury uses the power of your computer hardware to boost performance. This means that the speed of your CPU, the amount of RAM you have, the power of your GPU, and the speed of your hard drives are all factors that impact playback performance.

If your system has difficulty playing back every frame of video in your sequence (in the Program Monitor) or in your clip (in the Source Monitor), you can choose to lower the playback resolution to make it easier. If you see your video playback stuttering, stopping, and starting, it usually indicates that your system is unable to play the file because of CPU speed, hard drive speed, or GPU power.

Reducing the resolution means you won’t see every pixel in your pictures, but it can dramatically improve performance, making creative work much easier. It’s common for video to have a much higher resolution than can be displayed, simply because your Source Monitor and Program Monitor are usually smaller than the original media size. This means you may not see a difference in the display when you lower the playback resolution.

Changing playback resolution

Let’s try adjusting playback resolution.

1. Open the clip Cutaways from the Theft Unexpected bin. By default, the clip should be displayed at half resolution in the Source Monitor.

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At the bottom right of the Source Monitor and Program Monitor, you’ll see the Select Playback Resolution menu.

2. Play the clip to get a sense of the quality when it’s set to half resolution.

3. Change the resolution to Full, and play it again to compare. It probably looks similar.

4. Try reducing the resolution to 1/4. Now you might begin to see a difference during playback. Notice that the picture is sharp when you pause playback. This is because the pause resolution is independent of the playback resolution (see the next section).


Image Note

The playback resolution controls are the same (but separate) on the Source Monitor and the Program Monitor.


5. Try dropping the playback resolution to 1/8—with this clip, you can’t! Premiere Pro makes an assessment of each kind of media you work with, and if the benefits of reducing resolution are less than the effort it takes to drop the resolution, the option is unavailable.

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Full resolution

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Quarter resolution—notice the printed text looks softer.

Paused resolution

You can also change the playback resolution using the Settings menu on the Source and Program Monitors.

If you look in that Settings menu on either monitor, you’ll find a second option related to display resolution: Paused Resolution.

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This menu works in the same way as the menu for playback resolution, but as you might have guessed, it changes the resolution only when the video is paused.

Most editors choose to leave Paused Resolution set to Full. That way, during playback you may see lower-resolution video, but when you pause, Premiere Pro reverts to showing you full resolution. This means when working with effects, you’ll see the video at full resolution.

If you work with third-party special effects, it’s possible you’ll find they do not make use of your system hardware as efficiently as Premiere Pro does. As a consequence, it might take a long time to update the picture when you make changes to the effect settings. You can speed things up by lowering the paused resolution.

Using markers

Sometimes it can be difficult to remember where you saw that useful part of a shot or what you intended to do with it. Wouldn’t it be useful if you could mark clips with comments and flag areas of interest for later?

What you need are markers.

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What are markers?

Markers allow you to identify specific times in clips and sequences and add comments to them. These temporal (time-based) markers are a fantastic aid to help you stay organized and communicate with co-editors.

You can use markers for personal reference or for collaboration. They can be connected to individual clips or a sequence.

When you add a marker to a clip, it’s included in the metadata for the original media file. This means you can open the clip in another Premiere Pro project and see the same markers.

You can export markers associated with a clip or sequence as an HTML page, with thumbnails or a .csv (comma-separated value) file readable by spreadsheet-editing applications. This is useful for collaboration and as a reference.

Export markers by choosing File > Export > Markers.

Types of markers

More than one type of marker is available. You can change a marker type by double-clicking it.

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• Comment Marker: This is a general marker you can assign a name, duration, and comments.

• Chapter Marker: This is a marker that Adobe Encore can convert into a regular chapter marker when making a DVD or Blu-ray Disc.

• Segmentation Marker: This marker makes it possible for certain video servers to divide content into parts.

• Web Link: Certain video formats such as QuickTime can use this marker to automatically open a web page while the video plays. When you export your sequence to create a supported format, web link markers are included in the file.

