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9A0-318 - Premiere Pro CS6 Recertification - BrainDump Information

Vendor Name : ADOBE
Exam Code : 9A0-318
Exam Name : Premiere Pro CS6 Recertification
Questions and Answers : 52 Q & A
Updated On : March 21, 2019
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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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Did you capture Wade Wilson's antics when Deadpool landed in theaters just a few years ago? How about long gone woman, that gripping 2014 thriller a few spouse long gone lacking? either way, you can be surprised to listen to that both hit films had been reduce with foremost professional, Adobe's powerful video enhancing app.

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assessment: Adobe surest seasoned CS6 | killexams.com Real Questions and Pass4sure dumps

everybody has been talking about Adobe most efficient pro CS6 these days. It changed into a sizzling topic at NAB 2012, definitely, and Adobe’s sales space changed into crammed with americans taking in demos and asking questions. The whole Adobe artistic Suite has also had surprising enhancements, which could be first rate information to Adobe enthusiasts that have become used to the use of a number of Adobe applications that complement and interact with each and every other.

people are still talking about premier seasoned CS6, which i may focal point on for this evaluation. This new version is a extremely fine upgrade that makes some tremendous improvements over the last edition in a few key areas.

What Hasn’t modified (All That tons)

Native camera help and Mercury Playback

Two of the largest selling features to optimum seasoned had been its native digicam support (and its means to handle many of those distinct camera codecs) and the Mercury Playback Engine. Native file aid continues to be very potent in edition 6 and the Mercury Engine has been retooled to work with every other non-NVIDIA CUDA video playing cards. As you may additionally take into account, Mercury in the beginning only harnessed the energy of NVIDIA’s CUDA expertise to offer up some remarkable realtime playback.

Dynamic Linking

Dynamic Linking is Adobe’s approach of comfortably interchanging media and substances between distinctive applications within the Adobe suite. choose some clips in a top-rated seasoned CS6 timeline, Dynamic hyperlink them to After consequences and you have a brand new clip within the PPro timeline that updates because the AE project is tweaked. if you should get your PPro sequence to DVD, then simply import that sequence correct into Adobe Encore. Tight integration is also a major promoting point for the creation top rate, which contains After results, Photoshop extended, Audition, SpeedGrade and a great deal more.

Media management

Media administration in CS6 remains fairly much the equal as it has all the time been and that’s a shame. the way it really works is it pretty lots simply appears at a directory route that features to a clip. relocating pictures around or having a distinct force identify (or anything that alters that normal course) effects in media offline. Reconnection alternatives are pretty a great deal element the offline file to the normal. That’s now not an enormous deal if all of your media resides in a single or two directories, however for the reason that PPro presents no true information, other than giving you a file identify to look for, it will also be a true pain in case your media is scattered or your mulitcamera shoot has cams producing the same file identify. I put media administration as precedence number 1 to be addressed within the subsequent edition of PPro.

What Has changed for the more desirable

Interface

long past is the button litter of the Premieres of yore. all the wasted house across the source and program monitors has been removed. The needless jog/shuttle wheel and scrubber bar has also been axed. which you can now customize what buttons are there and tailor a 2nd row of them if you are so inclined. better of all, which you could flip off the buttons all together for an excellent cleaner appear. and also you in fact don’t want those buttons, because that you could map them all to the keyboard.

This view isn’t the default interface nonetheless it shows the program display screen with the entire buttons and data became off. which you can see how clean and uncluttered the interface may also be.

Trimming

Being able to obtain designated, dynamic trimming operations within the NLE timeline is some thing that Avid editors be aware of smartly. last reduce pro (7 and earlier) editors recognize clicking and dragging to trim within the timeline. ultimate seasoned CS6 has tried to bridge the best of both worlds by way of keeping mouse-based, tool-based mostly timeline trimming fast and easy while also letting clients install reasonably complex ripple and roll trims. Trimming can also be accomplished by way of realtime JKL playback and edits adjusted all whereas playback continues.

