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Disable 24p pulldown to simulate film-video transfer, Display 24p source timecode

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USING ADOBE PREMIERE PRO 153 Editing sequences and clips 3 Click Playback Settings. 4 In the 24p Conversion Method pane, select one of the following options: Repeat Frame (ABBCD) Duplicates frames where necessary to maintain 29.97 fps playback. This option uses fewer CPU resources. Interlaced Frame (2:3:3:2) Combines the frames in a telecine-like scheme to maintain 29.97 fps playback. This option produces smooth playback but uses more CPU resources. 5 Click OK in the Playback Settings dialog box, and click OK in the New Sequence dialog box. Disable 24p pulldown to simulate film-video transfer By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. 1 Right-click (Windows) or Control-click (Mac OS) a 24p clip in the Project panel. 2 Select Modify > Interpret Footage. 3 Under Frame Rate, select Remove 24p DV Pulldown. 4 Click OK. Additionally, you can apply any of a number of third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks. Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look. Display 24p source timecode When you import 24p footage, Premiere Pro treats it as 23.976 fps progressive footage. Because of this, when you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in 30 fps non-drop-frame timecode. When you log 24p footage for capture, you log clips according to the camera's timecode count of 30 fps non-drop-frame timecode. For example, a clip that you log for capture may have an In point of 00:01:00:28. However, as an offline clip in a 24p project, the In point is shown as 00:01:00:23. In addition, mixing non-drop-frame footage with drop-frame footage can cause larger differences in timecode display between the project and the clip, with minutes, seconds, and entire durations seemingly out of sync. Be aware of these discrepancies as you edit. If you use 30 fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as 23.976, but the timebase as 29.97. If you'd prefer to read a clip's original timecode, do the following: 1 Right-click (Windows) or Control-click (Mac OS) the clip in the Project panel. 2 Select Modify > Interpret Footage > Use Frame Rate from File. Last updated 1/16/2012

