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Adobe Premiere
Pro CC
by John Carucci
Copyright © 2022 by John Wiley & Sons, Inc., Hoboken, New Jersey
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any
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ISBN: 978-1-119-86749-4
CHAPTER 20: Ten Tips for Making Video Easier to Edit. . . . . . . . . . . . . . . . . . . . . . . . . . 351
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Table of Contents
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About this Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
How this book is organized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Icons Used in the Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Beyond the book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Table of Contents v
Not all hard drives are created equal. . . . . . . . . . . . . . . . . . . . . . . . . 32
Scratch disks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Managing other computer components . . . . . . . . . . . . . . . . . . . . . . . . . 33
Keying into keyboard types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Eeek, a mouse!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
USB-C is the new black. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Looking at Capture Gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Smartphone capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Top-of-the-line video cameras. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Broadcast video camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Consumer-level camcorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Digital single-lens reflex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Point-and-shoot video options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Mirrorless camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Going GoPro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Card readers and capture devices . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Audio recorders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Going to the videotape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Defining Users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Neophyte user. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Intermediate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Professional photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Video enthusiast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Social media influencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Table of Contents ix
Fine Tuning Your Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Trimming clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Handling enough clip frames to trim . . . . . . . . . . . . . . . . . . . . . . . . 140
Naming clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Expanding to see waveforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Freezing frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Choosing Insert Frame Hold Segment. . . . . . . . . . . . . . . . . . . . . . . 143
Advanced Timeline Tricks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
More advanced clip movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Using the Track Select tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Overwrite a clip with an a djacent clip. . . . . . . . . . . . . . . . . . . . . . . . 143
Considering the three-point edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Back-timing edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Trying a four-point edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Making the right choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Table of Contents xi
CHAPTER 12: Choosing Cool Effects for Your Movie. . . . . . . . . . . . . . . 207
Understanding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Enhancing the look of your video. . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Improving the scene with Lighting Effects. . . . . . . . . . . . . . . . . . . . 208
Controlling Lighting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Breaking down light types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Scaling video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Cropping video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Making Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Dealing with shaky footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Understanding Warp Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Warp Stabilization settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Blurring video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Using Blur under a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Making video sharper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Creating a mosaic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Removing effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Adding a timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221
Playing with Your Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Flipping video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Changing speeds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Time lapsing your video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Trying Turbulent Displace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Table of Contents xv
Transforming Your Movie to Film Noir. . . . . . . . . . . . . . . . . . . . . . . . . . 339
Making Still Images Move (The Ken Burns Effect). . . . . . . . . . . . . . . . . 340
Adding a voiceover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Producing Your Own News Segment. . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Using Transitions to Help Tell the Story. . . . . . . . . . . . . . . . . . . . . . . . . 342
Applying a Filter Over Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Having Fun by Reversing Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
CHAPTER 20: Ten Tips for Making Video Easier to Edit . . . . . . . . . . . 351
Shooting Movies “Horizontally” with Your Smartphone . . . . . . . . . . . 352
Producing Better Video to Edit by Keeping It Steady. . . . . . . . . . . . . . 353
Shooting to Edit for Quicker Turnaround . . . . . . . . . . . . . . . . . . . . . . . 354
Taking Advantage of Natural Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Handling Each Shot for Your Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Seeing True Video Quality with a Calibrated Monitor . . . . . . . . . . . . . 358
Adding Drives for Scratch Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Ditching the Pinhole for a Microphone . . . . . . . . . . . . . . . . . . . . . . . . . 359
Using an Audio Recorder for Great Sound . . . . . . . . . . . . . . . . . . . . . . 360
Converting Master Files into the Right Format. . . . . . . . . . . . . . . . . . . 360
INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
As for editing costs, the passion of putting a movie together in the last millennium
could make you broke faster than an online gambling site. Unless you were fortu-
nate to be working in the industry, and had access to state-of-the-art equipment,
chances are you were making quality sacrifices. So, without a suitcase filled with
cash, putting the finishing touches on your movie project was as far off as a walk-
in membership to a snooty country club. Even if you could afford the most basic
equipment, the disparity between the consumer and professional level was far
beyond a professional-quality movie. Instead of providing the look of a Hollywood
movie, the end-result would be of significantly lesser quality.
Nowadays, that glass ceiling has been broken and all that should matter is how
well you shot and edited your movie. Nonlinear applications like Premiere Pro CC
are leading the way by allowing average Joes access to professional-style editing
tools. Video content creators have access to the tools to create a real movie — be it
long, short, really short (looking at you TikTok) or anything in between.
Premiere Pro CC puts the creative power at anyone’s fingertips. Not even Nos-
tradamus could have imagined the power in the hands of the average user, who
was long on passion and short on accessibility, to now make a movie with limited
resources and deliver to a potentially wide global audience.
So, what exactly does that mean? It means you get the dollar tour of the workspace
with the basics of setting up your project, importing various types of content, and
Introduction 1
making magic in the Timeline — otherwise known as the place to arrange your
movie assets. This is what’s important when dipping your toe into Premiere Pro.
If you’re not sure how important editing is to the filmmaker, just check out some
classic films like the shower scene from Alfred Hitchcock’s Psycho, or the Odessa
Steps scene from Sergei Eisenstein’s seminal 1925 film, Battleship Potemkin. Brian
DePalma paid homage to that classic scene in the 1987 film, The Untouchables.
Versatility is the name of the game with Premiere Pro. Much like the special way
you take your latte at a particular coffee chain, Premiere Pro is quite versatile.
Plus, making a movie with it won’t get your name spelled wrong on the cup.
So, whether you’re capturing a documentary with your new Sony F7 professional
camcorder system, using your Canon 5D (of any mark you choose), a consumer-
level camcorder, or more than likely, your smart phone, you can easily ingest that
footage and begin making a movie after a quick perusal this handy guide.
Premiere Pro CC For Dummies is divided into five parts, each detailing an aspect of
preparing, editing, and delivering your movie. Depending on your level of under-
standing and your needs, you may prefer a particular area over another. Feel free
to read it start to finish if that’s your thing. But chances are you want to spend
more time editing. So also feel free to jump around.