Avid editors might miss slip-and-slide dynamic trimming however they’ll benefit from the immediate response right here when working with the mouse and trimming within the timeline. I on no account realized that the ever-so-short pause that happens when trimming with the Media Composer smart device (which lets it enter trim mode) can appear to be an eternity when in comparison to superior professional CS6’s “wise tool.” premier professional CS6 doesn’t have a wise device, per se, however the mouse cursor will trade to different trim equipment reckoning on where it's in the timeline, similar to Avid’s wise tool. It’s obvious the Adobe product designers seemed very intently at Avid Media Composer when designing these new trim equipment. in case you’re going to steal, then steal from the most suitable. Is the universal trimming capabilities of most beneficial seasoned CS6 greater than Media Composer? No. Is it better than last reduce pro 7? absolutely. Do i admire the use of these new trim tools? yes I do.

Adobe has achieved a very first-class job with the brand new trimming equipment, which acquired a huge overhaul in most suitable pro CS6.

Hover Scrub and a far better Bin journey

Skimming is one in every of final cut professional X’s signature elements and Adobe has added their personal edition of this with Hover Scrub, one in every of ideal pro CS6’s signature new facets and one of my favorites. When media in a PPro bin is set to thumbnail view (that you can scale these thumbnails quite big) and Hover Scrub is became on (shift + H for the shortcut), the clip’s media will skim as you circulation the mouse over the thumbnail. No urgent of the mouse button is required. It’s totally fast and a phenomenal method to without delay audition media. click on on a favored clip and Hover Scrub stops, however you’ll then see a tiny little timeline at the bottom of the clip so that you can scrub with a bit playhead and where which you can set out and in elements. With these set you could edit appropriate from that clip into the timeline. If a third celebration video card is connected, you gained’t see the clip Hover Scrub. but PPro will pipe it out over the video card when the clip is selected and performed.

Hover Scrub is a brand new flagship characteristic in most effective professional CS6 that I find extremely positive.

I’ve seen some detrimental comments about Hover Scrub when comparing it to FCPX’s skimming. I believe most of these comments are thoroughly lacking the aspect. Hover Scrub is different in that it allows for each the pace and convenience of skimming, as neatly as the precision (and also the convenience) of a two-up monitor. Skim the clips to get a general theory of what’s there, then load that into the source computer screen for average editing. The frame the place you stopped your Hover Scrub could be the frame the playhead is loaded to in the event you double-click to load it within the source computer screen. It’s the best of both worlds. best seasoned CS6 isn’t generating heaps of tiny thumbnails of new scrubbing media but fairly exhibiting the actual issue. As always with video enhancing, quick and committed media storage is essential.

Hover Scrub has already drastically reduced my variety of double clicks and mouse strikes when looking out photos. When a clip is clicked Hover Scrub stops, as that clip is now live for JKL playback and in and out marking, the place you could additionally insert or overwrite from the bin. Plus, it’s reside out of the video hardware, so it makes experience for Hover Scrub to cease engaged on that selected clip. It’s one of those rare points to return alongside that has truly modified the way I edit. This characteristic alone makes me believe top-quality seasoned CS6 an awful lot extra strongly than ever earlier than for certain sorts of edits. And my purchasers have adored it, too.

Mercury Transmit

the way most beneficial pro worked earlier than CS6 with third-birthday celebration video hardware was, neatly … now not very first rate. Sequences have been primarily based off that hardware and performance turned into constantly insufficient. In most fulfilling pro CS6 which you could nevertheless base edit sequences off the hardware but performance is buttery easy with very respectable playback. not like PPro of old the Video Playback preferences will now replicate a 3rd-birthday party piece of hardware (offered the manufacturer has written up to date drivers) as a playback option. choose that and you now have a usable, professional card for correct video monitoring.

