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9A0-318 - Premiere Pro CS6 Recertification - braindump

Vendor ADOBE
Exam Number 9A0-318
Exam Name Premiere Pro CS6 Recertification
Questions 52 Q & A
Recent Update November 14, 2018
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9A0-318 exam Dumps Source : Premiere Pro CS6 Recertification

Test Code : 9A0-318
Test Name : Premiere Pro CS6 Recertification
Vendor Name : ADOBE
Q&A : 52 Real Questions

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ADOBE ADOBE Premiere Pro CS6

RIP, Adobe Encore; and how to install and Use Encore CS6 with Adobe premiere professional CC | killexams.com Real Questions and Pass4sure dumps

Adobe has end-of-lifed Adobe Encore, which is dangerous news if you need to burn DVDs or Blu-ray Discs or build Flash DVDs. this article will talk about how to set up Encore if you are a CC subscriber and don't have Encore CS6 already put in on your laptop; the terms and implications of Encore's end-of-existence status; and the way to work across the lack of Dynamic link transfers from surest seasoned CC to Encore CS6.

So, there i used to be, starting to run some assessments on a fresh HP Z820 with 12/24 core E5-2697 v2 CPUs, probably the most quickest workstations on the earth. I had put in superior pro CC on the computing device and started attempting to find Encore to run some Blu-Ray Disc encoding checks. Nowhere to be discovered on the computing device. So I figured i'd download the app from the Adobe inventive Cloud website, but Encore changed into lacking there, as well.

a quick Google search ended in the awareness that Adobe had “conclusion-of-lifed” Encore, which has massive implications to many adventure producers. I also realized that whereas Encore CS6 can work with premier seasoned CC, there is no Dynamic hyperlink switch from PP CC to Encore CS6; you have to output your timelines one by one and enter them into Encore CS6. listed here, I’ll talk about a way to install Encore if you’re a CC subscriber and don’t have Encore CS6 already put in on your computing device, the phrases and implications of Encore’s end-of-life popularity, and how to work across the lack of Dynamic hyperlink transfers from most fulfilling seasoned CC to Encore CS6.

how to Get Adobe Encore CS6 out of your creative Cloud Subscription

probably essentially the most pressing difficulty for many CC subscribers is the way to get Encore CS6 put in if you now not have installing information for top-quality professional CS6, which installed Encore and Adobe Media Encoder in addition to optimal pro. The essential answer is that you download most excellent professional CS6 from the creative Cloud (determine 1, under), set up it, and then uninstall top-quality pro CS6 if preferred. remember, you have access to all CS6 functions as a part of your CC subscription, so downloading CS6 apps should now not be a problem.

figure 1. CC subscribers can access all CS6 applications. click on the image to see it at full measurement.

What Does end of existence mean?

Pulling from the Adobe FAQ, conclusion-of-existence ability that the “Encore CS6 edition might be the ultimate release of this product.” Adobe makes their motivation clear: “The style in the video and broadcast business is relocating far from actual media distribution. the long run is in cloud and streaming content material. hence we're focusing greater on products that bring to streaming services.” As a web site committed to on-line video creation, we can’t argue with that assessment; and due to the fact Apple stopped establishing DVD Studio professional with the four.0 liberate in 2005, it’s complicated to take difficulty with Adobe’s determination.

related to future updates to Encore, Adobe states, “Encore CS6 is supported on Microsoft® home windows® 7 with service Pack 1 (64 bit) and Mac OS X v10.6.eight or v10.7. Please notice that Encore CS6 help for future operating device updates or new hardware structures are not supplied.” So, there may be no more improvements, and someday in the future, an OS replace will spoil Encore and Adobe received’t fix it.

the place does that depart us? neatly, sometime, down the highway, you’ll deserve to select one more DVD/Blu-ray authoring application to serve your consumers who demand actual media deliverables. however not today, so I’ll go away the dialogue of which authoring program is optimal for one other day. For those desiring support in the short term, Sony artistic software, with varied DVD and Blu-ray options, is a great region to start.

What came about to Dynamic link?

moreover the absence of a CC version of Encore, the ability to ship a sequence from top-quality seasoned CC to Encore CS6 via Dynamic link is gone (determine 2, beneath). The purpose is that Adobe updated Dynamic hyperlink in top of the line CC to make it work extra effectively with other CC apps; in view that Encore CS6 doesn’t support this level of Dynamic hyperlink, there can’t be Dynamic link transfers to Encore from any CC app.

figure 2. Dynamic link from most suitable seasoned CC to Encore CS6 is gone. 

if you attempt to returned-door the method, and try to import a superior seasoned CC sequence from inside Encore CS6, the import will stall and the sequences received’t seem (figure three, under). You won’t get an error message; the import will just hang as proven in determine 3. For the sake of clarity, I’ll observe that each Dynamic link from greatest seasoned CS6 to Encore CS6 works best, and you'll nonetheless import a chain from a top-rated seasoned CS6 venture in Encore CS6.

The only option for top-rated professional CC optical disc producers is to export your content material from most advantageous seasoned CC/Adobe Media Encoder as a separate file and import those into Encore. As earlier than, all chapter markers inserted in most fulfilling pro CC will appear in Encore CS6.

determine three. which you can’t import a series from a most appropriate pro CC venture into Encore both. 

related Articles

in this tutorial you are going to learn the way to create and edit business-general closed captions for video the usage of the brand new closed-captioning capabilities in the just-launched Adobe superior professional CC.

right here's a short tutorial for most useful seasoned CC users on the way to migrate encoding presets that you created to personalize and streamline encodes in Adobe Media Encoder CS5/6 into Adobe Media Encoder CC so that you can prefer up correct where you left off.

in case you ever end up having to render varied sequences from most reliable seasoned, there's a simpler solution to do it than through the use of the greatest professional Export manage. This tutorial will explain the simpler and greater effective approach using Adobe Media Encoder.

Repetitive tasks are a part of video modifying, but they don't have to be tedious in Adobe finest pro CC if you use one of the crucial diverse thoughts described in this tutorial.


evaluate: Adobe most advantageous seasoned CS6 | killexams.com Real Questions and Pass4sure dumps

each person has been talking about Adobe greatest seasoned CS6 lately. It was a sizzling topic at NAB 2012, definitely, and Adobe’s sales space changed into full of individuals taking in demos and asking questions. The total Adobe inventive Suite has also had fabulous upgrades, which might be good information to Adobe lovers that are getting used to the use of a few Adobe functions that complement and engage with each and every different.

individuals are nonetheless talking about most useful seasoned CS6, which i'll center of attention on for this evaluation. This new version is a very pleasant upgrade that makes some massive advancements over the last version in several key areas.

What Hasn’t modified (All That a whole lot)

Native camera help and Mercury Playback

Two of the greatest promoting aspects to most beneficial seasoned were its native digital camera guide (and its capacity to handle lots of those diverse camera codecs) and the Mercury Playback Engine. Native file aid continues to be very powerful in edition 6 and the Mercury Engine has been retooled to work with another non-NVIDIA CUDA video playing cards. As you can also consider, Mercury at the beginning best harnessed the energy of NVIDIA’s CUDA know-how to present up some exceptional realtime playback.

