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Transparency (masks, alpha channels), About transparency, About alpha channels and mattes

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ADOBE PREMIERE PRO CS3 367 User Guide Transparency (masks, alpha channels) About transparency Before you can create a composite from multiple images, parts of one or more of the images must be transparent. You can use alpha channels, masks, mattes, or keying to define which parts of an image are transparent and which parts of an image can be used to obscure parts of another image. By manipulating transparency and choosing blending modes, you can create a variety of visual effects. About alpha channels and mattes Color information is contained in three channels: red, green, and blue. In addition, an image can include an invisible fourth channel, called an alpha channel, that contains transparency information. A B C Channels at a glance A. Separated color channels B. Alpha channel C. All channels viewed together An alpha channel provides a way to store images and their transparency information in a single file without disturbing the color channels. When you view an alpha channel in the After Effects Composition panel or an Adobe Premiere Pro Monitor panel, white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial transparency. A matte is a layer (or any of its channels) that defines the transparent areas of that layer or another layer. White defines opaque areas, and black defines transparent areas. An alpha channel is often used as a matte, but you can use a matte other than the alpha channel if you have a channel or layer that defines the desired area of transparency better than the alpha channel does, or in cases where the source image doesn't include an alpha channel. Many file formats can include an alpha channel, including PSD (from Adobe Photoshop), ElectricImage, FLV, F4V, TGA, TIFF, EPS, PDF, and AI (from Adobe Illustrator). AVI and QuickTime files (saved at a bit depth of Millions Of Colors+), also can contain alpha channels, depending upon the codecs used. For AI, EPS, and PDF files, After Effects automatically converts empty areas to an alpha channel. April 1, 2008

