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Those creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Premiere Pro CC choose Adobe Premiere Pro CC (2015 release) Classroom in a Book from Adobe Press.
The 19 project-based lessons in this book show readers step-by-step the key techniques for working in Premiere Pro. Readers learn to take a project from beginning to end where they’ll get the basics on things like organizing media, using audio, creating transitions, producing titles, and adding effects. Once they have the basics down, they'll learn how to take their projects further by sweetening and mixing sound, compositing the footage, adjusting color, compressing and exporting files, and much more. ((
Adobe Premiere Pro CC (2015 release) offers many new capabilities to the editor who needs quick results and this book covers the workflows required to get the job done. Best of all, the companion DVD (also available as an online download) includes lesson files so readers can work step-by-step along with the book.
The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases new features for Creative Cloud customers. And new to this release, all buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and interactive multiple-choice quizzes. As always with the Classroom in a Book, Instructor Notes are available for teachers to download.
- Sales Rank: #6240 in Books
- Published on: 2015-09-26
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .90" w x 7.30" l, .0 pounds
- Binding: Paperback
- 480 pages
About the Author
Maxim Jago is a media trainer, presenter, award-winning writer, and film director. He's also an Adobe Master Trainer and author of the previous editions of this book and several editions of Adobe Premiere Pro Learn by Video. He presents regularly at media events, has trained editors all around the world, and has taught everyone from schoolchildren to university professors, from ABC's top editors in Australia to the BBC's tech gurus in the UK. Visit his website at http://www.maximjago.com/.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Adobe Premiere Pro CC Classroom in a Book (2014 release).
By CompilerGuru
Beautifully put together book with color figures. Maxim Jago is a well known and accomplished in film. Clear exercise and supplementary assets help you learn the art of film development and editing. It is the best yet for learning to use Adobe Premiere Pro CC for video or film development. A CD is included with all materials needed for exercises. It is the official training workbook from Adobe. This book integrates not only best practices and workflows, it also integrates with ongoing training films at Adobe TV.
23 of 29 people found the following review helpful.
THE Best Educational Resource on Premiere Pro CC 2014
By Brian M. Stoppee
Premiere Pro is not new to us. We go back to the 1991 version 1.0 before Adobe added “Pro” to the end of the name. At the time, many video professionals, whose opinions we generally respected, told us that Premiere was something of a toy. They said it wasn’t possible to make a non-linear editing (NLE) software program. To them, Premiere 1.0 was something of a video version of the then freshly baked Photoshop 2.0.
That was then and this is… well… we think Photoshop has found a pretty secure niche and so has Premiere Pro (Pr).
Having taken all of that in stride, we watched Premiere continue to blossom into what has become the leading editing tool among broadcasters and filmmakers. However, there was a point where the bloom fell off the rose. Though Premiere 1.0 was a Mac-only software program, Premiere Pro 1.0 was re-introduced as a Windows-only app. It was something of an Adobe concession to Apple’s Final Cut Pro (FCP), which was leading the pack, at the time.
Those reigning kingdom days of FCP are over. Premiere Pro is the leading NLE app, out-pacing that Apple offering, which has become something of a consumer-oriented product. Avid, a long-term favorite of broadcasters, is no longer on the top of the sales charts, either.
Some of Pr’s rise to fame is due to the Adobe Creative Cloud subscription model. This is due to those big media conglomerates who no longer need to factor big software investments into the budget. A complete package of all things graphic are now part of their accepted monthly operating expenses.
From Creative Suite 3 (CS3) forward, Premiere Pro went back to both Mac and Windows and was included in a big package of Adobe apps called “The Master Collection” which cost around $2,600. The upgrade fees, every 18 months or so, were a little more than half that price.
Classroom In a Book (CIB)
Adobe Press, also known as Peachpit, made a big change to CIB from the CS5 edition of Premiere Pro, to date. They brought in the author Maxim Jago, a known educator for creative professionals, as well as a significant game player in British feature film production. (In all fairness, until recently, Richard Harrington was involved in this ongoing project).
To be completely up front, we are Adobe Community Professionals (ACP). We frequently cross paths with Richard and Maxim in various Adobe projects, though we have never met and are more professional colleagues than pals.