Dynamic Linking

Dynamic Linking is Adobe’s way of simply interchanging media and substances between different functions in the Adobe suite. choose some clips in a surest professional CS6 timeline, Dynamic hyperlink them to After outcomes and you have got a brand new clip in the PPro timeline that updates as the AE venture is tweaked. in case you deserve to get your PPro sequence to DVD, then just import that sequence appropriate into Adobe Encore. Tight integration is also a major promoting factor for the creation premium, which comprises After effects, Photoshop prolonged, Audition, SpeedGrade and plenty extra.

Media management

Media management in CS6 is still relatively a good deal the same as it has at all times been and that’s a shame. the style it really works is it fairly plenty just looks at a directory direction that points to a clip. moving photos around or having a special force identify (or anything else that alters that fashioned course) outcomes in media offline. Reconnection alternatives are fairly tons aspect the offline file to the original. That’s now not a major deal if all of your media resides in one or two directories, but considering the fact that PPro offers no real advice, other than supplying you with a file name to seek, it will also be a real ache if your media is scattered or your mulitcamera shoot has cams producing the identical file identify. I put media management as priority #1 to be addressed within the next edition of PPro.

What Has modified for the improved

Interface

gone is the button muddle of the Premieres of yore. the entire wasted space across the supply and program monitors has been eliminated. The useless jog/shuttle wheel and scrubber bar has additionally been axed. which you could now customise what buttons are there and tailor a 2nd row of them when you are so inclined. better of all, that you may flip off the buttons all collectively for a good cleaner seem to be. and also you in fact don’t need those buttons, on the grounds that that you may map them all to the keyboard.

This view isn’t the default interface but it shows the software computer screen with the entire buttons and info grew to become off. you can see how clean and uncluttered the interface can be.

Trimming

Being in a position to obtain distinctive, dynamic trimming operations in the NLE timeline is whatever thing that Avid editors understand neatly. ultimate cut professional (7 and past) editors recognize clicking and dragging to trim in the timeline. greatest seasoned CS6 has attempted to bridge the better of each worlds by preserving mouse-based, tool-based timeline trimming speedy and easy whereas additionally letting clients install quite complex ripple and roll trims. Trimming can be executed by way of realtime JKL playback and edits adjusted all whereas playback continues.

Avid editors might leave out slip-and-slide dynamic trimming but they’ll benefit from the fast response right here when working with the mouse and trimming in the timeline. I on no account realized that the ever-so-quick pause that occurs when trimming with the Media Composer wise device (which lets it enter trim mode) can seem like an eternity when compared to optimum professional CS6’s “wise device.” most beneficial professional CS6 doesn’t have a smart device, per se, but the mouse cursor will trade to distinctive trim equipment reckoning on where it is within the timeline, just like Avid’s wise device. It’s evident the Adobe product designers appeared very intently at Avid Media Composer when designing these new trim equipment. in case you’re going to steal, then steal from the choicest. Is the average trimming services of highest quality seasoned CS6 stronger than Media Composer? No. Is it enhanced than ultimate cut professional 7? fully. Do i admire using these new trim equipment? yes I do.

Adobe has carried out a really best job with the brand new trimming equipment, which received an incredible overhaul in highest quality seasoned CS6.

Hover Scrub and a higher Bin experience

Skimming is one in all last cut pro X’s signature aspects and Adobe has introduced their own edition of this with Hover Scrub, one of top-quality professional CS6’s signature new features and one in all my favorites. When media in a PPro bin is determined to thumbnail view (that you may scale those thumbnails rather huge) and Hover Scrub is became on (shift + H for the shortcut), the clip’s media will skim as you movement the mouse over the thumbnail. No urgent of the mouse button is required. It’s totally quick and a gorgeous approach to quickly audition media. click on a favored clip and Hover Scrub stops, however you’ll then see a tiny little timeline on the bottom of the clip so you might scrub with a little playhead and the place that you may set in and out aspects. With those set that you would be able to edit appropriate from that clip into the timeline. If a 3rd celebration video card is attached, you received’t see the clip Hover Scrub. but PPro will pipe it out over the video card when the clip is chosen and performed.

Hover Scrub is a brand new flagship feature in most appropriate pro CS6 that I discover extremely constructive.

I’ve considered some damaging feedback about Hover Scrub when comparing it to FCPX’s skimming. I believe most of these feedback are absolutely missing the point. Hover Scrub is distinct in that it enables for each the speed and comfort of skimming, as well as the precision (and also the convenience) of a two-up monitor. Skim the clips to get a conventional theory of what’s there, then load that into the supply display screen for common enhancing. The body where you stopped your Hover Scrub could be the body the playhead is loaded to should you double-click on to load it in the source monitor. It’s the best of both worlds. top-rated pro CS6 isn’t producing thousands of tiny thumbnails of recent scrubbing media however fairly exhibiting the actual aspect. As at all times with video modifying, quick and committed media storage is essential.

Hover Scrub has already vastly reduced my number of double clicks and mouse moves when shopping out pictures. When a clip is clicked Hover Scrub stops, as that clip is now live for JKL playback and out and in marking, where you could also insert or overwrite from the bin. Plus, it’s live out of the video hardware, so it makes feel for Hover Scrub to cease engaged on that selected clip. It’s one of those rare aspects to return alongside that has in reality modified the manner I edit. This characteristic alone makes me agree with foremost pro CS6 a lot greater strongly than ever before for certain styles of edits. And my shoppers have loved it, too.

Mercury Transmit

the style ultimate seasoned worked before CS6 with third-birthday party video hardware turned into, neatly … no longer very good. Sequences have been primarily based off that hardware and efficiency became always inadequate. In premier professional CS6 that you may still base edit sequences off the hardware but performance is buttery clean with very respectable playback. unlike PPro of historical the Video Playback preferences will now reflect a third-party piece of hardware (supplied the brand has written up to date drivers) as a playback selection. select that and also you now have a usable, legitimate card for relevant video monitoring.

Mercury Transmit is Adobe’s new method for highest quality professional CS6 to interface with third-birthday celebration video hardware. It’s lots stronger than the hardware assist in older models of premiere.

the usage of most excellent professional CS6

I’ve used most useful pro CS6 fairly notably in three different edits to date, besides quite a few very own issues when I pounded on it at the beginning to make a decision if it become able to work with consumers in the room. My general journey has been very superb and i’m chuffed to file that crashes have been a good deal fewer than in other types (although on occasion it crashes when I give up). It hasn’t been crash-free but it's been manageable on the other hand.

as soon as once more Adobe has protected Media Composer and remaining cut pro keyboard layouts but, as earlier than, I’ve discovered myself mapping keys to my option. There are keyboard shortcuts for many everything however the shortcut editor nevertheless leaves plenty to be desired. It just takes too long to discover, map and retailer your customized layout, chiefly considering you could save new key commands time and again during the weeks you’re finetuning a new keyboard design.

Pre-made keyboard layouts will help migrating editors as you’re getting as much as speed on most useful pro CS6.