Section	Page
Contents	3
Chapter 1: Getting started	7
Installation	7
Requirements	7
Install the software	7
Activate the software	7
Register	7
Read Me	8
About Adobe Help	8
Adobe Help resources	8
Using Help in the product	9
Resources	11
Adobe Video Workshop	11
Adobe Premiere Pro CS3 videos	12
Bridge Home	13
Adobe Bridge CS3 videos	13
Adobe Device Central CS3 videos	14
Encore CS3 videos	14
User communities	14
Customer support	14
Downloads	15
Extras	15
Adobe Labs	16
What’s new	17
New features	17
Chapter 2: Workspace	19
Customizing the workspace	19
About workspaces	19
Choose a workspace	20
Dock, group, or float panels	20
Resize panel groups	22
Open and close panels and windows	23
Display any panel full-screen	23
Working with multiple monitors	23
Save a custom workspace	24
Reset a workspace	24
Delete a workspace	24
Brighten or darken the interface	24
Tools, clip details, and menus	24
Tools	24
Clip details in the Info panel	26
Display context and panel menus	26
Chapter 3: Projects	27
Project basics	27
About projects	27
Create a project	27
Open a project	28
Adjust project settings and presets	29
Change your preferences	34
Aspect ratios	34
About aspect ratios	34
Common pixel aspect ratios	36
About square-pixel footage	37
Using assets with various aspect ratios	37
Fix aspect ratio distortion	38
Special projects	39
About 24p footage and projects	39
About 3:2 and 24Pa pulldown	39
Create a 24p project	40
Set 24p playback options	40
Disable 24p pulldown to simulate film-video transfer	41
Display 24p source timecode	41
Start an HDV or HD project	41
Start a widescreen project	42
Start a mobile device project	43
Workflows	43
Basic workflow	43
DVD workflow	49
Cross-platform workflow	50
Cross-application workflows	51
About Adobe Bridge	51
Chapter 4: Setting up, and bringing in assets	53
Setting up your system	53
About setting up your system	53
Set up a DV or HDV system	53
Set up an SD-SDI, HD-SDI, or component system	54
Set up an S-video or composite system	55
Specify scratch disks to improve system performance	56
Optimize rendering for available memory	58
Bringing assets into a project	58
About capturing, digitizing, and importing	58
Capturing and digitizing	59
System requirements for capturing	59
Capturing DV or HDV video	59
Capturing HD video	60
Capture analog video	60
Capturing content for DVD	62
Prepare for digital video capture	62
Set capture format and preferences	62
File size limits	63
Set up device control	64
Capture without device control	66
Capture with device control	67
Determine if your device is online	68
Use automatic scene detection	68
Common capture issues	69
Batch capturing	69
About batch capturing	69
Log clips for batch capturing	70
Log clips interactively	71
Tips for logging clips interactively	72
About batch-capture settings	72
Specify capture settings	72
Batch capture clips	73
Troubleshooting batch capturing	73
Import and export batch lists	74
Work with offline files	74
Timecode	76
About timecode	76
Stripe tape or replace timecode	76
Capturing timecode	77
Set timecode manually for a clip	78
Enter timecode	78
View timecode as a burn-in	78
Online and offline editing	79
About online and offline editing	79
Recapture clips	79
Importing files	80
Import files	80
Start Adobe Bridge from Adobe Premiere Pro	80
File formats supported for import	81
Importing digital audio	83
Import still images	84
Importing image sequences	86
Import numbered still-image files as one clip	87
Importing earlier Adobe Premiere Pro projects	87
Importing libraries (Windows only)	87
Importing After Effects compositions	87
About Panasonic P2 media	88
About Sony XDCAM and XDCAM EX media	88
Importing assets from file-based sources	88
About spanned clips	89
Chapter 5: Managing and viewing assets	90
Customizing the Project panel	90
About managing assets in the Project panel	90
Change Project panel views	90
Customize List view columns	91
Define a different thumbnail for a clip	92
Organizing assets with the Project panel	93
About bins	93
Work with bins	93
Change bin behaviors	94
Label assets	94
Find assets in the Project panel	95
Find assets matching criteria F30844 Static Metadata UI: Project Panel]	95
Working with assets	95
About clip properties	95
View the properties of a clip	96
Duplicate a clip	96
Rename assets	96
Remove assets from a project	97
Play back a clip in the Project panel	97
Change the frame rate of a file [F23124 Create single \	97
Work with proxy files	98
About proxy files [F8488 Proxy Editing]	98
Create proxy files from the Project panel [F8488 Proxy Editing]	98
Create proxy files from the Timeline [F8488 Proxy Editing]	98
Delete a proxy file [F8488 Proxy Editing]	98
Make original media offline, or delete it [F8488 Proxy Editing]	98
Relink proxies to original media [F8488 Proxy Editing]	98
Enable or disable a proxy for playback [F8488 Proxy Editing]	98
Source and Program Monitors	98
Source and Program Monitors overview	98
Open or clear a clip in the Source Monitor	99
Source and Program Monitor time controls	100
View safe zones in the monitors	101
Choose a display mode	102
Playing assets	102
Play video in the Source and Program Monitors	102
Jog or shuttle playback	103
Move to a different frame in the Source and Program Monitors	104
Match a frame with its source	104
Reference Monitor	105
Use a Reference Monitor	105
Chapter 6: Editing a sequence	106
Editing basics	106
Editing workflow	106
Source clips, clip instances, and subclips	107
Create subclips from the Timeline panel [21586 Ability to create subclips from the Timeline (support drag and drop from the Timeline to the Project window)]	107