Mercury Transmit is Adobe’s new way for most efficient pro CS6 to interface with third-party video hardware. It’s much more advantageous than the hardware support in older models of best.

using most effective pro CS6

I’ve used most advantageous seasoned CS6 rather extensively in three distinct edits to this point, in addition to somewhat a few personal issues after I pounded on it at the beginning to come to a decision if it changed into ready to work with valued clientele in the room. My average event has been very high quality and i’m happy to report that crashes have been a lot fewer than in other models (notwithstanding every so often it crashes when I stop). It hasn’t been crash-free nonetheless it's been manageable on the other hand.

as soon as once again Adobe has blanketed Media Composer and remaining cut pro keyboard layouts however, as before, I’ve discovered myself mapping keys to my selection. There are keyboard shortcuts for many every thing however the shortcut editor still leaves lots to be desired. It just takes too long to discover, map and shop your customized layout, exceptionally due to the fact you could retailer new key commands repeatedly during the weeks you’re finetuning a new keyboard layout.

Pre-made keyboard layouts will aid migrating editors as you’re getting as much as velocity on most useful professional CS6.

I’ve found myself working neatly in this new version of PPro. Working in the timeline is fairly speedy, whether you’re trimming or shuffling clips round. The up-to-date clip labels and colors are plenty simpler to see and distinguish than before, but I do wish PPro would mark IN to OUT tiers greater clearly on all tracks. i am hoping the Timeline Panel gets a transforming in the next PPro, as issues like music patching and keyframe shows are somewhat clunky. that you would be able to click on a music name to turn the song on and off in addition to toggle sync locks for each and every song. if you’re new to PPro make certain and look at up on sync locks; their use is important when enhancing.

Markers have gotten an overhaul from CS5.5 and are a good deal greater here. but they aren’t pretty much as good as last reduce seasoned 7’s markers. It seems that you could’t add markers to clips edited into the timeline; adding a marker handiest provides it to the timeline itself. A suit body returned to the supply clip, the place that you can add a marker, will then replicate within the timeline. That’s doubtless more steps than it'll be. I basically like how best and readable prolonged duration markers are in choicest professional CS6 but I wish it took much less steps so as to add, edit and extend them.

Othe CS6 Apps that Play smartly with PPro

a couple of things past the scope of this review but price citing in short are two brand new artistic Suite applications that now work with premiere professional CS6. Adobe Prelude is a logging, ingesting and rough-chopping software it is a simple approach to evaluation, subclip and mark footage (you or your producer can create a rough reduce, too), then promptly ship it over to gold standard seasoned CS6. It does some very excellent issues and is convenient to work with however appears like all of the effortless marker and commenting functionality may still be built appropriate into PPro. greater than doubtless the dedicated editor won’t feel the need to go to Prelude but quite circulate Prelude to somebody else who can 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 merchandise. When it really is chosen a DPX sequence is made from the edit. It’s not an incredible workflow to SpeedGrade as of yet and it will probably take a long time to move an edit over. SpeedGrade, following Adobe's fresh acquisition of it and other technology from Iridas, is absolutely very new to the suite and may no doubt improve over time.

In SpeedGrade CS6, simple and secondary colour corrections, in addition to masks and filters, are utilized as layers.

What may still happen with most useful seasoned CS6.5 or CS 7?

Media administration

greatest seasoned CS6’s media administration is basically a file direction. alternate that file path and also you’ve got to reconnect. whereas which you could point an offline clip to a folder of clips and most beneficial seasoned CS6 will relink every thing in that folder, it’s nevertheless no longer satisfactory. There is no approach for most useful pro CS6 itself to go looking and scan a power for clips, you need to discover them manually. Cryptic file-based cameras can use some cryptic (and infrequently repeated) names, so this can be an important headache.

The hyperlink Media dialog container nevertheless looks the identical as older models of PPro, without any option to immediately search out offline media.