Our Premiere Pro romance, was reignited by CS5, when the app went to 64-bit and had the kind of speed we felt it was missing for significant 1080 HD movie production. At that point we needed to do some serious learning catch-up.
Since we go back to the original “Adobe Classroom in a Book” (CIB) for Photoshop, in 1997, the CS5 CIB for Premiere Pro became our reference manual, when we decided it was time to master the app. This CC 2014 edition of the Pr CIB is the 111th Classroom in a Book that we have studied from cover to cover, since that first Photoshop volume.
Who Needs This Book?
Early in the CIB series, there was a belief that each volume would be the study guide for taking the Adobe Certified Expert (ACE) exam. 18 years ago, the Adobe apps had far fewer features. The days of squeezing all that learning into around 500 pages is over.
We run Adobe/Apple Authorized Training Centers in partnership with Virginia’s higher education system. There are Pearson/VUE exam centers in the college facilities where we and our certified instructors teach. Trainees can take the ACE exams there.
To prep trainees for the Premiere Pro ACE exam, we use this CIB as the core of our classroom syllabus. So, we have come to know the contents of these CIB volumes intimately.
There are 16 core desktop apps in the full CC subscription. Yet, there are 12 books. Did Adobe Press skip 4 apps? No.
Here’s how it works. The CIB volumes are keyed to the ACE exams. The Photoshop ACE includes Adobe Bridge (Br) and Adobe Camera Raw (ACR). Similarly, the Premiere Pro ACE expects you to know something about Adobe Prelude (Pl) and Adobe Media Encoder (AME). So, this CIB has a little Prelude in it and quite a bit of AME.
That said, here’s our candid thinking on this, from a couple of training directors. Once you complete one of the current 12 CIBs, you have a great overview understanding of these apps. Will you be instantly proficient in Prelude in AME once you complete these monster 18 chapters? No. Is there a need for a Prelude or AME CIB? No.
How proficient will you be in Premiere Pro once you devote at least half workweek to this, if not more? You’ll be quite good. No one is saying you be a craft editor, but you’ll be able to do some great work. But, you won’t be able to breeze through this. You’ll have to study ever page, quite carefully.
Please use our table of contents-like checklist items to be sure you understand every aspect of this.
Chapter 1 - Touring Adobe Premiere Pro CC
There was a time when Premiere Pro newbies knew very little about putting together finished video sequences. As previously mentioned, Pr has bunch of new users coming over from Apple’s Final Cut Pro or Avid Media Composer. We have done focus groups on this. We’re told that it is not a difficult migration for FCP users.
We often say that, “Classroom in a Book cannot not be all things to all people, anymore.” However, those “people” (the readers) have bigger expectations.
The complete newbies and the migrating craft editors have to share this chapter. It teaches both video production basics and the intricacies of Pr features. Hence, no one gets to swiftly page through it.
Everyone should pay close attention to pages 12-15 on customizing the workspace. In fact, insert a bookmark in there. Once you get used to Premiere Pro, you’ll make and remake your personalized workspace. If you have a few very different uses for this app, you might create a few of them. The intense users of other Adobe CC apps will understand this.
Getting Started 2
Non-linear Video Editing 2-5
Standard Digital Video Workflow 3-4
Acquire or Gather Assets 3
Capture (Transfer or Ingest) 3
Organize Clips 3
Combine Video + Audio Clips 4
Transition Effects 4
Create Titles/Graphics 4
Mix Audio 4
Export 4
Enhance the Workflow with Premiere Pro 4-5
Advanced Audio Editing 4
Color Correction 4
Keyframe Controls 4
Broad Hardware Support 4
Graphics Card Acceleration 5
Multi-Camera Editing 5
Project Management 5
Metadata 5
Creative Titles 5
Advanced Trimming 5
Media Encoding 5
Expand the Workflow 5-7
Incorporate Other Components w/the Workflow 6
High-End 3D Motion Effects 6
Complex Text Animation 6
Layered Graphics Production 6
Vector Artwork Creation 6
Audio Production 6
Adobe After Effects 6
Adobe Photoshop 6
Adobe Audition 6
Adobe Encore 6
Adobe Illustrator 6
Adobe Dynamic Link 6
Adobe Bridge 6
Adobe Flash Professional 6
Adobe SpeedGrade 6
Adobe Prelude 7
Adobe Media Encoder 7
Adobe Pro Video Workflow 7
Tour the Premiere Pro Workspace 8-16
Workspace Layout 9-12
Timeline Panel 9
Tracks 10
Monitor Panels 10
Project Panel 10
Media Browser 10
Effects Panel 10
Audio Clip Mixer 10
Effect Controls Panel 11
Tools Panel 12
Info Panel 12
History Panel 12
Workspace Customization 12-15
Preferences 15-16
Move, Backup, Sync Settings 16
Is there anything in the above checklist that you don’t understand? If so, please go back and study it.