Section	Page
Legal notices	2
Contents	3
Chapter 1: What's new	6
What’s new (CS5.5)	6
What’s new (CS5)	7
Chapter 2: User interface	10
Workspaces	10
Import a workspace with a project	10
Customizing workspaces	10
About workspaces	10
Choose a workspace	11
Dock, group, or float panels	11
Resize panel groups	13
Open, close, and scroll to panels	14
Working with multiple monitors	15
Save, reset, or delete workspaces	15
Brighten or darken the interface	15
Working with Panels	16
Navigate the panels	16
Display any panel full-screen	16
Display panel options	16
Display context and panel menus	16
Tools panel and Options panel	17
Tools	17
Open the Options panel	18
Dock the Tools panel to the Options panel	18
Undock the Tools panel from the Options panel	18
Clip details in the Info panel	18
Preferences	20
Change preferences	20
General preferences	20
Appearance preferences	21
Audio Preferences	21
Audio Hardware preferences	22
Audio Output Mapping preferences	22
Change the Auto Save settings	22
Capture preferences	23
Device Control preferences	23
Label Colors preferences	23
Label Defaults preferences	23
Media preferences	24
Memory preferences	24
Player Settings preferences	24
Titler preferences	25
Trim preferences	25
Chapter 3: Workflows and setup	26
Basic workflow	26
Cross-platform workflow	32
Cross-application workflows	33
Edit a clip in its original application	33
Working with Photoshop and Premiere Pro	33
Create and edit Photoshop files	35
Copy between After Effects and Adobe Premiere Pro	35
Copy from After Effects to Adobe Premiere Pro	36
Results of pasting into Adobe Premiere Pro	36
Copy from Adobe Premiere Pro to After Effects	37
Results of pasting into After Effects	37
Working with Adobe Premiere Pro and Adobe Flash	38
Working with Adobe Story, Adobe OnLocation, and Adobe Premiere Pro	38
Import clips with In and Out points set in Adobe OnLocation	39
Working with Encore and Premiere Pro	39
Add Encore chapter markers	39
Send to Encore or to an MPEG-2 file	39
Working with Final Cut Pro and Adobe Premiere Pro	40
Working with Avid Media Composer and Premiere Pro	40
Adobe Dynamic Link	41
About Dynamic Link (Production Premium or Master Collection only)	41
Dynamic Link performance (Production Premium or Master Collection only)	43
Create and link to After Effects compositions with Dynamic Link (Production Premium or Master Collection only)	43
Create a composition from clips in Adobe Premiere Pro	43
Create a dynamically linked composition from Adobe Premiere Pro or Encore	44
Link to an existing composition	44
Delete a dynamically linked composition or clip (Production Premium or Master Collection only)	44
Modify a dynamically linked composition in After Effects (Production Premium or Master Collection only)	45
Create an After Effects composition from clips in Premiere Pro (Production Premium only)	45
Offline compositions and Dynamic Link (Production Premium or Master Collection only)	45
Take a dynamically linked composition offline	46
Relink a dynamically linked composition	46
Setting up your system	46
Premiere Pro trial versions	47
Set up a DV or HDV system	47
Set up an SD-SDI, HD-SDI, or component system	48
Set up a file-based system	49
Set up an S-Video or composite system	50
Specify the default audio device	51
Audio Hardware Settings (Windows only)	51
Set up a USB microphone (Mac OS)	51
Specify ASIO device settings (Windows only)	52
Specify whether to render audio when rendering video	52
Specify the duration for preroll and postroll pauses	52
Specify scratch disks to improve system performance	52
Specify scratch disks	53
Optimizing scratch disk performance	54
Online resources for improving system performance	54
Move or clean the Media Cache Database	54
Optimize rendering for available memory	55
Chapter 4: Project setup	56
Creating and changing projects	56
Create a project	57
Review project settings	57
Project Settings dialog box	57
Open a project	58
Delete a project file	59
Moving a project to another computer	59
Archiving projects	59
Trim or copy your project	60
Chapter 5: Importing, transferring, capturing, and digitizing	63
Transferring and importing files	63
File formats supported for import	63
About transferring files	66
About importing files	67
Import files with the Media Browser	68
Import files with the Import commands	69
Import files using Adobe Bridge	69
Start Adobe Bridge from Adobe Premiere Pro	69
Import files from Adobe Bridge	69
Channel support	70
Importing assets from tapeless formats	70
Import assets from file-based sources with Media Browser	71
About spanned clips	72
Importing still images	72
Preparing still images before importing	73
Importing Photoshop and Illustrator files	73
Import a layered Photoshop file	74
Importing Illustrator images	74
Import numbered still-image sequences as video clips	75
Importing digital audio	75
Using audio from audio CDs	75
Using compressed audio formats	75
Using audio from Adobe Soundbooth	76
Audio sample rates supported	76
Conforming audio	76
Importing sequences, clip lists, libraries, and compositions	77
Import clips from Adobe OnLocation projects using the Media Browser	77
Importing earlier Premiere Pro projects	78
Import selected sequences from Premiere Pro projects	78
Import a Premiere Elements project (Windows only)	78
Importing libraries (Windows only)	78
Importing After Effects compositions	79
Import After Effects compositions	79
Import CMX3600 EDL projects	79
Importing XML project files from Final Cut Pro	79
Import an XML file from Final Cut Pro	80
Final Cut Pro clip data	80
Final Cut Pro effects and transitions	80
Conversion of Final Cut Pro video effects	81
Conversion of Final Cut Pro video transitions	81
Conversion of Final Cut Pro audio effects	81
Conversion of Final Cut Pro audio transitions	82
Final Cut Pro composite modes	82
Final Cut Pro Multiclips	82
Capturing and digitizing	83
About capturing and digitizing	83
System requirements for capturing	83
Set capture format, preferences, and tracks	84
Specify capture settings	85
Set capture preferences	85
Select tracks for capture	85
Capture from stereo sources to mono tracks	85
File size limits	85
Set up device control	86
Disable device control	89
Capture without device control	89
Capture with device control	89