• Flash Cue Point: This is a marker used by Adobe Flash. By adding these cue points to the Timeline in Premiere Pro, you can begin to prepare your Flash project while still editing your sequence.

Sequence markers

Let’s add some markers.

1. Open the Theft Unexpected sequence.

Around 17 seconds into the sequence, the HS Suit shot is not particularly good—the camera movement is a little shaky. Let’s leave a marker as a reminder to replace it later.

2. Set the Timeline playhead to around 00:00:14:02 and make sure no clips are selected (you can click the background of the Timeline to deselect clips).

3. Add a marker in one of the following ways:

• Click the Add Marker button at the top left of the Timeline.

• Right-click the Timeline time ruler and choose Add Marker.

• Press M.


Image Note

You can add markers on the time ruler for the Timeline, Source Monitor, or Program Monitor.


Premiere Pro adds a green marker to the Timeline, just above the playhead. You can use this as a simple visual reminder or go into the settings and change it into a different kind of marker.

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You’ll do that in a moment, but first let’s look at this marker in the Markers panel.

4. Open the Markers panel. By default, the Markers panel is grouped with the Project panel. If you don’t see it there, go to the Window menu and choose Markers.

The Markers panel shows you a list of markers, displayed in time order. The same panel shows you markers for a sequence or for a clip, depending on whether the Timeline or the Source Monitor is active. If neither is active, the panel will be blank.

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5. Double-click the thumbnail for the marker in the Markers panel. This displays the Marker dialog box.


Image Tip

You can open the Marker dialog box by double-clicking a marker in the Markers panel or by double-clicking the marker icon.


6. Click the Duration field and type 400. Avoid the temptation to press Enter or Return, or the panel will close. Premiere Pro automatically adds punctuation, turning this into 00:00:04:00 (4 seconds) as soon as you click away or tab away from the field.

7. Click in the Name box and type a comment, such as Replace this shot.

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8. Click OK.

The marker now has a duration on the Timeline. Zoom in a little, and you’ll see the comment you added. It’s also displayed in the Markers panel.

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9. Click the Marker menu, at the top of the Premiere Pro interface, to view the options.

At the bottom of the Marker menu, you have the option to ripple sequence markers. With this enabled, sequence markers will move in sync with clips when you use insert or extract edits, which change the sequence duration and timing. With this option disabled, markers stay where they are when your clips move.


Image Tip

Notice that the entries in the Marker menu all have keyboard shortcuts. Working with markers using the keyboard is generally much faster than using the mouse.


Clip markers

Let’s add markers to a clip.

1. Open the clip Seattle_Skyline.mov from the Further Media bin in the Source Monitor.

2. Play the clip, and while it plays, press the M key several times to add markers.

3. Look in the Markers panel. If the Source Monitor is active, every marker you added will be listed. When clips with markers are added to a sequence, they retain their markers.

4. Make sure the Source Monitor is active by clicking it. Go to the Marker menu and choose Clear All Markers.

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Image Tip

You can get to the same option to remove all markers—or a current marker—by right-clicking in the Source Monitor, in the Program Monitor, or on the Timeline Time Ruler and choosing Clear All Markers.


Premiere Pro removes all the markers from the clip.

You can add a marker to a clip in a sequence by selecting it before you add the marker. Markers added to clips already edited into a sequence still appear in the Source Monitor when you view the clip.


Image Note

Markers can be added using a button or a keyboard shortcut. If you use the keyboard shortcut, M, it’s easy to add markers that match the beat of your music because you can add them during playback.


Interactive markers

Interactive markers are used to trigger events during video playback. When you supply media, you may be asked to add such markers at key moments in a video. Adding an interactive marker is as easy as adding a regular marker.

1. Position the playhead anywhere you would like a marker on the Timeline and click the Add Marker button or press M. Premiere Pro adds a regular marker.

2. Double-click the marker you have added, either on the Timeline or in the Markers panel.

3. Change the marker type to Flash Cue Point and add the Name and Value details you need by clicking the + button at the bottom of the Marker dialog box.