Chapter 2 - Setting Up a Project
This can appear to be an intense chapter, if you’re not used to NLE apps. There’s a bunch of technology to learn. Don’t let it intimidate you. Move through it slowly. It has been carefully constructed into bite-sized pieces. Fully digest each one before moving onto the next one.
Getting Started 20
Project Set Up 20-33
Video Render + Playback Settings 22-25
Render + Real Time? 23
Mercury Playback Engine 25
Video/Audio Display Format Settings 25-27
Video Display 26
Seconds + Frames 26
Audio Display 26-27
Capture Format Settings 27-28
HD + HDV Capture 27
3rd Party Hardware 27-28
Scratch Disk Settings 28
Project File Settings 28-30
Project-Based Set Up 29
System-Based Set Up 29-30
Typical Drive Setup + Network Storage 29
Import Final Cut Pro Projects 31
Export an XML File from Final Cut Pro 7 31
Export an XML File from Final Cut Pro 10 31
Media Best Practice 31
Importing a Final Cut Pro 7 XML FIles 32
Import Avid Media Composer Projects 32
Export an AAF File from Avid 32
Import an Avid AAF File 32-33
Media Best Practice 33
Sequence Set Up 33-38
Create a Sequence that Matches a Source 33-34
Choose the Correct Preset 34-36
Customize a Sequence 36-37
Formats + Codecs 37
Max Bit Depth + Render Quality 37
Audio Track Types 37-38
Audio Tracks 39
Submixes 39
A trademark of the CIB series are the questions and their answers at the end of each chapter. Test yourself with each of them. If you’re not even close, please go back and redo the appropriate section of what you’re not 100% understanding.
Chapter 3 - Importing Media
With learning about the Premiere Pro workspace and setting up a project behind us, it’s time to get down to work.
Let us inject that we go back to the days of Adobe Bridge 1.0. When Adobe Prelude 1.0 came along, it was a perfect match for us. Bridge and Prelude are how we rough cut the assets we bring into Premiere Pro. As you study the Media Browser panel, if you’re a multimedia person, who works with Bridge all the time, try using Bridge to drop assets into the Pr Project panel, instead of using Media Browser.
There’s more to working with Prelude than appears here. But don’t get antsy. At this point, all you need to learn is how to bring a Prelude project into Pr. There’s much to learn, so don’t overload yourself.
Getting Started 44
Import Assets 44-48
When to Use Import Command 44-45
When to Use Media Browser 45-46
Import from Prelude 47-48
Work w/Media Browser 48-52
Tapeless Workflow 48-49
Supported Video File Types 49
Find Assets w/Media Browser 50-52
Make the Most of the Media Browser 52
Import Images 52-56
Import Flattened Photoshop Files 52-53
Dynamic Link Intro 53
Import Layered Photoshop Files 53-55
Tips for Photoshop Files 55
Import Illustrator Files 55-56
Import Subfolders 56
Media Cache 56-60
Tape vs Tapeless Workflow 58
Record a Scratch Narration Track 59-60
This chapter will be very reference-oriented for many. The discussions of video tape have a limited audience.
Chapter 4 - Organizing Media
When working on small projects, which you will complete on the same day, it’s easy to keep everything in your mind. However, with larger projects, especially ones which you need to revisit, weeks, months, or years later, keeping it organized from the start is essential. If you’re a methodical person, that’s good, but don’t obsess if you’re new to Pr. Much like organizing assets in Bridge or building a website in Dreamweaver, your skills in creating an organizational strategy will improve with time.
