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Whether you’re a professional or a beginner editor, this is a good place to dive into Premiere Pro CC The following tutorials were selected based on quality of information and presentation. When necessary, we link to specific parts of the videos in order to call out useful information. We also supplement each video with our own summary of each new feature in Premiere Pro CC The ability to work in multiple projects simultaneously has been on the Premiere Pro user’s most-wanted features list for quite some time.
It allows editors to quickly access past projects without having to close their current projects. This extremely when working on episodic content, where the same assets are frequently reused. We start at , when Jason sets the stage for the project:. Like Jason says, it makes sense to have a separate project file for each episode to keep things organized while minimizing project file size. However, this creates the dilemma of having to re-import the same assets for each episode.
This used to mean either importing them directly into a new project or using the Media Browser to import assets or sequences from a recent project.
Multiple Open Projects creates opportunity for a confusing and crowded workspace. Jason wisely addresses this before importing any assets. In the video below, he recommends arranging the workspace so that you can quickly access your open projects.
Even with an organized workspace, you may not know which project or timeline is active. Jason goes on to point out a couple ways to identify which project is currently selected. This is critical when it comes to saving and closing your projects.
Importing assets from Multiple Open Projects is simple and can be done in more ways than one. You can easily drag assets directly from the Project panel, Timeline, and Source monitor, just to name a few. Jason says it well, “Any way you think you can move assets, you probably can move assets. One thing to remember when working with Multiple Open Projects, particularly when moving assets, is you’re not moving the source media.
You’re simply creating a new reference to where the source media is located. Keep this in mind when working across storage drives. Borrowing Jason’s example, let’s say episode 5 and 6 are on different drives.
The assets he copied over from episode 5 into episode 6 will go offline if he removes the drive where episode 5 is stored. In this case, it is recommended to store commonly used assets, like intros, templates, bumpers, lower thirds, etc. Also, you may want to use Premiere Pro’s Project Manager to collect all the files used in each episode when you’ve completed editing the series. This feature, however, can only be used by editors working on a shared storage network.
Shared Projects allows editors to collaborate on project files without unintentionally overwriting another editors work. A Shared Project is accessible to anyone on the network, but only one editor can have write access at any given time. If you’re searching for a definitive resource for understanding Shared Projects, look no further than the following tutorial by certified Adobe Premiere Pro trainer, Dylan Osborn.
This Done with Dylan episode goes “under the hood” of Shared Projects, and shows exactly how Premiere Pro is managing the project file.
This is the “key,” if you will, to project locking in Premiere Pro CC It is also where you will enter a name that will identify you on the network. With project locking enabled, Dylan shows how to create a new Shared Project from inside a “master” project.
Most tutorials would stop here, but Dylan goes on to explain the inner-workings of a Shared Project, and how they use project file aliases to protect an editors work from being overwritten by another. Understanding these technical components of Shared Projects will help you more effectively collaborate with them. Project Locking works on a “first come, first serve” basis. Dylan explains how to read the new red and green lock icons that can be found on bins in the Project panel and in the bottom lower left corner of the workspace.
Red means another editor currently has ownership and the project can only be opened as read-only. Click the button below to read his Shared Projects summary. No doubt they have already become yet another significant differentiator for Premiere Pro among other NLEs. Responsive Design, as the name implies, gives editors greater flexibility working with graphics in Premiere Pro. There are two flavors of Responsive Design: Time and Position. Both of which are addressed in another Jason Boone tutorial.
We’ve broken his tutorial into two parts below. Responsive Design – Time allows editors to create title and graphic animations and later adjust them to fit the length of their edit. The beauty of this feature, and what makes it truly responsive, is the timing of the animation or the distance between keyframes is preserved, even when the length of the clip changes.
Essentially, Responsive Design – Time pins animation keyframes within a user-specified duration to the beginning or end of the clip. The parameters can be found in the Essential Graphics panel when a graphic clip is selected. Keyframes are selected by adjusting the Intro and Outro Duration. Alternatively, Responsive Design – Time can also be applied directly in the Effect Controls panel, as you will see below. In either case, the intro and outro selection is indicated by a highlighted area in the Effect Controls panel and on the clips themselves in the Timeline.