I believe Adobe has an opportunity right here to examine some very diverse media administration thoughts in its opponents' choices and try to design a stronger device. For ultimate cut seasoned X Apple seems to have appeared to Avid Media Composer and its certain, committed media folder as concept. It appears like Adobe could be premiere served to use the latest media management idea of a file direction but possibly build some type of interior tracking and looking out so PPro depends extra on just the course and a reputation. it is all it appears to make use of now anyway. The integrated Media Browser appears like a natural place for this to happen. i do know Adobe is mindful that the media administration area wants help (i was on the most suitable pro CS6 beta for a short while), so i'm hoping they're already tough at work on this certain issue.

Conforming and finishing or an Intermediate Codec

One drawback Adobe has of staking its declare on native digital camera workflow is that the enterprise has no edition of ProRes or DNxHD, codecs designed for post-creation. Say you’re going hardcore native and you have a finished timeline filled with pink R3Ds, Canon H.264, some Sony XDCAM and a little of GoPro. I don’t feel you’re going to be sending all these diverse codecs and wrappers over to DaVinci resolve with out some ache.

whereas most reliable seasoned CS6 can edit ProRes QuickTimes, this workflow isn’t intrinsically a part of the software because it turned into in ultimate reduce pro 7. Adobe has no single codec it really is built for post like Avid has with DNxHD. Say you've got all of these distinctive formats and also you’ve chosen to offline in ProRes Proxy (which I’ve carried out in premiere professional CS6). neatly, there’s no committed equipment to comply that offline timeline returned to all of the native sources. that you may relink clip, but that’s about it. notwithstanding you’re editing natively, there are not any tools to transcode the entire distinctive media forms in an edit into a single average file format. there is a challenge supervisor, but all that does is can help you replica a chain (with handles) to a brand new place.

The top-rated seasoned CS6 venture supervisor is made to trim, movement and create offline models of a assignment but no longer transcode to new formats. be aware the inability of any transcoding alternate options, above, in the venture manager. I’ve had blended success with it in consequence.

It feels like the venture manager is terribly close to a remaining reduce pro Media supervisor. If Adobe may take that performance and improve upon it then that would be very welcome in the subsequent version of CS. I’ve seen some respectable suggestions available, including the one which Adobe might take their new pre-editing logging and trancoding device Adobe Prelude and make it into a web conforming tool. That’s an fascinating chance. My bet would be on an updated challenge manager. If the appropriate sensible minds went to work making an attempt to rethink the conform and completing system in a world the place so numerous forms of media converge into one edit, then colour me very interested in what that may be.

Sequence-primarily based XML and AAF Outputs

This looks like an easy element however I’ve had it chew me a couple of times already. most excellent professional has at all times sold themselves as being able to have interaction with other NLEs by the use of XML and AAF import and export. this is extremely good, however on the export aspect, you could’t appear to choose a single sequence and XML-out most effective that part.

premiere professional CS6 helps lots of import and export codecs (including Avid Media Composer and closing reduce pro “basic”) however XML and AAF exports will send out much more that simply the only timeline you without doubt need to export.

premiere pro CS6 will export the total task within the XML. It’s the most desirable irony in the event you’re trying to substitute last reduce professional 7 to your workflow handiest to ought to import the PPro XML again into closing reduce seasoned and export a single sequence XML. I’ve needed to just do that. One answer can be to delete everything out of a copy of the project other than the edit sequence through itself. regrettably, highest quality professional CS6 requires the entire master clips that are in an edit sequence to reside within the task. That could make for a very cluttered XML.

Is premiere pro CS6 the last cut seasoned 8 We not ever obtained from Apple?

here's the question I suppose many editors still pounding away on the historic legit and rock strong remaining reduce pro 7 are asking. And the answer is yes—and no.

most excellent professional CS6 is certainly a fast, modern, sixty four-bit, no-transcode digital camera-native, realtime editing NLE that acts and feels a lot like remaining reduce pro 7. besides the undeniable fact that there’s  closing reduce pro keyboard mapping inbuilt, primary enhancing options consider very identical. The interface isn’t too some distance off from what FCP7 turned into. You add and keyframe consequences in a extremely an identical approach. Timeline operations can also be mouse driven very tons like they are in FCP7 (although they don’t need to be). basic trimming with the mouse in CS6 is less like it's in FCP7, what with the new CS6 trimming services … but here is a superb component.