I’ve found myself working smartly during this new edition of PPro. Working within the timeline is quite quick, even if you’re trimming or shuffling clips around. The updated clip labels and colors are a whole lot simpler to see and distinguish than before, but I do desire PPro would mark IN to OUT stages greater obviously on all tracks. i am hoping the Timeline Panel receives a reworking within the next PPro, as issues like track patching and keyframe shows are somewhat clunky. that you can click on a song name to turn the track on and off in addition to toggle sync locks for each and every track. in case you’re new to PPro be certain and look at up on sync locks; their use is vital when enhancing.

Markers have gotten an overhaul from CS5.5 and are a great deal stronger here. however they aren’t as good as final reduce pro 7’s markers. It looks which you can’t add markers to clips edited into the timeline; including a marker best adds it to the timeline itself. A suit body lower back to the supply clip, the place that you may add a marker, will then reflect in the timeline. That’s likely extra steps than it can be. I truly like how great and readable prolonged length markers are in best professional CS6 however I hope it took less steps so as to add, edit and lengthen them.

Othe CS6 Apps that Play well with PPro

a few things beyond the scope of this review but worth bringing up in brief are two brand new artistic Suite applications that now work with most appropriate professional CS6. Adobe Prelude is a logging, ingesting and rough-reducing utility that is an easy way to evaluate, subclip and mark pictures (you or your producer can create a rough cut, too), then quickly send it over to most useful seasoned CS6. It does some very high-quality things and is handy to work with but it feels like all the easy marker and commenting functionality may still be developed correct into PPro. more than possible the committed editor received’t feel the should go to Prelude however reasonably move Prelude to someone else who should be would becould very well be making notes and doing logging.

Adobe SpeedGrade is making its first look in CS6. There’s now a File > ship to Adobe SpeedGrade menu merchandise. When that's chosen a DPX sequence is made from the edit. It’s now not a fantastic workflow to SpeedGrade as of yet and it may well take ages to circulation an edit over. SpeedGrade, following Adobe's fresh acquisition of it and other technology from Iridas, is absolutely very new to the suite and should little doubt increase over time.

In SpeedGrade CS6, fundamental and secondary colour corrections, as well as masks and filters, are applied as layers.

What should still happen with most excellent pro CS6.5 or CS 7?

Media management

most beneficial pro CS6’s media administration is basically a file path. alternate that file course and you’ve bought to reconnect. whereas which you could point an offline clip to a folder of clips and top of the line professional CS6 will relink everything in that folder, it’s nevertheless no longer satisfactory. There is not any method for premiere seasoned CS6 itself to go looking and scan a drive for clips, you need to discover them manually. Cryptic file-based cameras can use some cryptic (and often repeated) names, so this can be a big headache.

The link Media dialog container nonetheless looks the equal as older versions of PPro, with none way to immediately get hold of offline media.

I believe Adobe has an opportunity here to look at some very distinctive media administration techniques in its competitors' offerings and take a look at to design a higher gadget. For remaining cut professional X Apple appears to have appeared to Avid Media Composer and its certain, committed media folder as notion. It feels like Adobe can be premier served to use the present media administration theory of a file direction however maybe construct some kind of internal tracking and looking out so PPro relies more on simply the path and a name. that's all it appears to make use of now anyway. The integrated Media Browser looks like a natural vicinity for this to happen. i do know Adobe is aware that the media administration area wants aid (i was on the finest seasoned CS6 beta for a short while), so i'm hoping they're already tough at work on this certain concern.

Conforming and completing or an Intermediate Codec

One drawback Adobe has of staking its claim on native digicam workflow is that the company has no edition of ProRes or DNxHD, codecs designed for submit-construction. Say you’re going hardcore native and you have a complete timeline full of red R3Ds, Canon H.264, some Sony XDCAM and just a little of GoPro. I don’t feel you’re going to be sending all these different codecs and wrappers over to DaVinci get to the bottom of without some ache.

whereas finest professional CS6 can edit ProRes QuickTimes, this workflow isn’t intrinsically part of the application as it become in closing cut professional 7. Adobe has no single codec it is developed for post like Avid has with DNxHD. Say you've got all of those diverse formats and you’ve chosen to offline in ProRes Proxy (which I’ve done in optimal seasoned CS6). smartly, there’s no committed equipment to conform that offline timeline lower back to the entire native sources. you can relink clip, but that’s about it. besides the fact that you’re enhancing natively, there aren't any equipment to transcode all of the distinct media types in an edit into a single common file format. there is a project manager, however all that does is will let you copy a chain (with handles) to a new vicinity.

The most fulfilling seasoned CS6 venture manager is made to trim, move and create offline models of a mission however now not transcode to new codecs. observe the shortcoming of any transcoding alternate options, above, within the mission manager. I’ve had blended success with it as a result.

It feels like the venture supervisor is very near a final cut seasoned Media manager. If Adobe could take that performance and increase upon it then that could be very welcome within the subsequent version of CS. I’ve viewed some decent suggestions out there, including the one that Adobe might take their new pre-enhancing logging and trancoding device Adobe Prelude and make it into a web conforming device. That’s an intriguing opportunity. My wager can be on an up-to-date mission manager. If the right wise minds went to work attempting to rethink the conform and finishing procedure in an international the place so numerous styles of media converge into one edit, then color me very interested in what that could be.

Sequence-based mostly XML and AAF Outputs

This looks like an easy factor but I’ve had it bite me a couple of instances already. choicest seasoned has all the time bought themselves as being able to engage with different NLEs by way of XML and AAF import and export. this is high-quality, however on the export side, that you may’t appear to choose a single sequence and XML-out best that half.

most advantageous professional CS6 supports a lot of import and export formats (together with Avid Media Composer and last cut professional “classic”) however XML and AAF exports will send out much more that simply the one timeline you certainly need to export.

highest quality professional CS6 will export the total assignment in the XML. It’s the most appropriate irony in case you’re attempting to exchange last reduce pro 7 in your workflow best to have to import the PPro XML back into last reduce pro and export a single sequence XML. I’ve had to do just that. One answer might possibly be to delete everything out of a duplicate of the venture except for the edit sequence by using itself. lamentably, most advantageous pro CS6 requires all the grasp clips that are in an edit sequence to live within the challenge. That could make for a very cluttered XML.

Is gold standard professional CS6 the last reduce seasoned 8 We by no means acquired from Apple?

here is the question I consider many editors still pounding away on the historic legit and rock solid final cut seasoned 7 are asking. And the answer is sure—and no.

most desirable seasoned CS6 is indeed a quick, up to date, sixty four-bit, no-transcode digicam-native, realtime editing NLE that acts and feels a lot like closing cut seasoned 7. besides the incontrovertible fact that there’s  closing cut pro keyboard mapping inbuilt, basic enhancing techniques suppose very an identical. The interface isn’t too far off from what FCP7 became. You add and keyframe consequences in a extremely identical method. Timeline operations may also be mouse pushed very a good deal like they're in FCP7 (though they don’t need to be). fundamental trimming with the mouse in CS6 is much less like it is in FCP7, what with the new CS6 trimming features … however here's an excellent aspect.