Timeline panel overview [F30903 Metadata 'Track' in Timeline]	107
Navigate in the Timeline panel	108
Work with tracks	110
Set track display	111
Trimming clips	112
Working with In and Out points	112
Trim in the Source Monitor	113
Trim with Trim-in and Trim-out tools	114
Trim with the current-time indicator	115
About rolling and ripple edits	116
Perform rolling and ripple edits	117
Perform slip and slide edits	119
Work in the Trim Monitor	120
View source timecode in the Program Monitor	121
Assembling a sequence	121
Adding clips to a sequence	121
Targeting tracks	122
Drag a clip to a sequence	123
Add clips to a sequence automatically	124
Mixing clip types in a sequence	125
Add a track while adding a clip	125
Replace one clip with another	126
Make three-point and four-point edits	126
Specify source tracks to add to a sequence	127
Set or remove sequence In and Out points	127
Set sequence start time	128
Correcting mistakes	128
Correct mistakes	128
History panel	129
Work with the History panel	129
Remove alerts with the Events panel	130
Changing clip scale, duration, speed, or interlacing	130
View clip properties in a tool tip	130
Scale assets	130
Interlaced video, noninterlaced video, and progressive scanning	131
Create interlaced or non-interlaced clips	131
View the total duration of selected clips	132
Change clip duration	133
Change clip speed	133
Blend frames for smooth motion	135
About the Time Remapping effect	135
Vary change to clip speed	136
Move a split or unsplit keyframe	137
Play a clip backward, then forward	138
Freeze a frame	139
Remove the Time Remapping effect	141
Working with clips in a sequence	141
Find a clip in the Timeline	141
View the source of a clip in a sequence	142
Select one or more clips	142
Enable or disable a clip	143
Copy and paste attributes	143
Group clips	143
Snap clips	143
Rearranging clips in a sequence	144
Move clips	144
Split a single clip or multiple clips	145
Lift frames	146
Extract frames and close gap	146
Delete clips and close gaps	146
Delete space between clips	146
Copy and paste at the current-time indicator	146
Delete all clips on one track	147
Previewing sequences	147
About previewing sequences	147
Set the area to be previewed	148
Render a preview	148
Play a sequence from start to finish	149
Play a sequence with preroll and postroll	149
Disable rendered previews	149
Scroll the Timeline panel during preview	149
Preview on a television monitor	149
Work with preview files	151
Chapter 7: Editing: Beyond the basics	152
Using markers	152
Add markers	152
Find, move, and delete markers	153
Add comments, chapters, and links to sequence markers	154
Sharing markers with After Effects, Encore, and Flash	155
Add Encore chapter markers	155
Editing audio in the Timeline panel	156
Set sample-based audio In and Out points	156
Link and unlink video and audio clips	157
Create split edits	158
Creating special clips	159
Create a counting leader (Windows only)	159
Create color bars and a 1-kHz tone	159
Create black video	159
Create a transparent video clip	160
Multiple sequences	160
Use multiple sequences	160
Create a new sequence	160
Nest sequences	161
Subclips	162
About subclips	162
Create a subclip	163
Adjust media start and end times of a subclip	163
Convert a subclip to a master clip	163
Editing a multi-camera sequence	163
About multi-camera editing	163
About the Multi-Camera Monitor	164
Display the Multi-Camera Monitor	165
Add clips for multi-camera editing	165
Synchronize clips	165
Create a multi-camera target sequence	166
Record multi-camera edits	166
Play clips in the Multi-Camera Monitor	167
Rerecord multi-camera edits	167
Adjust multi-camera edits in the Timeline panel	167
Insert or overlay clips in a multi-camera sequence	168
Working in other applications	168
Edit a clip in its original application	168
Working with Photoshop and Adobe Premiere Pro	168
Create and edit Photoshop files	170
Copy between After Effects and Adobe Premiere Pro	170
Working with Adobe Premiere Pro and Adobe Flash	173
Trace video with Adobe Bridge and Illustrator Live Trace	173
Adobe Dynamic Link	173
About Dynamic Link (Production Premium only)	173
Saving and Dynamic Link (Production Premium only)	174
Managing performance and Dynamic Link (Production Premium only)	174
Color and Dynamic Link (Production Premium only)	175
Link to a new composition with Dynamic Link (Production Premium only)	175
Link to an existing composition with Dynamic Link (Production Premium only)	175
Delete a dynamically linked composition or clip (Production Premium only)	176
Edit a dynamically linked composition in After Effects (Production Premium only)	176
Offline compositions and Dynamic Link (Production Premium only)	176
Chapter 8: Transitions	178
Transition overview	178
About transitions	178
Transition workflow	178
Clip handles and transitions	179
Single- and double-sided transitions	180
Adding transitions	181
Adding a transition	181
Apply a transition	181
Work with default transitions	181
Replace a transition	182
Fine-tuning transitions	183
Display transitions in the Effect Controls panel	183
Adjust transition alignment	183
Move a cut and transition together	184
Change transition duration	185
Reposition the center of a transition	185
Change transition settings	186
Customizable transitions	186
Customize a Gradient Wipe transition	186
Customize the card flip transition (Windows only)	187
Chapter 9: Audio	188
Working with audio	188
About audio	188
About audio tracks in a sequence	188
About channels in audio clips	189
Mixing audio tracks and clips	190
Processing order for audio	190
Audio workspace	190
Audio Mixer overview	191
View audio data	193