When moving to most suitable seasoned CS6, FCP7 editors mustn't get too hung up on the alterations between the applications. if you focus on them, it won't reward you, as a result of there are variations and some of them are huge. Audio mixing is a chief example: most fulfilling pro CS6 is a track-based mostly audio editor, no longer a clip-based audio editor. These are diverse applications engineered by way of distinctive teams at distinctive groups. in case you accept the differences between FCP7 and PPro CS6, work round what may be these enhancing and workflow barriers to your specific fashion and have interaction with what's new and diverse, I believe you might be chuffed with gold standard pro CS6 as a remaining reduce professional 7 replacement. at the least i am. better of all, it can also be an extra tool introduced to your toolbox. Avid Media Composer, last reduce seasoned X, Sony Vegas and Lightworks are all working notable, so there have certainly not been more NLE choices for editors than there are these days.

whereas Adobe has made a mindful effort to make most beneficial seasoned CS6 enchantment to closing reduce pro (and also Avid Media Composer) clients, ideal is in reality starting, after all these years, to finally carve out its personal niche in publish production. i am simply speakme in regards to the single application of gold standard professional CS6 right here and haven’t in fact touched on the knowledge vigor the complete production top class suite could bring to your next venture. As I said above, production top rate is basically a valuable substitute for closing cut Studio. i do know Adobe has mentioned it wants to make most efficient professional the Photoshop of video. That’s a lofty intention, however with CS6, it looks like Adobe has finally staked its declare on video enhancing in widespread. To make best seasoned the Photoshop of video is, of course, a somewhat huge assignment. but most beneficial seasoned CS6 proves the company is neatly on its manner there.


Adobe optimum pro CS6: an essential improve | killexams.com Real Questions and Pass4sure dumps

So, Adobe announced that it's going to showcase construction premium inventive Suite 6 at NAB prior to its reliable release sometime within the first half of 2012. What’s in it for you and me? neatly, I labored on my first job with the beta and acquired a briefing from the enterprise, and listed here are my high stage observations regarding the foremost professional bundle. I’ll preserve this short and hit the excessive notes, and with a bit of luck convince my editors to support a extra prolonged first-look evaluate with benchmark trying out.

firstly, the bundle nonetheless comprises Encore and Adobe Media Encoder, but now not OnLocation, which has been absolutely dropped from the suite. Judging from most useful professional’s new look, the new edition seems to be focused on luring editors from Avid, because the new default interface appears plenty like Avid’s Media Composer (figure 1). Adobe additionally modified the default keyboard shortcuts, reportedly to make them more productive for the keyboard related trimming mentioned below. happily, that you would be able to swap again to the CS 5.5 workspace and change back to the CS 5.5 keyboard shortcuts with just a couple of keystrokes.

Adobe Premiere Pro CS6 Interface

determine 1. the new Avid-trend two window interface. fortunately, that you would be able to swap returned to the CS5.5 interface and keyboard shortcuts

For me, the greatest new characteristic in highest quality seasoned is the limitless multiple-camera interface. The task that I edited in CS6 was a local church’s Easter construction involving three HDV cameras, one DSLR, and one pictures tracks, along with 5 audio tracks. As which you could see in figure 2, most reliable pro reconfigured the Multi-digital camera interface to accommodate the five tracks, and from there it became business as ordinary. Adobe did not add computerized audio-primarily based syncing found in Apple's remaining cut seasoned X, but Singular application’s PluralEyes software can be purchasable for CS6 when it’s released, notwithstanding it wasn’t for my trying out. 