Something you’ll want to perfect your skills at doing is working with the monitors. Get used to how you use the scrub controls, handle timecode, and set resolution. Don’t rush through any of this. Get to know all of it.
Getting Started 64
Project Panel 64-69
Customizing the Project Panel 65-66
Find Assets in the Project Panel 66-69
Find Box 67-68
Advanced Find 68-69
Work w/Bins 69-76
Create Bins 70
Manage Media in Bins 70-71
Find Your Media Files 71
Change Bin View 71-73
Assign Labels 73-74
Change Label Color 74
Change Names 74
Customize Bins 75
Multiple Bins Open at Once 76
Organize Media w/Content Analysis 76-78
Adobe Story Panel 76
Speech Analysis 77-78
Monitor Footage 78-81
Playback Resolution 80
Timecode Information 81
Safe Margins 81-82
Essential Playback Controls 82
Customize Monitors 82-83
Modify Clips 83-86
Adjust Audio Channels 83-84
Merge Clips 84-85
Interpret Footage 85-86
Work w/Raw Files 85-86.
Chapter 5 - Essentials of Video Editing
You just completed quite a few detailed steps in chapter 4. You’re about to build on that. Be sure your mind is clear before you start this one. “Essentials” is a good chapter title for this one. Craft editors do their finest technical and creative work on the timeline. Starting on page 97, your mind needs to be fully engaged for these lessons.
Getting Started 90
Source Monitor 91-97
Load a Clip 91
Second Monitor 92
Load Multiple Clips 92
Source Monitor Controls 93
Selecting a Clip’s Range 93-95
Project Panel Editing 95
Create Subclips 95-96
Keyboard Shortcuts to Make Subclips 97
Timeline Navigation 98-104
What is a Sequence? 98-99
Conforming 99
Open a Sequence in a Timeline 99-100
Understand Tracks 100
Target Tracks 101-102
In and Out Points 102-103
Setting In and Out Points 102
Clearing In and Out Points 102
Time Rulers 103
Customize Track Headers 104
Essential Editing Commands 105-111
Overwrite Edit 105
Insert Edit 106-107
Three-Point Edit 107
Four-Point Edit? 107
Storyboard Editing 108
Storyboard to Build a Rough Cut 108-109
Storyboard Arrangement 109
Still Duration 109
Automate a Storyboard to Sequence 110-111
It’s easy to do these lessons, on a step-by-step, basis and feel as if you have successfully completed them. After all, you done everything correctly, right? However, do you know each one of these tasks so well that you can apply everything that you learned into practical application?
We would suggest that you do some personal exploration with each aspect of working with the timeline until you feel you have mastered it.
Chapter 6 - Working with Clips And Markers
At this point, hopefully, you can feel as if you have quite a few of the Premiere Pro basics nailed down. That’s good. Yet, to do good work with the app requires you to use more of the tools, well. If not, all you have is a timeline filled with loose clips which cannot get you anywhere close to a finished sequence. We mention that because this is the starting point for where you need to pay close attention to things like working with monitors and perfecting the clips through the use of markers.
Before the chapter is over, you’ll begin fine tuning the clips on the timeline. Doing terrific work with this starts on page 131. Perfecting your use of these techniques will determine if your finished projects have a professional polish to them.
Getting Started 116
Program Monitor Controls 116-121
What is the Program Monitor? 116-117
Program vs Source Monitor? 117
Add Clips to Timeline w/the Program Monitor 118-120
Insert Editing 119-120
Why So Many Ways to Edit Clips into a Sequence? 121
Control Resolution 121-123
Adjust Playback Resolution 121-122
Paused Resolution 122-123
Markers 123-128 What are Markers? 123-124
Marker Types 124-127
Comment Marker 124
Chapter Markers 124
Segmentation Markers 124
Web Link 124
Sequence Marker 125-127
Clip Markers 127
Interactive Markers 127
Automated Editing to Markers 127-129
Add Markers w/Prelude 128
Sync Lock + Track Lock 129-130
Sync Locks 129-130
Track Locks 130
Gaps in the Timeline 131
Select Clips 131-134
Select a Clip or Range of Clips 132
Select All the Clips on a Track 132
Select Audio or Video Only 132-133
Split a Clip 133-134
Link + Unlink Clips 134
Move Clips 134-137
Drag Clips 134-135
Nudge Clips 135
Clip Nudging Shortcuts 135
Rearranging Clips in a Sequence 136
Clipboard 137
Extract + Delete Segments 137-139
Lift 137-138
Extract 138
Delete + Ripple Delete 138-139
Disable a Clip 139
This is another chapter which is going to require some personal exploration time. We suggest you take a break and come back to that work with a clear mind.