Capture an entire tape or portion of a tape	90
Select and capture a clip	90
Determine whether your device is online	91
Log clips with automatic scene detection	91
Common capture issues	92
Capturing DV or HDV video	93
Capturing HD video	93
Create clips for offline editing	94
Create low-resolution clips for offline editing	94
Replace low-resolution clips with high-resolution clips for online editing	95
Digitizing analog video	95
About capture card settings	95
Digitize analog video	96
Capturing content for DVD	96
Batch capturing and recapturing	97
About logging clips	97
Log clips for batch capturing	97
Log clips interactively	98
Tips for logging clips interactively	98
About batch capturing	99
Choosing batch-capture settings	100
Determine whether an offline clip has capture settings	100
Change capture settings for an offline clip	100
Remove capture settings from an offline clip	100
Batch capture clips	101
Troubleshooting batch capturing	101
Import and export batch lists	102
Recapture clips	102
Working with timecode	103
About timecode	103
Choose timecode display format	103
Change how timecode is displayed	104
Stripe tape or replace timecode	104
Stripe a tape with timecode	104
Replace DV timecode	105
Capturing timecode	105
Set timecode manually for a clip	105
Enter timecode	106
View timecode as a burn-in	106
View clip timecode as a burn-in	106
View sequence timecode as a burn-in	106
View source timecode in the Program Monitor	107
Chapter 6: Managing assets	108
Customizing the Project panel	108
Change Project panel views	108
Customize List view columns	109
Edit the display of columns in the Project panels	109
Rearrange columns	109
Change the width of a column	109
Sort by a column	109
Add a column	109
List view columns	109
Select format for timecode display in the Project panel	110
Organizing assets in the Project panel	111
Work with bins	111
Change bin behaviors	112
Label assets	112
Rename assets	113
Rename a clip	113
Rename an original source file	113
Jump to an asset in the Project panel	113
Find assets in the Project panel	113
Find assets matching criteria	114
Finding clips with Face Detection	114
Identify clips containing faces	114
Find clips containing faces	115
Remove assets from a project	115
Remove an asset from the Project panel	115
Remove unused assets from the Project panel	115
Define a different thumbnail for a clip	115
Edit cells in the Project panel	116
Viewing clip properties	116
View the properties of a clip	116
Change the frame rate of a clip	117
Managing metadata	117
About the Metadata panel and XMP	117
About schemas and properties	118
About the XMP standard	118
About the Metadata panel in Premiere Pro	118
About file, clip, and project XMP metadata	119
Using clip metadata and file metadata	119
Edit XMP metadata	120
Search XMP metadata	120
Show or hide XMP metadata	121
Save, switch, or delete metadata sets	121
Create schemas and properties	121
View clip data in the Metadata panel	121
Link clip data to XMP metadata	122
Working with aspect ratios	122
About aspect ratios	122
Using assets with various aspect ratios	124
Fix aspect ratio distortion	125
Correct individual aspect ratio misinterpretations	125
Correct recurring aspect ratio misinterpretations	126
Common pixel aspect ratios	126
Chapter 7: Monitoring assets	127
Using the Source Monitor and Program Monitor	127
Source Monitor and Program Monitor overview	127
Setting display quality for the Source and Program Monitors	127
Change magnification	128
Open or clear a clip in the Source Monitor	128
Navigate clips in the Source Monitor	129
Using the Source Monitor and Program Monitor time controls	129
View safe zones in the monitors	130
Choose fields in the Source and Program Monitors	131
Choose a display mode	131
Playing assets	132
Play video in the Source Monitor and Program Monitor	132
Play a sequence or clip with preroll and postroll pauses	132
Jog or shuttle playback	133
Move to a different frame in the Source Monitor and Program Monitor	133
Using the J, K, and L keys to shuttle video	134
Match a frame with its source	134
Using the Waveform monitors and vectorscope	134
View a scope	135
Vectorscope	136
YC Waveform	136
YCbCr Parade	137
RGB Parade	138
Using the Reference Monitor	138
Open a Reference Monitor	139
Gang the Reference Monitor and Program Monitor	139
Chapter 8: Editing sequences and clips	140
Creating and changing sequences	140
Timeline panels	141
Open additional Timeline panels	141
Open a sequence in a Timeline panel	141
Navigate in a sequence	141
Position the current-time indicator in a Timeline panel	142
Move the current-time indicator using timecode	143
Snap to clip edges and markers	143
Zoom into or out of a sequence in a Timeline panel	143
Scroll through a sequence in a Timeline panel	143
Work with tracks	143
Add tracks	144
Delete tracks	144
Rename a track	144
Specify the tracks to change with Sync Lock	144
Prevent changes with Track Lock	145
Exclude tracks in a sequence	145
Set track display	146
Expand and resize a track	146
Set the display style of the video track	146
Set the default keyframe display of video tracks	146
Set the default keyframe display of audio tracks	146
Set the display style of the audio track	146
Resize the track header section	147
Adjust visible area of video and audio tracks	147
Create a sequence	147
Sequence presets and settings	148
Selecting a sequence preset	152
Create a custom sequence preset	152
Change sequence settings	153
Change sequence preview resolution settings	153
Create a widescreen sequence	153
Create an HDV or HD sequence	154
Create a sequence with uncompressed video playback	155
Create a sequence for RED camera footage	155
24p sequences	156
About 24p footage and sequences	156
About 3:2 and 24pA pulldown	156
Create a 24p sequence	157
Set 24p playback options	157
Disable 24p pulldown to simulate film-video transfer	158
Display 24p source timecode	158
Start a mobile device sequence	159
Using multiple sequences	159
Nest sequences	159
Nest a sequence in another sequence	160
Create a nested sequence from a selection of clips	160
Open the source of a nested sequence	161
Reveal a source frame from a nested sequence	161
Attach closed caption files (CS5.5 and later)	161
Editing multi-camera sequences	162
About multi-camera editing	162