Making quick audio adjustments	194
Working with clips, channels, and tracks	194
Mapping audio channels	194
Extract audio from clips	197
Render and replace audio	197
Break a stereo track into mono tracks	197
Break all stereo tracks into mono tracks	198
Use a mono clip as stereo	198
Linking multiple audio clips	198
Link audio clips	199
Edit a multi-clip link in the Source Monitor	199
Recording audio	200
About recording audio	200
Capturing analog audio	200
Set the location for captured audio	201
Record a voice-over	201
Record an analog source	202
Prepare the input channel for recording	202
Record audio	203
Mute input during recording	203
Adjusting volume levels	204
Adjusting gain and volume	204
Specify the gain level for a clip	204
Adjust volume in the Timeline panel	204
Apply a volume level to several clips	205
Adjust volume in Effect Controls	205
Set track volume in the Audio Mixer	206
Mute a track in the Audio Mixer	206
Mix tracks in the Audio Mixer	206
Audio transitions	207
Work with audio transitions	207
Crossfade between audio clips	207
Fade in or fade out clip audio	208
Adjust or customize an audio transition	208
Applying effects to audio	208
Applying audio effects to clips	208
Applying audio effects in the Audio Mixer	209
Apply a track effect in the Audio Mixer	209
Designate a track effect as pre-fader or post-fader	210
Edit track effects in the Timeline panel	210
Remove or bypass a track effect in the Audio Mixer	210
Working with VST effects	210
Adjust a VST effect in a VST Editor panel	211
Select a preset for a VST effect	211
Recording audio mixes	212
About recording audio changes	212
Record changes to sound tracks	212
Preserve a track property while recording an audio mix	213
Audio Mixer automation modes	213
Set Automatch Time for Touch mode	213
Specify the automated keyframe creation	214
Panning and balancing	214
About panning and balancing	214
Panning and balancing in the Audio Mixer	215
Pan or balance a stereo track	216
Pan or balance a 5.1 surround track	216
Pan or balance a track in the Timeline panel	216
Advanced mixing	216
Work with submixes	216
Route tracks with sends	217
Downmixing to fewer channels	219
Change 5.1 audio to stereo or mono	219
Routing track output	220
Route or turn off track output	220
Editing audio in Adobe Soundbooth	220
About editing audio in Adobe Soundbooth	220
Edit audio in Adobe Soundbooth	220
Undoing edits made in Adobe Soundbooth	221
Chapter 10: Titles	222
Creating titles	222
About the Titler	222
Create new titles	222
Open a title in the active project	223
Show video behind the title	223
Import a title file	223
Export a title as an independent file	224
About the safe margins	224
Choose or create title templates	224
Adding text to titles	226
Enter text in titles	226
Format text in titles	227
Work with paragraph text	229
Create tab stops in titles	229
Adding shapes and images	230
Create shapes	230
Change the shape of a graphic object or a logo	231
Draw straight segments with the Pen tool	231
Draw curves with the Pen tool	232
Adjust anchor points and curves	233
Add images to titles	234
Working with text and objects in titles	235
Change the stacking order of objects in titles	235
Align and distribute objects in titles	235
Transform objects in titles	236
Adding fills, strokes, and shadows in titles	238
About object properties	238
Set a fill for text and objects	238
Fill type options	238
Add a sheen	239
Add a texture for text or object	239
Add a stroke to text or object	240
Change the listing order of strokes	241
Delete strokes from an object or text	241
Create a drop shadow	242
Working with styles	242
Work with styles	242
Create a style	243
Apply a style to an object	243
Delete, duplicate, or rename, a style	243
Manage style libraries	244
Rolling and crawling titles	244
Create titles that roll or crawl	244
Convert a title to another type	245
Chapter 11: Applying Effects	246
Working with effects	246
Working with effects	246
About Fixed effects	247
About Standard effects	247
About clip-based and track-based effects	247
Using effects from other products	248
About GPU-accelerated effects	248
About high bit-depth effects	249
Working with discontinued effects	249
Applying, removing, and organizing effects	249
Find and group effects	249
Apply an effect to a clip	250
Remove an effect from a clip	251
Copy and paste effects	251
Adjusting effects	252
About the Effect Controls panel	252
View the Effect Controls panel	254
View effects in the Effect Controls panel	254
View keyframes for an effect property in the Timeline	254
Adjust or reset controls in the Effect Controls panel	254
Disable or enable effects in a clip	255
Create markers in the Effect Controls panel	255
Customizing effect presets	255
Effect presets	255
Create and save an effect preset	256
Apply an effect preset	256
Work with a custom or presets bin	256
Motion	257
Adjust position, scale, and rotation	257
Animate motion in the Program Monitor	259
Adjust or animate anchor points	262
Eliminate flicker	264
Color correction	264
Adjusting color and luminance	264
Set up a Color Correction workspace	265
Apply the Color Correction effects	266
Quickly remove a color cast	267
Make quick luminance corrections	268
Color balance, angle, and saturation controls	268
Adjust color balance and saturation	270
Adjust color and luminance using curves	271
Adjust luminance using levels	272
Select a color with the Adobe Color Picker	274
Define the tonal ranges in a clip	276
Specify a color or range of colors to adjust	277
Special color and luminance adjustments	278
Match the color between two scenes	278
Replace a color	279
Remove color in a clip	280

