Adobe Premiere Pro 2.0 [Electronic resources] نسخه متنی

1.

Drag Music 12 Stereo to the sequence.

As shown in the next figure, since there is no stereo audio track in this sequence, Premiere Pro will automatically display your new clip below the Master Audio track, and then when you drop it there, will create a new stereo audio track

above the Master Audio track, placing Music 12 Stereo there. This move will not overlay Music 12 Mono since the clips reside on separate tracks.

2.

Play the sequence. Both clips play in unison.

3.

Mute the Audio 1 track by clicking its Toggle Track Output button (highlighted in the next figure).

4.

Attempt to drag any Mono audio effect to the Music 12 Stereo clip on its newly created stereo audio track.

You'll get one of the universal "No" symbols (). You cannot apply a Mono effect to a stereo clip.

5.

Drag Balance from Effects > Audio Effects > Stereo to the Music 12 Stereo clip.

6.

Drag the Balance slider in the Effect Controls panel left and right while you play this clip.

I mixed this clip with the guitar panned all the way left and the honky tonk piano panned hard right. If you move the slider all the way to either end you will hear only one instrument.

7.

Add two keyframes and have the audio pan from left to right.

8.

Add two Bypass keyframes somewhere toward the middle of your clip.

The first one should have the Bypass box checked and the second should be unchecked (your Effect Controls panel timeline should look like the next figure).

9.

Play the clip.

The sound should begin to move from the left to the right, jump to the center at the first Bypass keyframe, hold there until the next Bypass keyframe, and then jump toward the right and finish its move to the right channel. Bypass tells Premiere Pro to ignore any effect settings.

10.

Delete Balance and apply Fill Right or Fill Left.

The Fill effect duplicates the selected channel, places it in the other channel, and discards that other channel's original audio. So Fill Right will play the honky tonk piano in both left and right channels and will discard the guitar (the track in the left channel).

You've probably seen an equalizer. Many car and home stereos have them. They enable you punch up or cut a number of pre-set frequency ranges. The Premiere Pro EQ effect fits that bill but offers only five frequency ranges. If you want more possibilities you can use Parametric EQ. It lets you select only one frequency range but you can use Parametric EQ multiple times and select multiple frequencies. In effect, you can build a full graphic equalizer within the Effect Controls panel.

11.

Drag Music 12 5.1 to the sequence and Premiere Pro will add a 5.1 audio track to accommodate this new audio clip type.

12.

Mute the Audio 2 track.

13.

Drag Channel Volume from the Audio Effects > 5.1 folder to the Music 12 5.1 clip. Channel Volume lets you control the volume level for each of the six channels in a 5.1 surround sound clip and both channels of a stereo clip. The default setting for each channel is 0 dB, meaning no change from the original volume.

14.

Play the clip and drag the sliders for each channel to experiment with this effect.

Adobe Certified Expert exam objectives

Explain how to set and use keyframes in the Timeline.

1.

Open the Clip Effect Menu by clicking Volume: Level (highlighted in the previous figure).

2.

Select Left Channel.

3.

Drag the Volume Level Graph line up or down to change the left channel's volume.

4.

Ctrl+click on the yellow line to add a couple of keyframes and adjust them by dragging them left or right along the graph line or up or down.

The advantages to clip-based effect and keyframe editing are that you can get a better overall view of the entire clip and if you want to change only one or two parameters, you can easily access them. Some disadvantages are that you can't change the parameters while the clip is playing, setting an exact parameter value is challenging, and changing more than a couple of parameters in the Timeline view gets tedious.