When moving to top-rated pro CS6, FCP7 editors shouldn't get too hung up on the modifications between the applications. in case you center of attention on them, it might not reward you, as a result of there are differences and a few of them are huge. Audio mixing is a primary instance: foremost professional CS6 is a song-based audio editor, now not a clip-primarily based audio editor. These are distinct functions engineered through diverse groups at different organizations. if you settle for the differences between FCP7 and PPro CS6, work around what may be these modifying and workflow boundaries to your selected fashion and interact with what's new and diverse, I believe you might be satisfied with premiere pro CS6 as a final cut professional 7 replacement. at least i'm. better of all, it can be an extra device introduced to your toolbox. Avid Media Composer, closing cut pro X, Sony Vegas and Lightworks are all working first rate, so there have on no account been extra NLE choices for editors than there are today.

while Adobe has made a mindful effort to make most appropriate professional CS6 attraction to final cut professional (and additionally Avid Media Composer) users, choicest is truly starting, in any case these years, to finally carve out its own niche in post production. i am just speaking in regards to the single application of superior professional CS6 right here and haven’t basically touched on the knowledge vigour the entire creation top rate suite might convey to your next undertaking. As I stated above, creation premium is in reality a important replacement for closing cut Studio. i know Adobe has said it wants to make most efficient professional the Photoshop of video. That’s a lofty intention, however with CS6, it feels like Adobe has finally staked its claim on video enhancing in usual. To make most excellent pro the Photoshop of video is, of path, a somewhat large assignment. however most useful seasoned CS6 proves the business is smartly on its way there.


Blackmagic Design publicizes computing device Video 9.5 with support for the Upcoming unencumber of Adobe artistic Suite 6 utility and windows WDM Driver guide | killexams.com Real Questions and Pass4sure dumps

LAS VEGAS--(business WIRE)--Blackmagic Design nowadays announced laptop Video 9.5 utility update that adds support for the upcoming free up of Adobe® most useful® seasoned CS6 video application using Blackmagic Design’s DeckLink, UltraStudio and intensity trap and playback products on both Mac OS X and home windows 7. laptop Video 9.5 for windows 7 also includes a new WDM driver that lets valued clientele use Blackmagic Design products with a giant latitude of windows video utility.

desktop Video 9.5 application can be verified on the Blackmagic Design NAB 2012 sales space at #SL220.

computer Video 9.5 will let customers use DeckLink, UltraStudio and depth trap and playback items with Adobe premiere seasoned CS6 . This upcoming unencumber comprises guide for Adobe Mercury Transmit, which is a new plug in design for Adobe finest professional CS6 that offers greater true time results with any video structure and codec. With Adobe Mercury Transmit, Blackmagic Design can get direct access to the Mercury Playback Engine in Adobe PremierePro CS6, so clients can adventure stronger playback efficiency than ever before.

With Blackmagic Design trap and playback solutions, Adobe ultimate seasoned CS6 purposes should be able to capture and work with the highest quality compressed and uncompressed video formats. Video can be captured from decks, cameras, are living feeds and different sources for editing, compositing, photos creation and greater with the advanced aspects of Adobe finest pro CS6 utility. laptop Video 9.5 also helps Adobe Encore CS6 for hardware video output when authoring DVD and Blu-ray disks.

computer Video 9.5 for home windows 7 includes a WDM driver that supports an important range of windows based video purposes. laptop Video 9.5 lets all DeckLink, UltraStudio and intensity products work at once with CyberLink PowerDirector, Corel VideoStudio X5, Nero Video eleven, Magix film Edit seasoned, VLC, AMCap, ArcSoft ShowBiz and many extra. WDM drivers are superb to builders who require future proof expertise, that's faster and extra effective.

“DeckLink, UltraStudio and depth aid the use of more software than another catch and playback options,” referred to furnish Petty, CEO, Blackmagic Design. “laptop Video 9.5 gives consumers the possibility to use their favorite video purposes with the highest quality video and to work on Mac OS X, windows 7 and Linux working techniques with the identical hardware. No different capture and playback options give this stage of cross platform compatibility or application help!”

At NAB 2012 (booth SL2624), Adobe is revealing the inventive Suite 6 video tools, which are anticipated to ship within the first half of 2012. Adobe top-rated seasoned CS6 combines faster efficiency with a swish, customizable person interface and robust trimming tools that permit editors work the manner they wish to. be taught extra concerning the proper new elements in Adobe greatest seasoned and the different video equipment of the upcoming creative Suite 6 right here: www.adobe.com/go/cs6reveal.

Availability and value

laptop Video 9.5 utility is available now for download freed from can charge from the Blackmagic Design net site.

Press images

Product photographs of all Blackmagic Design items are available at www.blackmagic-design.com/press/photos.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform displays and film restoration application for the function movie, submit creation and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in first-class and affordability, while the business’s Emmy™ award profitable DaVinci color correction items have dominated the tv and movie industry due to the fact that 1984. Blackmagic Design continues floor breaking innovations together with stereoscopic 3D and 4K workflows. founded with the aid of world leading post creation editors and engineers, Blackmagic Design has workplaces within the usa, united kingdom, Japan, Singapore, and Australia. For extra suggestions, please check www.blackmagic-design.com.




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RIP, Adobe Encore; and How to Install and Use Encore CS6 with Adobe Premiere Pro CC | killexams.com real questions and Pass4sure dumps

Adobe has end-of-lifed Adobe Encore, which is bad news if you need to burn DVDs or Blu-ray Discs or build Flash DVDs. This article will discuss how to install Encore if you're a CC subscriber and don't have Encore CS6 already installed on your computer; the terms and implications of Encore's end-of-life status; and how to work around the lack of Dynamic Link transfers from Premiere Pro CC to Encore CS6.

So, there I was, starting to run some tests on a brand new HP Z820 with 12/24 core E5-2697 v2 CPUs, one of the fastest workstations on the planet. I had installed Premiere Pro CC on the computer and started looking for Encore to run some Blu-Ray Disc encoding tests. Nowhere to be found on the computer. So I figured I would download the app from the Adobe Creative Cloud site, but Encore was missing there, as well.

A quick Google search led to the realization that Adobe had “end-of-lifed” Encore, which has significant implications to many event producers. I also learned that while Encore CS6 can work with Premiere Pro CC, there is no Dynamic Link transfer from PP CC to Encore CS6; you have to output your timelines separately and input them into Encore CS6. In this article, I’ll discuss how to install Encore if you’re a CC subscriber and don’t have Encore CS6 already installed on your computer, the terms and implications of Encore’s end-of-life status, and how to work around the lack of Dynamic Link transfers from Premiere Pro CC to Encore CS6.

How to Get Adobe Encore CS6 from Your Creative Cloud Subscription

Probably the most pressing problem for many CC subscribers is how to get Encore CS6 installed if you no longer have installation files for Premiere Pro CS6, which installed Encore and Adobe Media Encoder as well as Premiere Pro. The simple answer is that you download Premiere Pro CS6 from the Creative Cloud (Figure 1, below), install it, and then uninstall Premiere Pro CS6 if desired. Remember, you have access to all CS6 applications as part of your CC subscription, so downloading CS6 apps should not be a problem.

Figure 1. CC subscribers can access all CS6 applications. Click on the image to see it at full size.

What Does End of Life Mean?

