I show you how to capture video using the Capture workspace in Chapter 6. The Edit workspace looks a lot like Figure Whenever you capture video or create and import media files, they are stored here. I show you how to organize items in the Media window in Chapter 6. I talk a lot about the Monitor in Chapters 7 and 8, among others. Like a little Big Brother, this window monitors your every action as you work in Premiere Elements, but it is meant to provide help and assistance, not to harass and oppress.

If you ever find yourself stumped in the middle of a project, let your eyes wander over to the How To window. Some helpful tips may be just a mouse-click away. This workspace is similar to the Edit workspace, but it adds the Effects window, as shown in Figure The Effects window provides quick access to the available effects and transitions for both audio and video.

See Chapter 9 for more on working with transitions, Chapter 12 to find out how to use video effects, and lucky Chapter 13 for information about creating audio effects. The Advanced Effects workspace Many affordable video-editing programs offer a selection of effects that you can use in your movie projects. But none of them offer the advanced effects controls found in Adobe Premiere Elements.

This workspace is similar to the Effects workspace, but the Media window is hidden and the Effect Controls window is displayed. The array of buttons, indicators, and other controls may appear intimidating here, but I show you how to master all of them in Chapter Not so long ago, most video-editing professionals created all of their titles using special title-making software. The Title Designer is now a part of Premiere Elements as well.

The Adobe Title Designer gives you an incredible level of control over the appearance and positioning of titles used in your movies. I show how to create titles using the Adobe Title Designer in Chapter Figure Create informative and attractive titles in the Adobe Title Designer. I show you how to create and customize DVD menus in Chapter At some point you may realize that your Premiere Elements workspace is a jumbled mess.

The default arrangement for your chosen workspace is instantly restored and the whole screen is generally decluttered. This process is so easy that I often find myself wishing for a Restore Workspace button on my real desk! Chapter 3: Revving Up Premiere Elements Adjusting Premiere Preferences Adobe Premiere Elements offers a plethora of settings, and you could easily spend a day or two trying to sort through them all.

The next few sections show you some key settings that help you make more effective use of Premiere Elements on a daily basis. Setting up your scratch disks I hear some of you scratching your heads. When you capture video onto your computer, you capture it to the scratch disk. Likewise, many transitions, effects, and edits must be rendered — that is, they are actually applied to the clips — before those clips can be exported as part of a movie.

The rendered clips are stored as preview files on the scratch disk. The scratch disk is your Premiere Elements storage place — your video data bucket, so to speak. Your scratch disk may actually be a folder on your main hard drive. But if you can get a separate hard disk to use exclusively as a Premiere Elements scratch disk, I strongly recommend it. Because big and fast hard drives are so cheap these days, there is almost no reason to not have a separate hard drive dedicated to serving as your scratch disk.

A scratch disk must be both big and fast. See Chapter 2 for more on selecting hard drives. You can choose different scratch disks and folders for different types of files. Premiere Elements always uses the location you specify. To set up your scratch disks, follow these steps: 1.

The Scratch Disks section of the Preferences dialog box appears, as shown in Figure Use the Captured Video and Captured Audio menus to adjust the scratch disk settings for the video and audio that you capture using Premiere Elements. When you capture movies from a camera, video deck, or other source, the location specified in the Captured Video menu is where the video files are stored.

The default location for all scratch disks is a setting called Same as Project — which means the same location where you save your project file when you create a new project. If you have a separate hard drive that you want to use just as a video scratch disk, choose Custom from the drop-down menu next to each item, and then click Browse to choose a specific drive and folder.

Choose a scratch disk for previews from the Video Previews and Audio Previews drop-down menus. When you want to preview or export part of your project or the whole thing, Premiere Elements usually must render several preview files. Just as with Captured Video and Captured Audio, the default location for these preview files is Same as Project, which as the name suggests is the folder where your Premiere Project. PREL file is saved.

You can select a different folder if you want. Choose a scratch disk for conformed audio files from the Conformed Audio drop-down menu. Conformed audio files store track information and other audio changes made by Premiere Elements. I recommend using the same setting here that you used for your audio and video previews. Conformed audio is described in Chapter The Preferences dialog closes. Chapter 3: Revving Up Premiere Elements If your computer is part of a network, you can choose network drives on other computers when you set up your scratch disks.

However, I strongly recommend against using network drives as scratch disks. Most networks are not fast enough or reliable enough to adequately handle large video files without dropping frames and causing other problems. Reviewing other options Premiere Elements has many options and preferences that you can fiddle with to make the program work the way you want it to. The new Preferences dialog box shown in Figure is a lot easier to use than in older editions of Premiere because you can quickly jump to different groups of settings by simply clicking a category in the list on the left side of the dialog box.

Of course, you can always adjust the duration for any transition; you may find it useful to change the default settings. The duration for video transitions is expressed in frames, and the default duration for audio transitions is expressed in seconds. A slider control in General preferences also allows you to make the Premiere Elements program window brighter or darker.

When you move slowly or frame-by-frame through a video clip in Premiere Elements, that process is called scrubbing. I recommend that you keep the default settings, which automatically save your work every 20 minutes. See Chapter 6 for more on working with device-control settings. Use this preferences group to choose label colors. Control those default colors here. See the previous section for more on adjusting Scratch Disk settings.

