| Premiere® 6.5 Fundamentals |
| By Dennis Chominsky |
| | |
| Publisher | : New Riders Publishing |
| Pub Date | : January 16, 2003 |
| ISBN | : 0-1300-8276-7 |
| Pages | : 360 |
 | Copyright |
| | | About the Author |
| | | About the Tech Editors |
| | | Acknowledgments |
| | | A Message from New Riders |
| | | | Visit Our Web Site: www.newriders.com |
| | | | Email Us from Our Web Site |
| |
| | | Introduction |
| | | | The Fundamentals |
| | | | Looking Toward the Future |
| | | | Expanding Applications |
| | | | Summing It Up |
| |
| | | Chapter 1. Starting and Maintaining a Project |
| | | | Load Project Settings Window |
| | | | New Project Settings Window |
| | | | Saving Project Settings |
| | | | Quick Reference Settings Viewer |
| | | | Starting a New Project or Working with an Existing Project |
| | | | Organization Through Bins |
| | | | Create a Unique Naming Structure |
| | | | It's More Than Just a Name |
| | | | Searching Through the Stats |
| | | | Utilizing Bins in More Than One Project |
| | | | Save, Save, and Resave |
| | | | Safeguard Yourself with Auto Save and Archives |
| | | | So Where Are These Files Kept, Anyway? |
| | | | Archiving Project Files and Related Media |
| | | | Moving Files: Working Cross-Platform |
| | | | Deleting Files |
| | | | Summary |
| |
| | | Chapter 2. Source Material: Getting It into Premiere |
| | | | Copyright Issues: Don't Break the Law |
| | | | Online Versus Offline |
| | | | Digital Media Versus Analog Media |
| | | | Types of Formats |
| | | | The Basics of Video Levels |
| | | | Working with Digital Source Material |
| | | | Working with Analog Source Material |
| | | | Capturing Audio Only |
| | | | Comparing Audio File Size to Quality |
| | | | Importing Still Graphics |
| | | | Importing Sequential Files |
| | | | Summary |
| |
| | | Chapter 3. Editing Fundamentals |
| | | | Working with the Workspace |
| | | | Monitors: Single View or Dual Mode |
| | | | The Concept of Editing: Insert and Overlay |
| | | | The Concept of Lift Versus Extract |
| | | | One-, Two-, and Three-Point Editing Techniques |
| | | | Saving Time When Selecting Source Clips |
| | | | Storyboard Editing: Automate to Timeline |
| | | | Stacking Up Clips |
| | | | Viewing More Than One Track |
| | | | Using the Navigator Window |
| | | | Using the History Window |
| | | | Maneuvering Around with Markers |
| | | | Preview Before You Edit with Gang |
| | | | Getting Rid of Unwanted Source Footage |
| | | | Summary |
| |
| | | Chapter 4. Fine Tuning Using Trim Mode |
| | | | The Art of Trimming |
| | | | Entering Trim Mode |
| | | | How Trim Mode Works |
| | | | Controls in Trim Mode |
| | | | Trimming One Side of an Edit |
| | | | Trimming Both Sides of an Edit |
| | | | Ripple Versus Roll: Trimming Without Trim Mode |
| | | | Trimming Down Timeline Clips from the Source Monitor |
| | | | Locking Tracks to Avoid Synchronization Problems |
| | | | Holding That Clip in Place |
| | | | Getting Creative with Split Edits |
| | | | Summary |
| |
| | | Chapter 5. Adding the Right Transition |
| | | | The Transitions Palette |
| | | | Adding the Default Transition |
| | | | Customizing the Transitions Palette |
| | | | Adjusting Transition Settings |
| | | | Checkerboarding: Using A/B Track Editing for Transitions |
| | | | Single-Layer Editing Mode: Automatic Checkerboarding |
| | | | Deciding Which Transition to Use |
| | | | The Simple Art of the Cut |
| | | | Smoothing Out Edit Points with Dissolves |
| | | | Transitions Don't Appear Correctly |
| | | | There's Not Enough Source Footage |
| | | | Using Gradient Wipe Transitions |
| | | | Using Moving Video Clips to Disguise Edit Points |
| | | | Using Graphic Images for Transitions |
| | | | Incorporating Third-Party Transitions |
| | | | Summary |
| |
| | | Chapter 6. Image Manipulation Within Timeline Segments |
| | | | The Effects Palettes |
| | | | Effect Controls: Adjusting the Parameters |
| | | | Hiding and Removing Effects |