Image Tip

You can use markers to quickly navigate your clips and sequences. If you double-click a marker in the Markers panel, you’ll access the options for that marker. If you single-click it instead, Premiere Pro will take the playhead to the location of the marker—a fast way to find your way around.


Automated editing to markers

In the previous lesson, you learned how to automate editing clips into a sequence from a bin. One of the options in that workflow is to automatically add clips to a sequence where you have added markers. Let’s try it.

1. Open the sequence Desert Montage in the Sequences bin.

This is the sequence you worked on earlier, with music already on the Timeline but no clips added yet.

2. Set the Timeline playhead at the beginning of the sequence; then press the M key to add an initial marker.

3. Play the sequence for a while, and as it plays, press the M key to the beat of the music. You should be adding markers about two seconds apart.

4. Set your Timeline playhead to the start of the sequence. Then open the Desert Footage bin and select all of the clips by pressing Control+A (Windows) or Command+A (Mac OS).

5. Click the Automate To Sequence button at the bottom of the bin. Choose settings to match this example and click OK. Be sure to check the option to Ignore Audio.

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The clips are added to the sequence, with the first frame of each clip lined up to a marker, starting with the position of the playhead.

This is a fast way of building a montage if you have music or sound effects you’d like to synchronize with your pictures.


Adding markers with Adobe Prelude

Adobe Prelude is a logging and ingest application included with Adobe Creative Cloud. Prelude provides excellent tools for managing large quantities of footage and can add markers to footage that are fully compatible with Premiere Pro.

Markers are added to clips in the form of metadata, and like the markers you add in Premiere Pro, they will travel with your media into other applications.

If you add markers to your footage using Adobe Prelude, those markers will automatically appear in Premiere Pro when you view the clips. In fact, you can even copy and paste a clip from Prelude into your Premiere Pro project, and the markers will be included.


Finding clips in the Timeline

As well as searching for clips in the Project panel, you can search for them in a sequence. Depending on whether you have the Project panel active or the Timeline active, choosing Edit > Find will display search options for that panel.

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When clips in a sequence are found that match your search criteria, Premiere Pro highlights them. If you choose Find All, Premiere Pro will highlight all clips that meet the search criteria.

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Using Sync Lock and Track Lock

There are two distinct ways to lock tracks on the Timeline.

• You can lock clips in sync so when you use an insert edit to add a clip, other clips stay together in time.

• You can lock a track so that no changes can be made to it.

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Using sync locks

Sync is not just for speech! It’s helpful to think of sync as any two things that are meant to happen at the same time. You might have a musical event that happens at the same time as some climactic action or something as simple as a lower-third title that identifies a speaker. If it happens at the same time, it’s synchronized.

Open the original Theft Unexpected sequence in the Sequences bin.

Right now, John arrives, but you don’t know what he’s looking at. You could use a little more of the suit sitting quietly in this sequence.

1. Open the Mid Suit shot, from the Theft Unexpected bin, in the Source Monitor. Add an In mark around 01:15:35:18 and add an Out mark around 01:15:39:00.

2. Position the Timeline playhead at the beginning of the sequence and make sure there are no In or Out marks on the Timeline.


Image Tip

You can press the Home (Windows) or fn+Left Arrow (Mac OS) key to move the playhead to the end of the sequence.


3. Switch off Sync Lock for the Video 2 track. Check that your Timeline is configured as in the following example, with the Source V1 track patched to the Timeline V1 track. The Timeline track header buttons are not important now, but having the right source track buttons enabled is.

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Before you do anything else, take a look at the position of the Mid Suit cutaway clip on the Video 2 track, toward the end of the sequence.


Image Note

You may need to zoom out to see the other clips in the sequence.


It’s just over the cut between the clips Mid John and HS Suit on Video 1.

4. Insert-edit the source clip into the sequence.

Take another look at the location of the Mid Suit cutaway clip.

The Mid Suit cutaway clip has not moved, while the other clips have moved to the right to accommodate the new clip. This is a problem because the cutaway is now out of position with the clips to which it relates.

