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Über dieses Buch

Gain in-depth knowledge of Premiere Pro, and learn how the software “thinks.” You'll acquire new skills that will help you choose the best workflow for your project, and simplify and accelerate your video editing process.
Learn how you can edit a lot faster with smarter workflows that automate several steps in the editing process. You'll also see how custom settings, presets, keyboard shortcuts and templates saves hours of work. By tailoring the software to your needs you save clicks on just about every task. With many traditional jobs now being done by one person, its important to understand audio smoothing, color grading, motion graphics, and advanced editing techniques. You’ll learn these skills and disciplines and see how they'll enhance your project's workflow.
All the authors are professional editors and want to know exactly how to cut your film as fast as possible with top quality output. There is invaluable information in The Cool Stuff in Premiere Pro that’s not available anywhere else – not even in Adobe’s own manuals.

What You'll LearnEdit faster, no matter what the project
Understand the technical stuff, like timeline settings, render codecs, color subsampling, export settings, effect controls and monitor settings
Know when to send your clips to other Adobe software, and how to treat them there. Master the Premiere Pro timeline, even stacks of timelines, and edit, trim and adjust with ease
Who This Book Is ForVideo journalists (and everyone else) will learn how to edit faster and get home in time for dinner.
Bloggers will learn how to make their online video and audio “pop”.
Film cutters will learn how to organize, rough cut and fine tune huge amounts of material effectively and how to output for digital cinema.
Experienced video editors will learn how to deal with multi-track audio and to work faster in every step of the edit.
Marketing people who edit video for social media and web pages will learn simpler ways to make a faster cut.
Teachers in media studies will understand the logic in Premiere Pro, and be better prepared for teaching video editing.

Inhaltsverzeichnis

Frontmatter

Chapter 1. Accelerated Workflow

Abstract
There are many ways to edit in Premiere, and there is no right or wrong way—but there are slow and quick ways! Accelerated workflow is about working faster and getting better results. A cliché, I know, but you do want to work smarter, not harder. With the intense daily deadlines, especially in news broadcasting and sports, editors must be extremely efficient. Every keystroke counts.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 2. Proxy Workflow

Abstract
These large file sizes can bring your video hardware to its knees if you don’t have massive hard-drive raids or very fast network throughput to play back the large files. By using a proxy workflow, an editor can take advantage of the smaller file sizes to build out a project before switching the footage to full resolution for final output.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 3. Audio in Premiere Pro

Abstract
In this chapter, you’ll get a thorough understanding of the audio signal chain in Premiere and how to best work with audio editing, restoration, and mixing. To treat an audio clip in the best way you need to identify what kind of audio it is, so we start with an overview of the different types of sound you’ll encounter.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 4. Editing Tips and Techniques

Abstract
Whenever you think you know all the shortcuts and have mastered editing in Premiere, someone will come along and show you a quicker and easier way! In this chapter we’ll cover tips for editing quickly and effectively in every situation using the features available in Premiere Pro.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 5. Multi-Camera Editing

Abstract
You no longer need to buy third-party plug-ins to sync your multi-camera footage. In this chapter, we will dive into the basics of multicam all the way up to advanced features and workflows.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 6. Color Grading

Abstract
If your film isn’t graded, it isn’t finished. Color correction and grading will enhance and stylize your images. Good color grading can make your film shine. Do you think your own films look a bit flat compared to high-end documentaries and blockbuster feature films? That’s normal, because you didn’t have the same budget for lighting, set design, make-up, and so forth.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 7. Motion Graphics Inside Premiere Pro

Abstract
When most users hear motion graphics and Adobe they probably think of Adobe After Effects, the gold standard for 2D and 3D graphics creation, animation, and rendering. After Effects integrates powerfully with Premiere Pro through Dynamic Link and motion graphics templates, and those features and their workflows are explored in the “Integration” chapter of this book.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 8. Compositing in Premiere Pro

Abstract
While editing is a horizontal thing in the timeline, compositing is a vertical thing. Compositing means taking two or more elements and blending them into a seamless shot, like when you put a person shot on green screen into a scene in the desert. A good composite shot will most likely be done using a mixture of several techniques.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 9. VR Video Editing

Abstract
Even though VR Video is inherently challenging as a storytelling tool; adds a lot of restraints on how we can light, direct, and shoot audio and video; puts huge demands on streaming bandwidth; and requires special hardware to really get the full VR experience, VR is still gaining popularity fast.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 10. Customizing Premiere Pro

Abstract
Editing is just a continuous series of thousands of small tasks, and the more of these you can automate, the more efficient your workflow will be. Small savings on every task add up to significant savings when doing so many operations daily. Unless you’re paid by the hour, you’ll want to work as efficiently as possible.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 11. Integration

Abstract
During an editing project, I will use many apps other than just Premiere, and the real power of Premiere lies in its tight integration with other Adobe apps and third-party software. Adobe provides several features and techniques to make the integration seamless. In this chapter, we’ll dive into features like Dynamic Link, Edit Original, and motion graphics templates, and take a closer look at the different ways these can speed up your workflow. We’ll also cover how to export to and import from other, non-Adobe software.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Chapter 12. Export

Abstract
Exporting is probably where most people get in trouble. They manage to import their sources, edit the sequences, and fine-tune their video and audio. Everything looks great. Then, at export time, they mess up a setting or two, and their finished film looks bad, or the export takes forever to finish.
Jarle Leirpoll, Dylan Osborn, Paul Murphy, Andy Edwards

Backmatter

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