Jason begins his tutorial by demonstrating the “problem” Responsive Design – Time fixes. It’s actually a very helpful way of understanding what Responsive Design – Time is.
This is done by dragging the handles of the clip ribbon at the top of the Effect Controls panel. It’s not obvious, and it can be a little clunky, but it’s nice that it’s accessible right within the Effect Controls panel. The second – more obvious – way of applying Responsive Design – Time is in the Essential Graphics panel. The intro and outro duration can be defined using the sliders in the Essential Graphics panel when a graphic clip is selected. In summation, the Responsive Design – Time controls are ridiculously simple: use the Intro and Outro Duration to select your keyframes and Premiere Pro will pin the animation to the beginning and end of the clip.
Comparatively, Responsive Design – Position is a little more complex. It’s similar to parenting in After Effects in that it allows you to parent layers in a graphic clip. Layers can be pinned to each other and in relation to any side of the video frame. This not only makes it easier to work with multiple layers, it also means layers will “responsively” adjust to changes made to their parent layers. For example, pinned layers in a lower third graphic will automatically adjust to fit the text.
Another big win is graphics with Responsive Design – Position will automatically adjust to different frame sizes, allowing editors to seamlessly repurpose graphic animations for multiple destinations, i. In the second part of Jason’s tutorial, he uses an episodic travel vlog as an example. He creates a simple white text on black lower third for the destination, which will change each week. Using the Responsive Design – Position controls, Jason pins the black background layer to the text, so it will automatically adjust to the amount of the text.
So whether the text is “Mont Saint-Michel” or “Paris” the design of the lower third is preserved. Switching to a different tutorial, AdobeMasters has an example of using Responsive Design – Position to repurpose a graphic in sequences with difference sizes. Similar to Jason, AdobeMasters uses a very simple lower third for his demonstration.
It’s a lower third that scales up from the bottom left side of the frame. AdobeMasters pins the lower third to the left and bottom sides of the video frame. The relative position of the lower third is preserved when he places the graphic in a sequence with a square aspect ratio.
The application here is graphics with Responsive Design – Position will automatically adapt to sequences with different aspect ratios. Premiere Pro CC re-introduces a roll feature for titles, this time in the Essential Graphics panel. Scrolling credits can once again be done in natively in Premiere Pro. The font preview feature is one found in other Creative Cloud applications, and is especially welcome for those editors who are font illiterate. The ability to “star” favorite fonts is an added touch that saves you from having to scroll the list looking for commonly used fonts.
Hence the length: a whopping 30 minutes! For your convenience we’ve broken up this tutorial as well to specifically highlight the new immersive features in Premiere Pro CC That said, if you’re passionate about learning VR and video post-production, we highly recommend watching the entire video.
This feature allows the editor to “immersively” edit VR and video using a VR headset and hand controllers. Obviously, this requires the necessary VR hardware, like an Oculus Rift as seen in this tutorial.
Once the edit is assembled, CreatorUp! This used to require special plugins, but since Adobe acquired Mettle Skybox , editors have everything they need to edit VR and video natively in Premiere Pro.
Next, CreatorUp! VR and video require special effects and transitions. Suffice it to say standard effects do not work well with stitched equirectangular media. When editing in Premiere Pro, especially when editing a stringout of selects, it’s easy for gaps to appear in the timeline.
To “automatically” close multiple gaps in the past, Premiere Pro users had to follow this complex workaround using a color matte. The method was ingenious in how effective it was. But, thankfully, Premiere Pro users can now close multiple gaps with a single click. It can be used on one gap, a selection of gaps, or the entire sequence. The one thing Mike doesn’t include is the fact that you can assign the new Close Gap command to a keyboard shortcut. Otherwise, you can follow Mike and select the Close Gap command under the Sequence menu.
This doubled the number of labels to a grand total of Anyone calling for 32 yet?