About the Multi-Camera Monitor	163
Display the Multi-Camera Monitor	163
Add clips for multi-camera editing	163
Synchronize clips with markers	163
Create a multi-camera target sequence	164
Record multi-camera edits	164
Play nested multi-camera clips in the Program Monitor	165
Play clips in the Multi-Camera Monitor	165
Rerecord multi-camera edits	165
Adjust multi-camera edits in a Timeline panel	165
Insert or overwrite clips in a multi-camera sequence	166
Creating and playing clips	166
Source clips, clip instances, subclips, and duplicate clips	166
Duplicate a clip	167
Creating subclips	167
Create a subclip from the Project panel	167
Create a subclip from a Timeline panel	168
Adjust media start and end times of a subclip	168
Convert a subclip to a master clip	168
Play back a clip in the Project panel	168
Synchronizing audio and video with Merge Clips (CS5.5 and later)	169
Merge clips in the Project panel	169
Merge clips in the Timeline panel	170
Synchronize clips in the Timeline panel	170
Editing with merged clips	170
Editing merged clips with gaps into the Timeline	171
Trimming merged clips	171
Merged clips and the Metadata panel	171
Merged Clips limitations	171
Working with offline clips	172
Create an offline clip	172
Edit an offline clip	173
Relink an offline clip	173
Convert an online clip to an offline clip	174
Modifying clip properties with Interpret Footage	174
Interpret footage	174
Creating special clips (synthetics)	175
Create a counting leader (Windows only)	175
Create color bars and a 1-kHz tone	175
Create black video	176
Create a color matte	176
Create a transparent video clip	176
Adding clips to sequences	177
Adding clips to a sequence	177
Open a sequence	178
Targeting tracks	178
Drag video and audio to a sequence	180
Drag video only or audio only to a sequence	181
Add a track while adding a clip	181
Insert a clip into a sequence	182
Overwrite a clip into a sequence	182
Insert or Overwrite by dragging a clip to the Program panel	183
Make three-point and four-point edits	183
Make a three-point edit	183
Make a four-point edit	184
Add clips to a sequence automatically	184
Mixing clip types in a sequence	185
Replace one clip with another in a Timeline	186
Replace the source footage for a clip	186
Set or remove sequence In and Out points	187
Set sequence In and Out points	187
Set sequence In and Out points around a selection	187
Remove sequence In and Out points	187
Set sequence start time	187
Trimming clips	187
Working with In and Out points	188
Scrub the waveform in the Source Monitor	188
Zoom in or out on a waveform in the Source Monitor	188
Return to default vertical zoom level	189
Return to previous vertical zoom level	189
Trim in the Source Monitor	189
Open a clip in the Source Monitor	189
Select a clip to view in the Source Monitor	189
Set In points and Out points in the Source Monitor	189
Move In point and Out point together	189
View In and Out frames in the Source Monitor	190
Cue to an In point or Out point	190
Remove source clip In point or Out point	190
Trim with Trim-in and Trim-out tools	191
Trim with the current-time indicator	191
Set keyboard commands to trim with the current-time indicator	191
Set In and Out Points with the current-time indicator	192
Trim with Speech Analysis	192
Making rolling and ripple edits	192
About rolling and ripple edits	192
Make a rolling edit using the Rolling Edit tool	193
Make a rolling edit using the Trim Monitor	194
Make rolling edits with the current-time indicator	194
Make a ripple edit using the Ripple Edit tool	195
Make a ripple edit using the Trim Monitor	196
Make slip and slide edits	196
Make a slip edit	197
Make a slide edit	197
Making split edits	198
Work in the Trim Monitor	198
Open or close the Trim Monitor	198
Display the edit point you want to trim	198
Preview the edit in the Trim Monitor	198
Cancel an edit	198
Set trim preferences	199
Working with clips in a sequence	199
Find a clip in any sequence with Clip Usage	199
View the source of a sequence clip in the Project panel	199
Analyze speech for text XMP metadata	199
Analyze speech to create text metadata	200
Navigate to a specific word in speech metadata	201
Edit speech metadata	201
Copy text from speech metadata to the clipboard for use in a text editor	201
Improve speech analysis with reference scripts	201
Improve speech analysis with Adobe Story scripts (CS5.5 and later)	202
Select one or more clips	202
Enable or disable a clip	203
Group clips	203
Snap clips	204
Enable and disable the snap feature	204
Snap a clip to a clip edge, marker, or current-time indicator	204
Rearranging clips in a sequence	204
Move clips	204
Move clips in a Timeline panel	205
Move clips using the keypad	205
Move clips to a different track	206
Rearrange clips in a Timeline panel	206
Split or cut one or more clips with the Razor tool	206
Remove clips from a sequence	206
Lift and paste frames	206
Extract and paste frames	207
Delete clips and close gaps simultaneously	207
Delete gaps between clips	208
Find gaps in sequences and tracks	208
Copy and paste at the current-time indicator	208
Delete all clips on one track	209
Rendering and previewing sequences	209
Define the work area for rendering	210
Render a preview file for a section of a sequence	211
Render audio when rendering video	211
Work with preview files	211
Use preview files when rendering	212
Delete preview files	212
Play a sequence from start to finish	212
Scroll a sequence during preview	212
Previewing on a television monitor	212
Previewing on a television monitor via video card	212
Preview on a television monitor via camcorder or deck	213
Ensure that Adobe video applications use the same cached files	213
Correcting mistakes	214
Correct mistakes	214
History panel	214
Remove alerts with the Events panel	215
Working with markers	215
Add markers	215
Add an unnumbered clip marker	216
Add an unnumbered sequence marker	216
Add a numbered marker	217
Create markers in the Effect Controls panel	217
Find, move, and delete markers	217
Go to a clip marker in the Source Monitor	217
Go to a clip or sequence marker in a Timeline panel	217
Move a marker	217
Delete a marker	218
Add comments, chapters, and links to sequence markers	218
Read marker comments in tool tips	219