Pulling from the Adobe FAQ, end-of-life means that the “Encore CS6 version will be the final release of this product.” Adobe makes their motivation clear: “The trend in the video and broadcast industry is moving away from physical media distribution. The future is in cloud and streaming content. Therefore we are focusing more on products that deliver to streaming services.” As a site dedicated to online video production, we can’t argue with that assessment; and given that Apple stopped developing DVD Studio Pro with the 4.0 release in 2005, it’s hard to take issue with Adobe’s decision.

Regarding future updates to Encore, Adobe states, “Encore CS6 is supported on Microsoft® Windows® 7 with Service Pack 1 (64 bit) and Mac OS X v10.6.8 or v10.7. Please note that Encore CS6 support for future operating system updates or new hardware platforms will not be provided.” So, there will be no more improvements, and sometime in the future, an OS update will break Encore and Adobe won’t fix it.

Where does that leave us? Well, sometime, down the road, you’ll need to choose another DVD/Blu-ray authoring program to serve your clients who demand physical media deliverables. But not today, so I’ll leave the discussion of which authoring program is best for another day. For those needing help in the short term, Sony Creative Software, with multiple DVD and Blu-ray options, is a good place to start.

What Happened to Dynamic Link?

In addition to the absence of a CC version of Encore, the ability to send a sequence from Premiere Pro CC to Encore CS6 via Dynamic Link is gone (Figure 2, below). The reason is that Adobe updated Dynamic Link in Premiere CC to make it work more efficiently with other CC apps; since Encore CS6 doesn’t support this level of Dynamic Link, there can’t be Dynamic Link transfers to Encore from any CC app.

Figure 2. Dynamic Link from Premiere Pro CC to Encore CS6 is gone. 

If you attempt to back-door the process, and try to import a Premiere Pro CC sequence from within Encore CS6, the import will stall and the sequences won’t appear (Figure 3, below). You won’t get an error message; the import will just hang as shown in Figure 3. For the sake of clarity, I’ll note that both Dynamic Link from Premiere Pro CS6 to Encore CS6 works fine, and you can still import a sequence from a Premiere Pro CS6 project in Encore CS6.

The only alternative for Premiere Pro CC optical disc producers is to export your content from Premiere Pro CC/Adobe Media Encoder as a separate file and import those into Encore. As before, all chapter markers inserted in Premiere Pro CC will appear in Encore CS6.

Figure 3. You can’t import a sequence from a Premiere Pro CC project into Encore either. 

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Review: Adobe Premiere Pro CS6 | killexams.com real questions and Pass4sure dumps

Everyone has been talking about Adobe Premiere Pro CS6 recently. It was a hot topic at NAB 2012, certainly, and Adobe’s booth was full of people taking in demos and asking questions. The entire Adobe Creative Suite has also had impressive upgrades, which will be good news to Adobe fans that are getting used to using a number of Adobe applications that complement and interact with each other.

People are still talking about Premiere Pro CS6, which I'll focus on for this review. This new version is a very nice upgrade that makes some significant improvements over the last version in several key areas.

What Hasn’t Changed (All That Much)

Native Camera Support and Mercury Playback

Two of the biggest selling points to Premiere Pro have been its native camera support (and its ability to handle many of those different camera formats) and the Mercury Playback Engine. Native file support is still very strong in version 6 and the Mercury Engine has been retooled to work with some other non-NVIDIA CUDA video cards. As you may recall, Mercury originally only harnessed the power of NVIDIA’s CUDA technology to offer up some unprecedented realtime playback.

Dynamic Linking

Dynamic Linking is Adobe’s way of easily interchanging media and materials between different applications in the Adobe suite. Select some clips in a Premiere Pro CS6 timeline, Dynamic Link them to After Effects and you have a new clip in the PPro timeline that updates as the AE project is tweaked. If you need to get your PPro sequence to DVD, then just import that sequence right into Adobe Encore. Tight integration is also a huge selling point for the Production Premium, which includes After Effects, Photoshop Extended, Audition, SpeedGrade and much more.

Media Management

Media management in CS6 is still pretty much the same as it has always been and that’s a shame. The way it works is it pretty much just looks at a directory path that points to a clip. Moving footage around or having a different drive name (or anything that alters that original path) results in media offline. Reconnection options are pretty much point the offline file to the original. That’s not a huge deal if all your media resides in one or two directories, but since PPro offers no real assistance, other than giving you a file name to look for, it can be a real pain if your media is scattered or your mulitcamera shoot has cams generating the same file name. I put media management as priority number one to be addressed in the next version of PPro.

What Has Changed for the Better

Interface

Gone is the button clutter of the Premieres of yore. All the wasted space around the Source and Program monitors has been removed. The useless jog/shuttle wheel and scrubber bar has also been axed. You can now customize what buttons are there and tailor a second row of them if you're so inclined. Best of all, you can turn off the buttons all together for an even cleaner look. And you really don’t need those buttons, since you can map them all to the keyboard.

This view isn’t the default interface but it shows the Program monitor with all the buttons and info turned off. You can see how clean and uncluttered the interface can be.

Trimming

Being able to achieve detailed, dynamic trimming operations in the NLE timeline is something that Avid editors know well. Final Cut Pro (7 and earlier) editors know clicking and dragging to trim in the timeline. Premiere Pro CS6 has attempted to bridge the best of both worlds by keeping mouse-based, tool-based timeline trimming fast and easy while also letting users set up rather complex ripple and roll trims. Trimming can be achieved by realtime JKL playback and edits adjusted all while playback continues.

Avid editors might miss slip-and-slide dynamic trimming but they’ll enjoy the instant response here when working with the mouse and trimming in the timeline. I never realized that the ever-so-brief pause that happens when trimming with the Media Composer Smart Tool (which lets it enter trim mode) can seem like an eternity when compared to Premiere Pro CS6’s “smart tool.” Premiere Pro CS6 doesn’t have a smart tool, per se, but the mouse cursor will change to different trim tools depending on where it is in the timeline, just like Avid’s Smart Tool. It’s obvious the Adobe product designers looked very closely at Avid Media Composer when designing these new trim tools. If you’re going to steal, then steal from the best. Is the overall trimming functions of Premiere Pro CS6 better than Media Composer? No. Is it better than Final Cut Pro 7? Absolutely. Do I like using these new trim tools? Yes I do.

Adobe has done a very nice job with the new trimming tools, which got a major overhaul in Premiere Pro CS6.

Hover Scrub and a Better Bin Experience

Skimming is one of Final Cut Pro X’s signature features and Adobe has introduced their own version of this with Hover Scrub, one of Premiere Pro CS6’s signature new features and one of my favorites. When media in a PPro bin is set to thumbnail view (you can scale those thumbnails quite large) and Hover Scrub is turned on (shift + H for the shortcut), the clip’s media will skim as you move the mouse over the thumbnail. No pressing of the mouse button is required. It’s incredibly fast and a fantastic way to quickly audition media. Click on a desired clip and Hover Scrub stops, but you’ll then see a tiny little timeline at the bottom of the clip that you can scrub with a little playhead and where you can set IN and OUT points. With those set you can edit right from that clip into the timeline. If a third party video card is attached, you won’t see the clip Hover Scrub. But PPro will pipe it out over the video card when the clip is selected and played.