Chapter 7 - Adding Transitions
We appreciate that this chapter starts out by asking, “What are transitions?” Coming from an NBC News background, you would expect us to feel that transitions are generally “soft” and have more of a feature film feel than the hard, quick-cutting look associated with news and documentary work.
Media storytelling methods are forever changing. Our point is, don’t look at transitions as anything specific to a project in front of you. It’s easy for trainees to say, “I’m learning Premiere Pro so I can…” We suggest you learn everything you possibly can about Pr, so you are ready to apply the foundational skills to whatever comes your way.
Getting Started 144
What are Transitions? 144-146
When to Use Transitions 145
Best Practices w/Transitions 145-146
Edit Points + Handles 146-147
Add Video Transitions 147-152
Apply a Single-Sided Transition 147-148
Apply a Transition Between 2-Clips 148-150
Apply Transitions to Multiple Clips at Once 151-152
Sequence Display Changes 152
A/B Mode to Fine-Tune a Transition 152-157
Change Parameters in the Effect Controls Panel 153-155
Inadequate Head (or Nonexistent) or Tail Handles 155-157
Add Audio Transitions 157-159
Create a Crossfade 157-158
Constant Gain 157
Constant Power 157-158
Exponential Fade 158-159
Apply Audio Transitions 159-160
Chapter 8 - Advanced Editing Techniques
This is a favorite chapter of ours. Allow this to get your creative mind in gear. Previous editions of this book included a few cool graphics which helped trainees to understand what some advanced trimming is all about.
If some of these techniques do not immediately clarify themselves in your mind, please do not become concerned. If you must do an exercise again and go back and do it for yet a third time, do not hesitate to do that. If you have no experience in editing footage, it can take a little while until this becomes second nature.
Getting Started 164
Four-Point Editing 164-166
Editing Options for Four Point Edits 164-165
Change Clip Speed 164-165
Ignore Source In Point 165
Ignore Source Out Point 165
Ignore Sequence In Point 165
Ignore Sequence Out Point 165
Make a Four-Point Edit 165-166
Retime Clips 166-171
Change the Speed/Duration of a Clip 166-168
Change Speed and Duration w/the Rate Stretch Tool 168-169
Change Speed and Duration w/Time Remapping 169-171
Downstream Effects of Changing Time 171
Replacing Clips and Footage 172-176
Drag in a Replacement Clip 172-173
Make a Replace Edit 173-174
Replace Footage Feature 175-176
Nesting Sequences 176-179
Add a Nested Sequence 177-178
Nest Clips Already in a Sequence 178-179
Regular Trimming 179-181
Trim in the Source Monitor 180
Mark New In + Out 180
Drag In + Out Points 180
Trim in a Sequence 180-181
Advanced Trimming 181-186
Ripple Edit 181-183
Rolling Edit 183
Sliding Edit 183-184
Slip Edit 185-186
Trimming in the Program Monitor 186-192
Regular Trim 186
Roll Trim 186
Ripple Trim 186
Trim Mode in the Program Monitor 187-192
Out Shift Counter 187
Trim Backward Many 187
Trim Backward 187
Apply Default Transitions 188
Trim Forward 188
Trim Forward Many 188
In Shift Counter 188
Choose a Trimming Method in the Program Monitor 188-189
Modifier Keys 190
Dynamic Trimming 190-192
Keyboard Trimming 192
You have now reached another milestone in your learning Pr. Before moving forward, practice on your own.
Chapter 9 - Putting Clips In Motion
When we test lessons, we’re usually looking for where trainees could stumble. Admittedly, the first time we worked on this chapter, a few editions ago, the techniques were not initially clear. In fact, they were quite confusing. The more we worked with this, the more it became clear that the issues we had were not rooted in the CIB, but in the means by which Adobe has developed the user interface (UI). However, the more we explored this, the more we saw that the UI complied with some long-accepted industry practices for what’s generally termed “graphic editors.” We mention this should you have trouble with it. Don’t become frustrated. Don’t think it’s you. Carefully revisit pages 196-199 until the basics seem clear.