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ADOBE PREMIERE PRO CS3

User Guide

367

Transparency (masks, alpha channels)

About transparency

Before you can create a composite from multiple images, parts of one or more of the images must be transparent.

You can use

alpha channels

masks

mattes

, or

keying

to define which parts of an image are transparent and which

parts of an image can be used to obscure parts of another image. By manipulating transparency and choosing

blending modes, you can create a variety of visual effects.

About alpha channels and mattes

Color information is contained in three channels: red, green, and blue. In addition, an image can include an invisible

fourth channel, called an

alpha channel

, that contains transparency information.

Channels at a glance

Separated color channels

Alpha channel

All channels viewed together

An alpha channel provides a way to store images and their transparency information in a single file without

disturbing the color channels.

When you view an alpha channel in the After Effects Composition panel or an Adobe Premiere Pro Monitor panel,

white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial trans-

parency.

matte

is a layer (or any of its channels) that defines the transparent areas of that layer or another layer. White

defines opaque areas, and black defines transparent areas. An alpha channel is often used as a matte, but you can

use a matte other than the alpha channel if you have a channel or layer that defines the desired area of transparency

better than the alpha channel does, or in cases where the source image doesn’t include an alpha channel.

Many file formats can include an alpha channel, including PSD (from Adobe Photoshop), ElectricImage, FLV, F4V,

TGA, TIFF, EPS, PDF, and AI (from Adobe Illustrator). AVI and QuickTime files (saved at a bit depth of Millions

Of Colors+), also can contain alpha channels, depending upon the codecs used. For AI, EPS, and PDF files, After

Effects automatically converts empty areas to an alpha channel.

April 1, 2008