Match case Limit results 1 per page

153

USING ADOBE PREMIERE PRO

Editing sequences and clips

Last updated 1/16/2012

Click Playback Settings.

In the 24p Conversion Method pane, select one of the following options:

Repeat Frame (ABBCD)

Duplicates frames where necessary to maintain 29.97 fps playback. This option uses fewer

CPU resources.

Interlaced Frame (2:3:3:2)

Combines the frames in a telecine-like scheme to maintain 29.97 fps playback. This option

produces smooth playback but uses more CPU resources.

Click OK in the Playback Settings dialog box, and click OK in the New Sequence dialog box.

Disable 24p pulldown to simulate film-video transfer

By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on

one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film transferred to

video or broadcast, without frame interpolation.

Right-click (Windows) or Control-click (Mac OS) a 24p clip in the Project panel.

Select Modify > Interpret Footage.

Under Frame Rate, select Remove 24p DV Pulldown.

Click OK.

Additionally, you can apply any of a number of third-party film-look plug-in effects to the master sequence. These

plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.

Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a

heavy film camera. Attention to these details gives your project more of a film look.

Display 24p source timecode

When you import 24p footage, Premiere Pro treats it as 23.976 fps progressive footage. Because of this, when you work

with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p

footage in 30 fps non-drop-frame timecode. When you log 24p footage for capture, you log clips according to the

camera’s timecode count of 30 fps non-drop-frame timecode.

For example, a clip that you log for capture may have an In point of 00:01:00:28. However, as an offline clip in a 24p

project, the In point is shown as 00:01:00:23. In addition, mixing non-drop-frame footage with drop-frame footage can

cause larger differences in timecode display between the project and the clip, with minutes, seconds, and entire

durations seemingly out of sync. Be aware of these discrepancies as you edit.

If you use 30 fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame

from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as 23.976,

but the timebase as 29.97. If you’d prefer to read a clip’s original timecode, do the following:

Right-click (Windows) or Control-click (Mac OS) the clip in the Project panel.

Select Modify > Interpret Footage > Use Frame Rate from File.