We love motion graphics. Over-doing it looks terrible. Getting it right is a creative feast. You’ll want to master this.
Getting Started 196
Adjusting the Motion Effect 196-201
Motion Settings 196-199
Position 197
Scale 197
Scale Width 197
Rotation 197
Anchor Point 197
Anti-Flicker Filter 198
Motion Properties 199-201
Changing Clip Position, Size, and Rotation 201-208
Change Position 202-203
Reuse Motion Settings 203-204
Add Rotation + Change the Anchor Point 204-206
Change Size 207-208
Keyframe Interpolation 208-212
Temporal vs. Spatial Interpolation 209
Keyframe Interpolation Methods 209-210
Linear 209
Bezier 210
Auto Bezier 210
Continuous Bezier 210
Hold 210
Add Ease to Motion 210-212
Other Motion Related Effects 212-218
Drop Shadow 213
Bevel 214-215
Transform 215-217
Basic 3D 217-218
Swivel 218
Tilt 218
Distance to Image 218
Specular Highlight 218
Some will feel that the last two pages of this chapter are better handled in other Adobe apps, but don’t skip these.
Chapter 10 - Multi-Camera Editing
This is a terrific chapter. Once Adobe brought multi-camera to Premiere Pro, it was a professional game changer. It’s what allows more than one camera angle to shoot the same scene, but in the editing process, the best angles are identified and switched back and forth, as needed.
This is essential editing for broadcast, for feature films, and more and more, for education. That said, do not think, “Great. But, it’s not for me.” You might have a different view of multi-camera this time next year. We find more and more people want to shoot multi-camera, even for mom and pop stores doing web videos with a small consumer camera. They often see a competitor doing it, so they want multi-camera, too.
Chapters 11 - Editing and Mixing Audio
At this point, Premiere Pro CIB begins to move you toward audio. Admittedly, this is the first time we bothered to fully explore these chapters. In the past, we figured that it’s best to do audio in Adobe Audition (Au). Our research shows, even among some noteworthy names in film production, that many people do as much audio as they can in Pr and only go to Au as needed for specialized aspects of certain projects.
We, however, do all our audio in Au.
Part of what makes this a great chapter is that it assumes you know absolutely nothing about audio production or postproduction. That’s an astute approach. Even for accomplished video editors, audio could all be new. So, don’t skip to page 249 where it talks about sending the audio over to Au. Even if you have made up your mind that you’re doing all your audio in Audition, consider all the pages up to 249 as your Audition primer.
The entire chapter is enjoyable.
Chapters 12 - Sweetening Sound
This could be called “Chapter 11B” or “Premier Pro Audio Advanced”. It picks up where 11 left off.
Here’s what typically happens in production: you’ve shot some great clips and recorded the audio, too. In postproduction: you’ve cut your video–it looks great. Then, you’ve adjusted the audio and it still doesn’t sound very good. The latter is what this chapter wants to assist you in refining.
We like how the chapter has been organized. Everything is broken in small segments. They’re easy to understand, and much like the CIB on Audition, they can work as a quick reference for when you get into something which isn’t working and you want to review how to make it better. The way graphics are interspersed with the text makes for a smooth learning experience.
Chapter 13 - Adding Video Effects
Have you ever heard anyone say that Classroom in a Book is just for beginners? This chapter is very much for the grown-ups.
If you’re a newbie, take it slow. You’ll do fine. Just know that it’s intense and the chapter introduces some technologies which you may have never heard of before, even if you have a little bit of background in video postproduction. Everything is explained extremely well.
Consider this to be a high-level follow-up to chapter 9. For those of you with some familiarity with NLE apps, you may not have even known that Premiere Pro has the capabilities for handling things like masking, image stabilization, and lens distortion removal. As you work through these lessons, allow them to tickle your creativity. Imagine the possibilities.
Much of what you learn here is applicable throughout Pr as well as other CC apps.