Hover Scrub is a new flagship feature in Premiere Pro CS6 that I find extremely useful.

I’ve seen some unfavorable comments about Hover Scrub when comparing it to FCPX’s skimming. I think most of those comments are entirely missing the point. Hover Scrub is different in that it allows for both the speed and convenience of skimming, as well as the precision (and also the convenience) of a two-up monitor. Skim the clips to get a general idea of what’s there, then load that into the Source monitor for traditional editing. The frame where you stopped your Hover Scrub will be the frame the playhead is loaded to when you double-click to load it in the source monitor. It’s the best of both worlds. Premiere Pro CS6 isn’t generating thousands of tiny thumbnails of new scrubbing media but rather displaying the real thing. As always with video editing, fast and dedicated media storage is important.

Hover Scrub has already greatly reduced my number of double clicks and mouse moves when searching out footage. When a clip is clicked Hover Scrub stops, as that clip is now live for JKL playback and IN and OUT marking, where you can also insert or overwrite from the bin. Plus, it’s live out of the video hardware, so it makes sense for Hover Scrub to stop working on that selected clip. It’s one of those rare features to come along that has actually changed the way I edit. This feature alone makes me consider Premiere Pro CS6 much more strongly than ever before for certain types of edits. And my clients have loved it, too.

Mercury Transmit

The way Premiere Pro worked before CS6 with third-party video hardware was, well … not very good. Sequences were based off that hardware and performance was usually inadequate. In Premiere Pro CS6 you can still base edit sequences off the hardware but performance is buttery smooth with very reliable playback. Unlike PPro of old the Video Playback preferences will now reflect a third-party piece of hardware (provided the manufacturer has written updated drivers) as a playback preference. Select that and you now have a usable, reliable card for proper video monitoring.

Mercury Transmit is Adobe’s new way for Premiere Pro CS6 to interface with third-party video hardware. It’s much better than the hardware support in older versions of Premiere.

Using Premiere Pro CS6

I’ve used Premiere Pro CS6 rather extensively in three different edits thus far, in addition to quite a few personal things when I pounded on it initially to decide if it was ready to work with clients in the room. My overall experience has been very positive and I’m happy to report that crashes have been much fewer than in other versions (though sometimes it crashes when I quit). It hasn’t been crash-free but it's been manageable nonetheless.

Once again Adobe has included Media Composer and Final Cut Pro keyboard layouts but, as before, I’ve found myself mapping keys to my preference. There are keyboard shortcuts for most everything but the shortcut editor still leaves a lot to be desired. It just takes too long to find, map and save your custom layout, especially since you might save new key commands many times during the weeks you’re finetuning a new keyboard layout.

Pre-made keyboard layouts will help migrating editors as you’re getting up to speed on Premiere Pro CS6.

I’ve found myself working well in this new version of PPro. Working in the timeline is quite fast, whether you’re trimming or shuffling clips around. The updated clip labels and colors are much easier to see and distinguish than before, but I do wish PPro would mark IN to OUT ranges more clearly on all tracks. I hope the Timeline Panel gets a reworking in the next PPro, as things like track patching and keyframe displays are rather clunky. You can click a track name to turn the track on and off as well as toggle sync locks for each track. If you’re new to PPro be sure and study up on sync locks; their use is important when editing.

Markers have gotten an overhaul from CS5.5 and are much improved here. But they aren’t as good as Final Cut Pro 7’s markers. It appears you can’t add markers to clips edited into the timeline; adding a marker only adds it to the timeline itself. A match frame back to the source clip, where you can add a marker, will then reflect in the timeline. That’s probably more steps than it should be. I really like how nice and readable extended duration markers are in Premiere Pro CS6 but I wish it took less steps to add, edit and extend them.

Othe CS6 Apps that Play Well with PPro

A couple of things beyond the scope of this review but worth mentioning briefly are two brand new Creative Suite applications that now work with Premiere Pro CS6. Adobe Prelude is a logging, ingesting and rough-cutting application that is a simple way to review, subclip and mark footage (you or your producer can create a rough cut, too), then quickly send it over to Premiere Pro CS6. It does some very nice things and is easy to work with but it feels like all the easy marker and commenting functionality should be built right into PPro. More than likely the dedicated editor won’t feel the need to go to Prelude but rather pass Prelude to someone else who might be making notes and doing logging.

Adobe SpeedGrade is making its first appearance in CS6. There’s now a File > Send to Adobe SpeedGrade menu item. When that is chosen a DPX sequence is made from the edit. It’s not an ideal workflow to SpeedGrade as of yet and it can take a while to move an edit over. SpeedGrade, following Adobe's recent acquisition of it and other technology from Iridas, is obviously very new to the suite and will no doubt improve over time.

In SpeedGrade CS6, primary and secondary color corrections, as well as masks and filters, are applied as layers.

What Should Happen with Premiere Pro CS6.5 or CS 7?

Media Management

Premiere Pro CS6’s media management is basically a file path. Change that file path and you’ve got to reconnect. While you can point an offline clip to a folder of clips and Premiere Pro CS6 will relink everything in that folder, it’s still not enough. There is no way for Premiere Pro CS6 itself to search and scan a drive for clips, you have to find them manually. Cryptic file-based cameras can use some cryptic (and often repeated) names, so this could be a major headache.

The Link Media dialog box still looks the same as older versions of PPro, without any way to automatically search out offline media.

I think Adobe has an opportunity here to study some very different media management techniques in its competitors' offerings and try to design a better system. For Final Cut Pro X Apple seems to have looked to Avid Media Composer and its specific, dedicated media folder as inspiration. It feels like Adobe would be best served to use the existing media management idea of a file path but maybe build some sort of internal tracking and searching so PPro relies more on just the path and a name. That's all it seems to use now anyway. The integrated Media Browser seems like a natural place for this to happen. I know Adobe is aware that the media management area needs help (I was on the Premiere Pro CS6 beta for a short time), so I hope they are already hard at work on this particular issue.

Conforming and Finishing or an Intermediate Codec

One disadvantage Adobe has of staking its claim on native camera workflow is that the company has no version of ProRes or DNxHD, codecs designed for post-production. Say you’re going hardcore native and you have a finished timeline full of RED R3Ds, Canon H.264, some Sony XDCAM and a bit of GoPro. I don’t think you’re going to be sending all those different codecs and wrappers over to DaVinci Resolve without some pain.

While Premiere Pro CS6 can edit ProRes QuickTimes, this workflow isn’t intrinsically part of the application as it was in Final Cut Pro 7. Adobe has no single codec that is built for post like Avid has with DNxHD. Say you have all of those different formats and you’ve chosen to offline in ProRes Proxy (which I’ve done in Premiere Pro CS6). Well, there’s no dedicated tools to conform that offline timeline back to all the native sources. You can relink clip, but that’s about it. Even if you’re editing natively, there are no tools to transcode all the different media types in an edit into a single common file format. There is a Project Manager, but all that does is allow you to copy a sequence (with handles) to a new location.

The Premiere Pro CS6 Project Manager is made to trim, move and create offline versions of a project but not transcode to new formats. Note the lack of any transcoding options, above, in the Project Manager. I’ve had mixed success with it as a result.