Adobe Premiere CS6 Multi-Camera Monitor

figure 2. which you could now screen an enormous variety of tracks in most efficient’s multi-digital camera monitor.

in any other case, in the assignment window, you could now view your content as thumbnails, and—harking back to FCPX—play the clips in the project window and set in and out facets. Then that you may opt for diverse clips and drag them into the timeline to create a rough cut.

beyond this, the interface is a great deal more configurable, so you can select the button icons that seem around windows and different panes, although jog and shuttle controls seem to be long gone from most playback windows. One new control is the Play round icon. When pressed, this begins playback just a few moments before the present edit factor, looping if in case you have that manage chosen. using new keyboard based shortcuts or natural mouse controls, which you could then adjust the edit factor while the video continues to play, a nice enhancement over outdated models where preview stopped each and every time you made an edit.

This habits is known as uninterrupted playback, and it happily pervades CS6 operation, maintaining the video playing whereas making trims, applying color correction and other effects, resizing panels, and even clicking outdoor the superior pro workspace. in the past, inadvertent clicks across the interface stopped playback, consistently if you didn’t need it to. Uninterrupted playback is a nice, subtle improvement that the majority clients will immediately admire.

To finally end up in the trimming enviornment, Adobe also introduced a Avid-impressed trim window with even more precision controls. here is proven in figure three.

Adobe Premiere CS6 Trim Controls

figure three. best’s new Trim Window. Yeah, I overcooked the publicity on the DSLR, but that DOF is wonderful. click on the + button on the lower right to configure participant controls.

Adobe also brought adjustment layers which, as in Photoshop and After effects, allow you to observe outcomes to all clips found underneath the adjustment layer. you can also create masks to regulate certain areas in a clip, which is a feature that I’ve wanted for a lot of types. also new are gestural controls for Mac trackpads or notebooks, and—this is big—OpenCL assist. Now MacBook pro notebook house owners can entry GPU acceleration and rendering notwithstanding they’re fitted with non-NVIDIA snap shots chipsets.

New results encompass the Warp Stabilizer for stabilizing shaky photos. I offered some verify footage right through construction of this effect however haven’t checked out the last effect, notwithstanding it’s reportedly each principally configurable and valuable. There’s additionally a Rolling Shutter repair impact for these taking pictures with DSLRs and camcorders with CMOS sensors. on the other conclusion of the spectrum, excessive-end producers will admire native support for the ARRI Alexa, red SCARLET-X and EPIC, and the Canon EOS C300.

Adobe tweaked color correction controls, but extra importantly introduced Adobe SpeedGrade into the construction top class family unit, notwithstanding not bundled with the standalone edition of optimum seasoned. Adobe acquired SpeedGrade from developer IRIDAS in September, 2011, and is making it part of the creative Suite with this unlock. I didn’t get an opportunity to play with the brand new software, however it appears useful and comparatively effortless to use.

in any other case, there are loads of performance enhancements to most efficient pro, which I’ll describe in additional aspect if and when I examine them in a full evaluate.

Video 1. during this short video, Adobe product manager Al Mooney suggests the highlights of most beneficial seasoned CS6.

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Premiere Pro CS6 Recertification

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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.


    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.


    Adobe Premiere Pro CS6: An Essential Upgrade | killexams.com real questions and Pass4sure dumps

    So, Adobe announced that it will showcase Production Premium Creative Suite 6 at NAB prior to its official release sometime in the first half of 2012. What’s in it for you and me? Well, I worked on my first job with the beta and received a briefing from the company, and here are my high level observations regarding the Premiere Pro bundle. I’ll keep this brief and hit the high notes, and hopefully convince my editors to support a more lengthy first-look review with benchmark testing.

    First of all, the bundle still includes Encore and Adobe Media Encoder, but not OnLocation, which has been totally dropped from the suite. Judging from Premiere Pro’s new appearance, the new version appears to be focused on luring editors from Avid, as the new default interface looks an awful lot like Avid’s Media Composer (Figure 1). Adobe also changed the default keyboard shortcuts, reportedly to make them more efficient for the keyboard related trimming discussed below. Fortunately, you can switch back to the CS 5.5 workspace and change back to the CS 5.5 keyboard shortcuts with just a few keystrokes.