Chapter 14 - Color Correction and Grading
As soon as you open this chapter to page 329, it’s okay if you look at the chroma display and think, “What’s that?” Don’t worry. These tools are very similar to what you may already be used to in Photoshop or Adobe Camera Raw. Chapter 14 will have video scopes making sense. It will require you to take it slow and pay attention, if this is all new territory for you. It isn’t even assumed that you know much about color theory.
By the time you get to page 345, you see discussion of Adobe SpeedGrade (Sg) and using Lumetri Effects. This is extremely important. We highly recommend an excellent CIB on SpeedGrade.
Sg and Lumetri has dramatically changed our work.
That said, should you skip this chapter and go right to the CIB on SpeedGrade? Not all at.
Think of SpeedGrade as Adobe Camera Raw and Premiere Pro as Photoshop. Many professional feature film editors hand off their sequences to the colorists who do the work in SpeedGrade, to a director’s vision. Chances are, you are going to create “looks” in Sg and apply them in Pr. So, you’ll use all the tools described in this chapter.
Chapter 15 - Exploring Compositing Techniques
We have never seen a learning resource about green screens for still or motion images which involves inspirational exercises. This isn’t the one which breaks that barrier. However, many of the lessons we have seen are filled with misinformation. This one is spot-on.
It’s more than a chapter on green screen techniques. You’ll learn about opacity and mattes as well.
So, did this chapter deliver on teaching you about compositing? Technically, yes. You have the basic skills you need. But, it seems as if you need a little more work with further lessons if you are to get the true feel for what cool compositing projects are all about.
Chapter 16 - Creating Titles
This chapter does everything correct to teach you about applying text in Premiere Pro. However, how titling works in Pr reminds us of something which is leftover from another century. For people who worked with Chyron machines, at TV stations, before the digital age, this Premiere Pro set of features will seem very comfortable. We have told our friends at Adobe that they need to work on this.
So, what do we do? Some of titling we create for Pr is far superior when done with Photoshop, Illustrator, or After Effects. So, study this carefully, but let your creative mind soar on other ways of doing this.
Chapter 17 - Managing Your Projects
This is an extremely important chapter. There have been times when we thought it should be further to the front of the book. Yet, now that we have studied a few editions of this project, we see that making the move could break up the flow that the learning process deserves.
It’s not an exciting chapter, but it is a must-learn.
Chapter 18 - Exporting Frames, Clips, and Sequences
This is an intense chapter. It doesn’t have any fun creative projects. The whole thing is highly technical.
Do we think that’s a problem?
No! This is a fabulously compiled chapter of must-know information. It’s centered around Adobe Media Encoder (AME), which many people find very difficult. This chapter makes AME extremely approachable.
Consider this to be your reference chapter as to what you must do to output your finished sequence to all the various media out there. If you are familiar with Adobe InDesign, this entire process is quite similar to the huge number of export and output options.
Some users find the whole thing painful. We know of no way around it.
We cannot allow this chapter to conclude without mentioning Adobe Encore CS6, which got just a 2 line mention on page 6. Up until a couple editions ago, Encore was included in this book. It’s the means by which you can do DVD authoring, creating all the cool navigation people can do with their DVDs remote control. Adobe Creative Cloud subscribers can still get Encore, so that export option is available, too. To obtain Encore, you’ll need to download all of Premiere Pro CS6. Encore installs with it.
We keep pestering our friends at Adobe to bring Encore back. It’s based on old technology and needs plenty of work.
Conclusion
As you surf the pages of this volume, it gives the impression that it’s not the sexiest of the 12 books in the “Adobe CC 2014 Classroom in a Book” series. The chapter dividers don’t have all the cool visuals which some of the other CIBs do. There may also have been so much material which had to be packed into this that big cool visuals were not possible.
Don’t let the pages fool you. The lessons are cool. They are empowering to work with.
This remains THE best educational resource on Premiere Pro CC 2014. We give it 5.0 out of 5.0 stars.
7 of 7 people found the following review helpful.
Excellent exercises but a little light on explaining why you ...
By DCS
Typical of these CIB series. Excellent exercises but a little light on explaining why you are doing what you're doing. Can get confusing if you miss a step. Good on the mechanics of video editing but could be better on the ideas behind video editing.
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