| | | | Layering Multiple Effects on a Single Clip |
| | | | Using Keyframes to Customize Effects |
| | | | Animating a Clip with Motion |
| | | | Using Keyframes to Set Transparency |
| | | | Fading in and Fading Out |
| | | | Capturing the Moment with Freeze Frames |
| | | | Controlling the Speed at Which the World Moves |
| | | | Changing Speeds at the Source |
| | | | Fix It in the Mix |
| | | | Video Levels 101 |
| | | | What You See Might Not Be What You Get |
| | | | Getting Just the Right Color (Correction) |
| | | | Hue and Saturation |
| | | | Changing the Color Balance Over Time |
| | | | Highlighting a Single Color |
| | | | Do You Have It in Another Color? |
| | | | Various Results with Filters |
| | | | Working in 3D Space |
| | | | Summary |
| |
| | | Chapter 7. Getting Creative with Keys |
| | | | What Is an Alpha Channel? |
| | | | Types of Alpha Channels |
| | | | Extreme Contrast for Image Separation |
| | | | Using Luminance Keys with Non-Black-and-White Images |
| | | | Using Color to Key Images |
| | | | Chroma Key Fundamentals |
| | | | Clothing and Props are "Key" |
| | | | Image Matte Keys for Cookie-Cutter Effects |
| | | | Creating Images for Matte Keys |
| | | | Creating Soft-Edge Keys |
| | | | |
| | | | Using Animated Mattes to Track the Key |
| | | | Using Any Moving Video as Your Matte Key |
| | | | Summary |
| |
| | | Chapter 8. Audio Sweetening for Perfection |
| | | | Working with Audio Files |
| | | | Understanding Digital Audio Quality |
| | | | Displaying Audio Properties |
| | | | Layering Audio Tracks |
| | | | Monitoring Audio Tracks |
| | | | Labeling Tracks for Clarity |
| | | | Adjusting Clip Volume with Gain Control |
| | | | Mixing with the Audio Console |
| | | | Grouping Sliders Using the Gang Feature |
| | | | Adjusting Audio Gain Using Rubber Banding |
| | | | Editing with the Help of Audio Waveform Display |
| | | | Panning Audio to Enhance Stereo Effect |
| | | | Cross-Fading Audio |
| | | | Split Edits: Audio Cross-Fades with Linked Video Clips |
| | | | Keeping Sync |
| | | | Working with Sync Locks |
| | | | Audio Filters for Mastering Your Sound |
| | | | Audio Tip of the Day: Room Tone |
| | | | Summary |
| |
| | | Chapter 9. The New Abobe Title Designer |
| | | | A Whole New Look |
| | | | Creating a New Title |
| | | | From Creation to Implementation |
| | | | Working with Existing Text |
| | | | Using Text from Other Projects |
| | | | Applying Text Attributes |
| | | | Quick-Set Style Settings |
| | | | Nontraditional Typing |
| | | | Premiere's New Design Templates |
| | | | Bringing in a Sample Frame |
| | | | Creating Rolling and Crawling Titles |
| | | | Animating Your Text |
| | | | Creating Graphic Objects in Title Tool |
| | | | Outside Help with Edit Original |
| | | | One Last Tip: Third-Party Help for Quick and Easy Titles |
| | | | Summary |
| |
| | | Chapter 10. Outputting Your Work |
| | | | Prep Your Tape |
| | | | Creating a Countdown in Premiere |
| | | | Building Your Own Custom Countdown |
| | | | Outputting DV Using FireWire |
| | | | Outputting to Tape Without Deck Control |
| | | | Outputting to Tape Using Deck Control |
| | | | Convergence: Exporting for Multimedia and the Internet |
| | | | Adobe's New MPEG Encoder |
| | | | Batch Processing: All at Once |
| | | | Markers: Adding Links and Chapters |
| | | | Exporting Still Images or Image Sequences |
| | | | EDLs: How to "Read" a Movie |
| | | | Summary |
| |
| | | Appendix A. About DVDs |
| | | | The DVDit Process |
| | | | File Formats |
| | | | Exporting Audio and Video from Premiere for DVD |
| | | | Customizing Export Options with Advanced Parameters |
| | | | Using Photoshop to Create Graphic Menus and Buttons |
| | | | Starting a New Project |
| | | | Importing Media into DVDit Themes |
| | | | Putting It All Together |
| | | | Adding Text and Titles |
| | | | Using Test Simulation Mode |
| | | | Monitor Project Settings |
| | | | Wrapping It Up |
| |
| | | Index |
