Adobe Premiere Pro 2.0 [Electronic resources] نسخه متنی

1.

Click the Lesson 2 Start tab in the Timeline to open that sequence.

2.

Click the Project tab to open that panel.

3.

Drag the Graphic 2 Start sequence clip from the Project panel to the Video 2 track so its first frame lines up with the beginning of the last clip in the sequence (the freeze frame).

Despite this sequence being a collection of four layered graphics, it shows up simply as a clip. This is the beauty of a nested sequence.

[View full size image]

If you scroll down in the audio track section of the Timeline you'll note that the Graphic 2 Start sequence has an audio clip associated with it even though it is only a collection of graphics. That is standard Premiere Pro behavior. For now you can ignore that audio clip but there are ways to remove it to avoid confusion.

4.

View that portion of the Lesson 2 Start sequence.

You'll note that the graphic covers up the freeze frame below it in the timeline for the first few seconds, then reveals the freeze frame toward the end. The reason? The black Layer 1 clip in the nested sequence plays for the first 5 seconds of the 9-second clip.

It's another great feature of nested sequences that this is easy to fix. You simply go back to the original sequence and make the necessary changes. Those changes will show up immediately in the nested versions of that sequence.

5.

Click the Graphic 2 Start tab in the Timeline to open up that sequence again.

6.

Click on the Layer 1 clip to highlight it and press the Delete key to remove it (you also can right-click on it and select Cut).

7.

Click the Lesson 2 Start tab and play that last segment again. Now the freeze frame shows through for the entire length of the nested sequence.

8.

Drag the right end of the nested sequence clip to the left (it runs a bit too long) to line it up with the end of the freeze frame and audio clip.

9.

Drag the Cross Dissolve video transition from the Effects panelVideo Transitions/Dissolve folder to the end of the Graphic 2 Start nested sequence clip and again to the end of the freeze frame clip. That will fade all the clips to black at the end.

When you apply the Cross Dissolve to the nested sequence clip, all three graphic clips in that sequence fade to black. That is a huge advantage to a nested sequence. Instead of applying an effect or transition to each layer of a sequence you can apply it only once to the nested version of that sequence. This is one reason you'll come to rely on nested sequences, a powerful Premiere Pro feature.

10.

Drag the Constant Power audio transition from the Effects panelAudio Transitions > Crossfade folderto the end of the Audio 2.wav clip to have the drum track fade out with the video and graphics.

11.

Press the Home key and the spacebar to view your finished project.

It should look and sound the same as the Lesson 2 Finish sequence you played at the beginning of this lesson. Congratulations!

Editing "Rules of Thumb" from an Expert

John Crossman, owner, Crossman Post Production

I had the good fortune of being a reporter at KSL-TV in Salt Lake City in the mid-1980s when it was awarded the national TV news station of the year two years in a row and had the highest-rated (by percentage of viewers) news shows in the country.

John Crossman was the chief editor. He helped create the news operation's overall look and performed video magic, editing stunning pieces for our long-format, "magazine-style" show.

John now runs Crossman Post Production (www.crossmanpost.com) just outside of Salt Lake City. He provides video editing, graphics, and computer-generated animation for a lengthy list of corporate, educational, and broadcast clients.

John has won bushels of awards and is a wonderfully talented guy who has a true passion for the art of editing. Here are his editing "rules of thumb":

Good editors need certain basic talents:

• Rhythm Life has a rhythm, and so does editing. If you can't feel it, it's very hard to learn.

• Visualization Good editors can see the completed project before they start. The actual editing is just the detail work.

• Patience Even when you can see it in your mind's eye, you'll have to make compromises on every project. The true test of an editor is whether he can make compromises work well.

• Positive attitude Your attitude will go a long, long way toward determining your success. You'll spend numberless hours editing in a small dark space, usually on a deadline, and always with budget pressure, client pressure, spouse pressureyou name it. The better the attitude, the better the job will go.

• Team player You're part of a team. Try not to criticize the other members. Remember, you didn't have your eye in the viewfinder when the bomb went off. Thinking you could have had that shot when you're looking at the tape hours and miles away is easy, but not productive.

To edit well, you need to do the following:

• Use motivation and logic. This is the most important concept in editing. Your editing should be motivated. You should have a reason for the shots you select and the order in which you select them. There should be a purpose to why you dissolve, why you use a wipe, as well as why you cut.

• Comunicate clearly what has happened. Your shot selection and the time spent on each shot should reinforce the narration while conveying information.

• Plan as you capture. As you transfer the video, you should see in your mind's eye how the pictures are going to line up to get you to where you want to be at the end. Is the shot a great scene-setter (beginning)? Is it incredibly beautiful (possible closing shot)? Is it self-explanatory or incomprehensible (possible cutting-room floor material)?

• Build new skills. If you're in the professional ranks, or want to be, you must budget a considerable amount of time and money toward keeping current. At the very least, you're going to need to learn about how to incorporate graphics, animation, compositing, and special effects into your editing to serve the demands of your clients.

• Attitude makes a difference. In the world of broadcast television, I was surrounded by people who knew how to create good stories. In corporate production, you might be working with someone who has no clue. At this point, you become 90% teacher and 10% editor. Your attitude will win you a loyal client or lose you a lifetime customer.

• Editing is not the message. Like music in a movie, good editing helps communicate your message and shouldn't really stand out to the viewer. Editing make the message work or not work.