It feels like the Project Manager is very close to a Final Cut Pro Media Manager. If Adobe could take that functionality and improve upon it then that would be very welcome in the next version of CS. I’ve seen some good suggestions out there, including the one that Adobe could take their new pre-editing logging and trancoding tool Adobe Prelude and make it into an online conforming tool. That’s an intriguing possibility. My bet would be on an updated Project Manager. If the right smart minds went to work trying to rethink the conform and finishing process in a world where so many different types of media converge into one edit, then color me very interested in what that could be.

Sequence-Based XML and AAF Outputs

This seems like a simple thing but I’ve had it bite me a couple of times already. Premiere Pro has always sold themselves as being able to interact with other NLEs via XML and AAF import and export. This is great, but on the export side, you can’t seem to choose a single sequence and XML-out only that part.

Premiere Pro CS6 supports a lot of import and export formats (including Avid Media Composer and Final Cut Pro “classic”) but XML and AAF exports will send out a lot more that just the single timeline you most likely want to export.

Premiere Pro CS6 will export the entire project in the XML. It’s the ultimate irony when you’re trying to replace Final Cut Pro 7 in your workflow only to have to import the PPro XML back into Final Cut Pro and export a single sequence XML. I’ve had to do just that. One answer might be to delete everything out of a copy of the project except for the edit sequence by itself. Unfortunately, Premiere Pro CS6 requires all the master clips that are in an edit sequence to live in the project. That can make for a very cluttered XML.

Is Premiere Pro CS6 the Final Cut Pro 8 We Never Got from Apple?

This is the question I think many editors still pounding away on the old reliable and rock solid Final Cut Pro 7 are asking. And the answer is yes—and no.

Premiere Pro CS6 is indeed a fast, modern, 64-bit, no-transcode camera-native, realtime editing NLE that acts and feels a lot like Final Cut Pro 7. Besides the fact that there’s  Final Cut Pro keyboard mapping built in, basic editing techniques feel very similar. The interface isn’t too far off from what FCP7 was. You add and keyframe effects in a very similar way. Timeline operations can be mouse driven very much like they are in FCP7 (though they don’t have to be). Basic trimming with the mouse in CS6 is less like it is in FCP7, what with the new CS6 trimming functions … but this is a good thing.

When moving to Premiere Pro CS6, FCP7 editors shouldn't get too hung up on the differences between the applications. If you focus on them, it won't reward you, because there are differences and some of them are big. Audio mixing is a prime example: Premiere Pro CS6 is a track-based audio editor, not a clip-based audio editor. These are different applications engineered by different teams at different companies. If you accept the differences between FCP7 and PPro CS6, work around what might be those editing and workflow limitations to your particular style and engage with what is new and different, I think you will be happy with Premiere Pro CS6 as a Final Cut Pro 7 replacement. At least I am. Best of all, it can be one more tool added to your toolbox. Avid Media Composer, Final Cut Pro X, Sony Vegas and Lightworks are all working great, so there have never been more NLE choices for editors than there are today.

While Adobe has made a conscious effort to make Premiere Pro CS6 appeal to Final Cut Pro (and also Avid Media Composer) users, Premiere is really beginning, after all these years, to finally carve out its own niche in post production. I'm just talking about the single application of Premiere Pro CS6 here and haven’t really touched on the potential power the entire Production Premium suite could bring to your next project. As I said above, Production Premium is definitely a worthy replacement for Final Cut Studio. I know Adobe has said it wants to make Premiere Pro the Photoshop of video. That’s a lofty goal, but with CS6, it feels like Adobe has finally staked its claim on video editing in general. To make Premiere Pro the Photoshop of video is, of course, a rather huge task. But Premiere Pro CS6 proves the company is well on its way there.


Twenty Premiere Pro CS6 Power Tips for FCP Editors | killexams.com real questions and Pass4sure dumps

This article is an updated and expanded re-write of its original versionfound at 10 Premiere Pro Tips for FCP Editors on Premiumbeat.com.

These power tips are geared toward the FCP editor and will you get up tospeed quickly with the nuances and new features in Adobe Premiere Pro CS6!

Maybe you’ve come to Adobe Creative Suite Production Premium from Final Cut Pro or Avid Media Composer. If so, you’ll want to take advantage of the new features found in Adobe Premiere Pro CS6. I myself am a switcher and a former Final Cut editor. Professional editors want a powerful, reliable app that can handle various workflows, and those new to editing want an NLE app that is easy to use and intuitive. In this article I’ll share some power user tips to make you more successful and comfortable with Premiere Pro.

1. Customize your keyboard shortcuts

Premiere Pro includes keyboard presets for Final Cut Pro and Media Composer. This way you aren’t having to learn all new shortcuts, so you can edit just as quickly as you did in the other apps. You can also modify the keyboard presets for functions that are specific to Premiere Pro. For example, I often send clips to Adobe Audition to remove noise, so I’ve mapped the Shift + A keystroke to “Edit Clip into Adobe Audition.”

2.Set up your Preferences before you start working

Just like FCP, Adobe Premiere Pro CS6 assumes you are are going to tweak your preferences (default transition length, Autosave, etc.). You should set your preferences before you start working. Preferences I consider essential are Transition duration, Default scale to frame size, Auto Save, Memory & Trim.

3. Preview Area

By default the Preview Area is hidden. From the Project pull-down menu, select “Preview Area.” You will now see an icon of the clip and information about it. You need to have the Preview Area viewable for the next tip.

4. Poster Frame (Identifying Frame)

Select the Clip in the Project, then go up to the video window at the top of the Project window. Play the clip with the play button or drag the slider bar to a new frame, and click the little “still camera” icon. You now have changed the identifying frame for the thumbnail in the project.

5.Clip vs. Track Audio

If you want to apply an audio filter or an effect to a clip, use the audio effects found under the Effects tab. If you want apply an audio effect to a whole track, use the audio mixer. You can also use a submix in the mixer if you want to apply the same effect to multiple tracks.

6. Setting Project & Scratch Disk

When you launch Premiere Pro for the first time, you are greeted with a “New Project” dialog box. Here you choose where your Project and Scratch Disk are being saved. Premiere Pro defaults this to to user/documents/Adobe/Premiere Pro — your Scratch Disks and Preview files will follow the project by default. Be aware that if you are working with tapeless media, you’ll have to manually move your files from the memory card to your scratch disk, as tapeless files are considered imports and not captured media.

Personally, I save my media and projects to a folder on my media drive (it’s my fastest drive). I put my Premiere Pro Auto Saves and Previews / Renders on a separate drive, and back up the projects to Dropbox on a daily basis.  Whatever strategy you choose, please back up your project! If you forget or need to change your scratch disk after launching the project, go to Project > Project Settings > Scratch Disk to make modifications.

Post Haste is a free software application that will help you with this file organization.  It creates a folder structure for you, and you can modify the defaults and create your own templates.

An additional resource is this handy guide for disk setups on the Adobe forums.

7. Workspace Shortcuts

Creating workspace shortcuts will speed up your editing work.  My rule of thumb is to make a shortcut for anything I use on a daily basis.