5. Undo by pressing Control+Z (Windows) or Command+Z (Mac OS) and try it again with the Video 2 track Sync Lock turned on.

6. Turn on Sync Lock for the Video 2 track and perform the insert edit again.


Image Note

Overwrite edits do not change the duration of your sequence, so they are not affected by sync locks.


This time, the cutaway clip moves with the other clips on the Timeline, even though nothing is being edited onto the Video 2 track. This is the power of sync locks—they keep things in sync!

Using track locks

Track locks prevent you from making changes to a track. They are an excellent way to avoid making accidental changes to your sequence and to fix clips on specific tracks in place while you work.

For example, you could lock your music track while you insert different video clips. By locking the music track, you can simply forget about it while editing because no changes can be made to it.

Lock and unlock tracks by clicking the Toggle Track Lock button. Clips on a locked track are highlighted with diagonal lines.

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Finding gaps in the Timeline

Until now, you’ve been adding clips to a sequence. Part of the power of nonlinear editing is in having the freedom to move clips around in a sequence and remove the parts you don’t want.

When removing clips or parts of clips, you’ll either leave a gap by performing a lift edit or not leave a gap by performing an extract edit.

An extract edit is a little like an insert edit but in reverse. Rather than other clips in a sequence moving out of the way to make space for a new clip, the other clips move in to fill the gap left behind by a clip you are removing.

When you zoom out of a complex sequence, it can be difficult to see gaps left behind after performing an edit. To automatically locate the next gap, choose Sequence > Go to Gap > Next in Sequence.

Once you’ve found a gap, you can remove it by selecting it and pressing Delete.

Let’s learn a little more about working with clips on the Timeline. Continue working with the Theft Unexpected sequence.

Selecting clips

Selection is an important part of working with Premiere Pro. Depending on the panel you have selected, different menu options will be available. You’ll want to select clips in your sequences carefully before applying adjustments to them.

When working with clips that have video and audio, you’ll have two or more segments for each clip: one video segment and at least one audio segment.

When the video and audio clip segments come from the same original media file, they are automatically treated as linked. If you select one, the other is automatically selected.

You can switch linked selections on and off on the Timeline globally by clicking the Linked Selection button (Image) at the top left of the Timeline. When Linked Selection is on, video and audio clips in a sequence are automatically selected together when you click them. When Linked Selection is off, clicking the video or audio part of a clip selects only that part. If there’s more than one audio clip, you’ll select just the one you click.

Selecting a clip or range of clips

When selecting clips in a sequence, there are two approaches:

• Make time selections by using In and Out marks

or

• Make selections by choosing clip segments

The simplest way to select a clip in a sequence is to click it. Be careful not to double-click because this will open the clip in the Source Monitor, ready for you to adjust the In or Out marks (these will update, live, on the Timeline).

When making selections, you’ll want to use the default Timeline tool—the Selection tool (Image). This tool has the keyboard shortcut V.

If you hold the Shift key while you click with the Selection tool, you can select or deselect additional clips.

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You can also lasso to select multiple clips. Begin by clicking an empty part of the Timeline and then drag to create a selection box. Any clip you drag over with the selection box will be selected.

Premiere Pro gives you the option to automatically select whichever clip the Timeline playhead passes over. This is particularly useful for a keyboard-based editing workflow. You can enable the option by choosing Sequence > Selection Follows Playhead. You can also press the keyboard shortcut D.

Selecting all the clips on a track

If you want to select every clip on a track, there are two handy tools to do just that: the Track Select Forward tool (Image), which has the keyboard shortcut A, and the Track Select Backward tool (Image), which has the keyboard shortcut Shift+A.

Try it now. Choose the Track Select Forward tool and click any clip on the Video 1 track.

Every clip, on every track, from the one you select until the end of the sequence is selected. This is useful if you want to add a gap to your sequence to make space for more clips. You can drag all the selected clips to the right to introduce a gap.

Try the Track Select Backward tool. When you click a clip with this tool, every clip up to the one you clicked is selected.