    Adobe Premiere Pro CS6 Interface

    Figure 1. The new Avid-style two window interface. Fortunately, you can switch back to the CS5.5 interface and keyboard shortcuts

    For me, the biggest new feature in Premiere Pro is the unlimited multiple-camera interface. The project that I edited in CS6 was a local church’s Easter production involving three HDV cameras, one DSLR, and one graphics tracks, along with 5 audio tracks. As you can see in Figure 2, Premiere Pro reconfigured the Multi-Camera interface to accommodate the five tracks, and from there it was business as usual. Adobe did not add automatic audio-based syncing found in Apple's Final Cut Pro X, but Singular Software’s PluralEyes software will be available for CS6 when it’s released, though it wasn’t for my testing. 

    Adobe Premiere CS6 Multi-Camera Monitor

    Figure 2. You can now display an unlimited number of tracks in Premiere’s multi-camera monitor.

    Otherwise, in the Project window, you can now view your content as thumbnails, and—reminiscent of FCPX—play the clips in the Project window and set in and out points. Then you can select multiple clips and drag them into the timeline to create a rough cut.

    Beyond this, the interface is much more configurable, so you can choose the button icons that appear around windows and other panes, though jog and shuttle controls seem gone from most playback windows. One new control is the Play Around icon. When pressed, this starts playback a few moments before the current edit point, looping if you have that control selected. Using new keyboard based shortcuts or traditional mouse controls, you can then adjust the edit point while the video continues to play, a nice enhancement over previous versions where preview stopped each time you made an edit.

    This behavior is called uninterrupted playback, and it happily pervades CS6 operation, keeping the video playing while making trims, applying color correction and other effects, resizing panels, or even clicking outside the Premiere Pro workspace. Previously, inadvertent clicks around the interface stopped playback, invariably when you didn’t want it to. Uninterrupted playback is a nice, subtle improvement that most users will immediately appreciate.

    To finish up in the trimming arena, Adobe also added a Avid-inspired trim window with even more precision controls. This is shown in Figure 3.

    Adobe Premiere CS6 Trim Controls

    Figure 3. Premiere’s new Trim Window. Yeah, I overcooked the exposure on the DSLR, but that DOF is gorgeous. Click the + button on the lower right to configure player controls.

    Adobe also added adjustment layers which, as in Photoshop and After Effects, let you apply effects to all clips located beneath the adjustment layer. You can also create masks to adjust specific regions in a clip, which is a function that I’ve wanted for many versions. Also new are gestural controls for Mac trackpads or notebooks, and—this is huge—OpenCL support. Now MacBook Pro notebook owners can access GPU acceleration and rendering even if they’re equipped with non-NVIDIA graphics chipsets.

    New effects include the Warp Stabilizer for stabilizing shaky footage. I supplied some test footage during development of this effect but haven’t checked out the final result, though it’s reportedly both exceptionally configurable and effective. There’s also a Rolling Shutter repair effect for those shooting with DSLRs and camcorders with CMOS sensors. At the other end of the spectrum, high-end producers will appreciate native support for the ARRI Alexa, RED SCARLET-X and EPIC, and the Canon EOS C300.

    Adobe tweaked color correction controls, but more importantly brought Adobe SpeedGrade into the Production Premium family, though not bundled with the standalone version of Premiere Pro. Adobe acquired SpeedGrade from developer IRIDAS in September, 2011, and is making it part of the Creative Suite with this release. I didn’t get a chance to play with the new software, but it appears functional and relatively easy to use.

    Otherwise, there are lots of performance enhancements to Premiere Pro, which I’ll describe in more detail if and when I test them in a full review.

    Video 1. In this short video, Adobe product manager Al Mooney shows the highlights of Premiere Pro CS6.

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    zoho.com : https://docs.zoho.com/file/5ptnoa12e9c1638ca43e2a2635dd232403ecd






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