Here’s a general guide to customizing shortcuts in Adobe Premiere Pro that’s worth a look.  Meanwhile, a few of the workspace shortcuts I use religiously are:

  • Control + U resets my current layout when it gets disorganized and messy
  • Command + 1 brings up the Audio Workspace
  • Command + 2 starts the Color Correction Workspace
  • Command + 3 shows the Editing Workspace
  • 8. Bin Behavior

    Double-Clicking on a bin will float it.  If you Option-click on the bin, it will open in a tab. Command-click will open in place (you can change this behavior in Preferences).

    9. Adjustment Layers

    This is one of my favorite new features in Premiere Pro CS6. Adjustment Layers are borrowed from Photoshop and After Effects, and are an invisible layer wherein you can apply effects. The advantage of this is, say I wanted to apply an a Tint effect to all the clips in my Sequence. Instead of applying it to each clip, I just apply it to the adjustment layer — and the tint is automagically applied to all clips below it.

    10.Working with Clips in a Sequence

    By default, when you drag a clip into a Sequence from the Source Window you are performing an Overwrite Edit.  If you’d like to perform an Insert Edit instead, which pushes other clips further on down the timeline, just hold the Command key (on a Mac), or the Control key (on a PC), when you drag the clip to the Sequence.

    Often you will want to rearrange the order of clips within a Sequence.  Select the clip, drag the clip to a new location, then hold Command / Control + Option / Alt before you let go of the mouse (just make sure snapping is turned on). This is called a Swap Edit.

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    11. Maximize Window Shortcut

    You can enlarge the window you’re working in by placing your cursor over the window you want to maximize and press the Tilde key (right below the Escape key). Press it again and it reverts back. I use this constantly!

    12. Trimming Shortcuts

    Select the nearest edit point by pressing T and use Control + T to cycle between the trim types (roll, ripple and standard edit). Be careful with the standard edit type (one sided red trim, as it will leave a gap).

    I use Control + R for “Select Nearest Edit Point as Ripple Out” and Option + R for “Select Nearest Edit Point as Ripple In.” To trim heads and tails (from the AVID style of editing), I use [ for “ripple trim to previous edit” and ] for “ripple trim to next edit”. I find head and tails trim very fast, and that is becoming my default way to ripple edit (and you don’t need an edit point selected for these to work).

    Extend edit now works more like it did in in FCP.  Select the nearest edit and move your play head and then press E — interestingly, if you press Control + T to get to a ripple edit and then press E, it ripples that side.

    13. Render from “In and Out”

    The work area defines what clips and effects are rendered. I prefer to use “n and out” instead, as this is a standard editing convention. This setting is in the Sequence Menu pull-down.  When you change this, it also changes the Sequence Menu settings to “in & out” instead of work area.

    Here are two Premiere Pro CS6 render shortcuts that are worth memorizing and using!

  • Render In / Outs with Command + R
  • Render Effects with Option + R
  • 14. Show Audio Time Units

    This lets you work with audio in smaller increments, which is particularly helpful when removing a pop or other audio issue.  In the Timeline Menu pull-down, select “Show Audio Time Units”.

    15. Clip Usage in Sequences

    There’s a quick way to find out where and how many times a video clip has been used in a Premiere Pro sequence. If you select a clip in the project window, at the top of the window to the right of the thumbnail viewer, you will see details about the clip, including how many times it has been used in a sequence. If you click on the “clip usage” pulldown, select the instance of the clip you want to see and it will open that sequence if it is in multiple sequences.  This is a handy way to find clips.

    16. Change Track Height

    In FCP7 you could change the track height in the Timeline of video & audio tracks with the shortcut Shift+T or by clicking the Toggle Timeline icon.  In Premiere Pro CS6 you can assign a shortcut to increase or decrease the video track and audio track height. Unfortunately however it’s not a toggle.

    You can use the old FCP shortcut of Shift + T, but it conflicts with the default “Reveal Nested Sequence.”  Instead, I use Command + H to increase track height and Option + Command + H to decrease track height.  Note: The tracks have to be expanded for this to work successfully.

    17. Sync Lock

    Un-check Sync Lock when you want a Premiere Pro CS6 track to stay in place. A common use for this is when you don’t want your music track to get pushed down when you perform an Insert Edit.  See the highlighted Sync Lock button in the screen grab to the right.

    By default, Insert Edit will push all tracks down unless Sync Unlock is switched off, or if the track is locked.

    18. Creating Markers

    Use the keyboard shortcut M to create a marker in a Premiere Pro sequence You can see your markers in the Markers Panel, and change their length and add comments, which is very useful for adding editing or producers notes.

    To create a marker on a clip, load the clip into the Source Window & press M — the Marker Panel will show sequence markers if the Sequence is selected, or clip markers if the Source is selected.

    Selecting the Marker in the Marker Panel will take you to the marker in the clip or sequence. Work smarter, not harder!

    19.Using Hover Scrub

    Premiere Pro CS6 defaults to Icon view, instead of List view like previous versions.  Put your cursor over an icon, and the clip will play backwards or forwards as you drag your mouse. If you click on the clip, you you get a yellow bar showing the “in & out” points, and a playhead.

    You can drag the playhead, or use the J, K or L shortcuts to play the clip. You can set in and out points with I and O.

    The filmstrip icon indicates clip usage in the project and the waveform icon indicates that the clip has linked audio.

    20. Enable / Disable Clip

    I use the Enable / Disable clip toggle often on B-roll when I want to see what is on the track below. Generally It is a bad idea to turn off a clip and leave it off, as it will not render. For that reason I tend to turn it off and then turn it back on when I’m done. By default Premiere Pro does not have a shortcut for Enable Clip.

    I suggest you create that shortcut, and I personally use Control + D for “Enable Clip” (the default in FCP7 is Control+B). You can select more than one clip by lassoing the clips you want.

    Hopefully these tips give you a better idea of how to get around Adobe Premiere Pro CS6, and will save you time in your switch from FCP or Media Composer. The Online Help function is a recommended resource that you can access from the New Project window or within Premiere Pro via the Help Menu. And there’s even more assistance to be found in a free video class from Adobe’s Todd Kopriva that covers the all of the new features in Premiere Pro CS 6. It’s located at http://www.video2brain.com/en/premiere-pro-new-features — enjoy!

    About the Author

    Based in Atlanta, Ga, Clay Asbury is an Adobe Certified Instructor for Premiere Pro and After Effects, who balances training with freelance videography/editing. Clay has been working in education and post production for 15 years. He started with Avid Media Composer and Media 100 in the ’90’s, before working with FCP from version 1 to version 7. He wrote the Trimming Chapter for the book Edit Well: Final Cut Studio Techniques from the Pros, edited by Larry Jordan.

    His background is photography, which he continues to explore along with filmmaking with his Canon 5D Mk. II. Clay’s site Post Tips is a free online resource of tips for video editing and motion graphics, covering Adobe Premiere Pro, Adobe After effects, and much more.

    FTC 16 CFR 255 Disclaimer: This article is sponsored by Adobe. Adobe reviewed and approved the contents of this article prior to its publication on DV Info Net. The author was commissioned by and received remuneration directly from DV Info Net in exchange for providing this article, which is an updated and expanded re-write of its original version found at 10 Premiere Pro Tips for FCP Editors on Premiumbeat.com.



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