If you hold the Shift key while using either of the Track Select tools, you’ll select clips on only one track.

When you have finished, switch to the Selection tool by clicking it on the Tools panel or by pressing the V key.

Selecting audio or video only

It’s common to add a clip to a sequence and later realize you don’t need the audio or video part of the clip. You may want to remove one or the other to keep your Timeline tidy, and there’s an easy way to make the correct selection: If Linked Selection is on, you can temporarily override it.

Switch to the Selection tool and try clicking some clip segments on the Timeline while holding the Alt key (Windows) or Option key (Mac OS). Premiere Pro ignores the link between video and audio parts of your clips. You can even lasso in this way!


Image Tip

If you drag a sequence clip to another position on the Timeline while holding the Alt key (Windows) or Option key (Mac OS), you will create a copy of the clip.


Splitting a clip

It’s also common to add a clip to a sequence and then realize you need it in two parts. Perhaps you want to take just a section of a clip and use it as a cutaway, or maybe you want to separate the beginning and the end to make space for new clips.

You can split clips in several ways.

• Use the Razor tool (Image) with the keyboard shortcut C. If you hold the Shift key while clicking with the Razor tool, you’ll add an edit to clips on every track.

• Make sure the Timeline is selected, go to the Sequence menu, and choose Add Edit. Premiere Pro adds an edit, at the location of your playhead, to clips on any tracks that have their track header enabled. If you have selected clips in the sequence, Premiere Pro adds the edit only to the selected clips, ignoring the track selections.

• If you go to the Sequence menu and choose Add Edit to All Tracks, Premiere Pro adds an edit to clips on all tracks, regardless of whether they are turned on.

• Use the Add Edit keyboard shortcuts. Press Control+K (Windows) or Command+K (Mac OS) to add an edit to selected tracks or clips, or press Shift+Control+K (Windows) or Shift+Command+K (Mac OS) to add an edit to all tracks regardless of selection.

Clips that were originally continuous will still play back seamlessly unless you move them or make separate adjustments to different parts.

If you click the Settings button for the Timeline (Image), you can select Show Through Edits to see a special icon on edits of this kind.

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You can rejoin clips that have the Through Edit icon by right-clicking the edit and choosing Join Through Edits.

You can also click a Through Edit icon and press the Delete key to rejoin the two parts of a clip.

Try it with this sequence. Be sure to use Undo to remove the new cuts you add.

Linking and unlinking clips

You can switch off and on the link between a connected video and audio segment easily. Just select the clip or clips you want to change, right-click each of them, and choose Unlink. You can also use the Clip menu.

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You can link a clip with its audio again by selecting both clip segments, right-clicking one of them, and choosing Link. There’s no harm in linking or unlinking clips—it won’t change the way Premiere Pro plays your sequence. It just gives you the flexibility to work with clips in the way you want.

Even if video and audio clip segments are linked, you’ll need to make sure the Timeline Linked Selection option is enabled to select linked clips together.

Moving clips

Insert edits and overwrite edits add new clips to sequences in dramatically different ways. Insert edits push existing clips out of the way, whereas overwrite edits simply replace them. This theme of having two ways of working with clips extends to the techniques you’ll employ to move clips around the Timeline and to remove clips from the Timeline.

When moving clips using the Insert mode, you may want to ensure you have the sync locks on for your tracks to avoid any possible loss of sync.

Let’s try a few techniques.

Dragging clips

At the top left of the Timeline, you’ll see the Snap button (Image). When snapping is enabled, clip segments snap automatically to each other’s edges. This simple but useful feature will help you position clip segments frame-accurately.

1. Select the last clip on the Timeline, HS Suit, and drag it a little to the right.

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Because there are no clips after this one, you simply introduce a gap before the clip. No other clips are affected.

2. Make sure the Snap option is enabled and drag the clip back to its original position. If you move the mouse slowly, you’ll notice that the clip segment jumps into position at the last moment. When this happens, you can be confident it’s perfectly positioned. Notice that the clip also snaps to the end of the cutaway shot on Video 2.

3. Slowly drag the clip left until it snaps to the end of the clip before. When you release the mouse button, the clip replaces the end of that clip.

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When you drag and drop clips, the default mode is Overwrite.

4. Undo repeatedly until the clip is in its original position.

Nudging clips

Many editors prefer to use the keyboard as much as possible, minimizing the use of the mouse because working with the keyboard is usually faster.

It’s common to move clip segments inside a sequence by using the arrow keys in combination with a modifier key, nudging the selected items left and right in time or up and down between tracks.

You won’t be able to nudge linked video and audio clips on V1 and A1 up and down until you separate them, or unlink them, because the separator between the video and audio tracks blocks the movement.


Default clip-nudging shortcuts

Premiere Pro includes many keyboard shortcut options, some of which are available but not yet assigned keys. You can set these up, prioritizing the use of available keys to suit your workflow.

Here are the shortcuts for nudging clips using the keyboard:

• Nudge Clip Selection Left 1 Frame (add Shift for five frames): Alt+Left Arrow (Windows) or Command+Left Arrow (Mac OS)

• Nudge Clip Selection Right 1 Frame (add Shift for five frames): Alt+Right Arrow (Windows) or Command+Right Arrow (Mac OS)

• Nudge Clip Selection Up: Alt+Up Arrow (Windows) or Option+Up Arrow (Mac OS)

• Nudge Clip Selection Down: Alt+Down Arrow (Windows) or Option+Down Arrow (Mac OS)


Rearranging clips in a sequence

If you hold the Control (Windows) or Command (Mac OS) key while you drag clips on the Timeline, Premiere Pro uses Insert mode instead of Overwrite mode.

The HS Suit shot around 00:00:20:00 might work well if it appeared before the previous shot—and it might help you hide the poor continuity between the two shots of John.

1. Drag and drop that HS Suit clip to the left of the clip before it. The left edge of the HS Suit clip should line up with the left edge of the Mid Suit clip. Once you have begun dragging, hold the Control (Windows) or Command (Mac OS) key. Release the key after you’ve dropped the clip.


Image Tip

You may need to zoom in to the Timeline to see the clips clearly and move them easily.


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Image Tip

Be careful when dropping the clip into position. The ends of clips snap to edges just as the beginnings do.


2. Play the result. This creates the edit you want, but it introduces a gap where the clip HS Suit used to be.

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Let’s try that again with an additional modifier key.

3. Undo to restore the clips to their original positions.

4. Holding Control+Alt (Windows) or Command+Option (Mac OS), drag and drop the HS Suit clip to the beginning of the previous clip again.

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This time, no gap is left in the sequence. Play through the edit to see the result.

Using the clipboard

You can copy and paste clip segments on the Timeline just as you might copy and paste text in a word processor.

1. In a sequence, select any clip segment (or segments) you want to copy and then press Control+C (Windows) or Command+C (Mac OS) to add them to the clipboard.

2. Position your playhead where you would like to paste the clips you copied and press Control+V (Windows) or Command+V (Mac OS).

Premiere Pro adds copies of the clips to your sequence based on the tracks you enable. The lowest enabled track receives the clip (or clips).

Extracting and deleting segments

Now that you know how to add clips to a sequence and how to move them around, all that remains is to learn how to remove them. Once again, you’ll be operating in the manner of Insert or Overwrite.

There are two ways to select parts of a sequence you want to remove. You can use In and Out marks combined with track selections, or you can select clip segments. If you use In and Out marks, selecting clips overrides selecting tracks, so you can ignore track selection if you make careful clip selections.

You will still be working with a selected amount of time, but selecting clips can be quicker than selecting tracks.

Lift

A lift edit will remove the selected part of a sequence, leaving blank space. It’s similar to an overwrite edit but in reverse.

Open the sequence Theft Unexpected 03 in the Sequences bin. This sequence has some unwanted extra clips. They have different label colors to make them easier to identify.

You’ll need to set In and Out marks on the Timeline to select the part that will be removed. You can do this by positioning the playhead and pressing I or O. You can also use a handy shortcut.

1. Position the playhead so that it’s somewhere over the first additional clip, Excuse Me Tilted.

2. Make sure the Video 1 track header is turned on and press X.

Premiere Pro automatically adds an In mark and an Out mark that match the beginning and end of the clip. You’ll see a highlight that shows the selected part of the sequence.

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The correct tracks are already selected, so there’s no need to do anything else to prepare for the lift edit. In fact, because you have selected a clip, the track selection has no effect anyway. The edit you’re about to perform will apply to the selected clip.

3. Click the Lift button (Image) at the bottom of the Program Monitor. If your keyboard has a ; (semicolon) key, you can press it.

Premiere Pro removes the part of the sequence you selected, leaving a gap. This might be fine on another occasion, but in this instance you don’t want the gap. You could right-click in the gap and choose Ripple Delete, but for this exercise you’ll use an extract edit.

Extract

An extract edit removes the selected part of your sequence and does not leave a gap. It’s similar to an insert edit but in reverse.

1. Undo the last edit.

2. Click the Extract button (Image) at the bottom of the Program Monitor. If your keyboard has an ’ (apostrophe) key, you can press it.

This time, Premiere Pro removes the selected part of the sequence, and the other clips on the Timeline move to close the gap.

Delete and Ripple Delete

There are also two ways of removing clips by selecting segments: Delete and Ripple Delete.

Click the second unwanted clip, Cutaways, and try these two options:

• Pressing the Delete key removes the selected clip (or clips), leaving a gap behind. This is the same as a lift edit.

• Pressing Shift+Delete removes the selected clip (or clips) without leaving a gap behind. This is the same as an extract edit. If you’re using a Mac keyboard without a dedicated Delete key, use the Function key to convert the Backspace key into a Delete key.

The result seems similar to that achieved by using In and Out marks because you used In and Out marks earlier to select a whole clip. You can use In and Out marks to choose any parts of clips, while selecting clip segments and pressing Delete will always remove whole clips.

Disabling a clip

Just as you can turn a track output off or on, you can also turn individual clips off or on. Clips that you disable are still in your sequence, but they cannot be seen or heard during playback or while scrubbing.

This is a useful feature for selectively hiding parts of a complex, multilayered sequence when you want to see background layers or compare different versions.

Try this on the cutaway shot on the Video 2 track, toward the end of the sequence.

1. Right-click the Mid Suit clip on the Video 2 track and choose Enable.

This disables the clip by deselecting the Enable option. Play through that part of the sequence, and you’ll notice that the clip is present but you can no longer see it.

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2. Right-click the clip again and choose Enable. This reenables the clip.

Review questions

1. When dragging clips into the Program Monitor, what modifier key (Control/Command, Shift, or Alt) should you use to make an insert edit rather than an overwrite edit?

2. How do you drag and drop just the video or audio part of a clip into a sequence?

3. How do you reduce the playback resolution in the Source Monitor or Program Monitor?

4. How do you add a marker to a clip or sequence?

5. What is the difference between an extract edit and a lift edit?

6. What is the difference between Delete and Ripple Delete?

Review answers

1. Hold the Control (Windows) or Command (Mac OS) key when dragging a clip into the Program Monitor to make an insert edit rather than an overwrite edit.

2. Rather than grabbing the picture in the Source Monitor, drag and drop the filmstrip icon or the audio waveform icon to select only the video or audio part of the clip. You can also disable the Source Patching buttons for parts you want to exclude.

3. Use the Select Playback Resolution menu at the bottom of the monitor to change the playback resolution.

4. To add a marker, click the Add Marker button at the bottom of the monitor or on the Timeline, press the M key, or use the Marker menu.

5. When you extract a section of your sequence using In and Out marks, no gap is left behind. When you lift, a gap remains.

6. When you delete a clip, a gap is left behind. When you ripple delete a clip, no gap is left.