The preview usually just shows the letters AaegZz in the various font faces. Customizing the Windows in Premiere Elements You are an individual just like everyone else , so you probably want to personalize the software you use to make it better suit your needs. You can even customize some keyboard commands.

All files that you use in a project are listed in the Media window. Chapter 3: Revving Up Premiere Elements are displayed in a basic list, displaying various details about each file.

I usually find this display mode to be the most useful for Premiere Elements, but the Media window also provides an Icon view that can be useful too. Icon view shown in Figure displays files and items as thumbnail icons that help you better visualize the nature of each item. To use Icon view, click the Icon button in the lower-left corner of the Media window. The Media window also contains a menu that lets you further customize the way the window looks.

To access this menu, click the More button in the upper-right corner of the Media window. This dialog box controls which columns appear in list view. Place check marks next to columns that you want to use, or select a column title and click Move Up or Move Down to change the order in which columns appear. You can even create your own columns by clicking Add and giving your new column a name.

Click OK to close the Edit Columns dialog box. Figure Icon view is an alternative way to look at items in the Media window. However, you can adjust some useful view options using a couple of different tools.

Here you can choose Track Size and select a new size for tracks from the submenu. Or you can choose Add Tracks to add audio or video tracks to the Timeline. A dialog box appears, enabling you to add tracks to the Timeline. I show you how to work with Timeline tracks in Chapter 8. Premiere Elements supports up to 99 video tracks and 99 audio tracks in a single Timeline.

Snap is kind of handy sometimes because when you click-and-drag a clip or other item to the Timeline, the item automatically snaps into place on the edit point or next to an adjacent clip. The default setting for video tracks only shows the first frame of the clip as a thumbnail at the beginning of the clip. When the line on audio tracks is yellow, a waveform of the audio clip appears in the background.

A waveform is a visual line-graph representation of the audio levels in an audio clip. Moving the yellow line adjusts balance between left and right stereo audio channels. When the line is black, moving the black line adjusts audio volume, also called gain. The Premiere Elements monitor has a single screen, which means you must toggle back and forth between Clip and Timeline modes.

Use the Clip and Timeline buttons at the top of the Monitor window to switch modes. When the Monitor is in Clip mode, whatever clip you currently have selected in the Media window appears. Use Clip mode to edit clips before you put them in the Timeline. In Chapter 7, I show you how to edit clips in Clip mode. When the Monitor is in Timeline mode, the current contents of the surprise!

Timeline are visible. The Monitor shows the current location of the edit line in the Timeline. I describe Timeline editing in Chapter 8. Safe Margins appear around your video image, as shown in Figure The inner line is the title safe margin, and the outer line is the action safe margin.

If your program will be viewed on broadcast-style TV screens, some action or titles might get cut off at the edge of the screen if they fall outside the title-safe and action-safe margins. I recommend that you keep the Safe Margins option enabled while editing.

Most of the time you will probably just want to keep the default Fit setting so that the video image automatically resizes to fill the window if you decide to resize the Monitor window.

Customizing keyboard commands Adobe Premiere Elements follows the same basic design paradigm as most other modern software programs. You navigate program windows and execute editing commands using the mouse to click buttons, drag-and-drop items, and choose menu items. You can do almost anything in Premiere Elements with a mouse.

Figure View your work in the Monitor window. Thankfully, many common commands are accessible by using keys on the keyboard. In fact, Adobe worked hard to ensure that Premiere Elements uses some of the same industry-standard keyboard commands as other professional editing programs.

An example is the use of J, K, and L to reverse, pause, and play video, similar to the shuttle controls used by many other professional video-editing programs.

The Keyboard Customization window appears, as shown in Figure The first drop-down menu lets you choose a set of keyboard commands. The default set is the Adobe Premiere Elements Factory Defaults which you can return to at any time by choosing it from the Set menu. The second menu displays different items for which you can set your own keyboard shortcuts. Virtually all Premiere Elements program commands can be found in the Application group.

Scroll down the lists to see the keyboard shortcuts assigned to each Premiere Elements command. To change a command, click the shortcut in the Shortcut column and type a new shortcut. If your new shortcut is already used by another command, that fact is noted at the bottom of the window.

If you make a lot of changes, I recommend you save your keyboard-command set. You can find a quick-reference to standard keyboard shortcuts on the Cheat Sheet in the front of this book. Tear that bad boy out and keep it handy next to your computer for quick reference. Figure Use the Keyboard Customization window to set your own keyboard commands. Some third-party software companies get pretty creative with the features they add. Plug-ins for Premiere Elements can add new special effects, video transitions, video export options, advanced title appearance options, and more.

Adobe provides a list of select plug-ins for Premiere Elements online at www. Installation instructions should be provided by the publisher. Ideally, the plug-in comes with a setup program or installer that takes care of everything for you. Keep in mind, however, that many plug-in publishers assume that you know a thing or two about how Premiere Elements is installed and configured on your system.

Therefore, you may not receive installation instructions, and you may need to do some manual installation procedures. Oh, joy! Of course, it helps to know where the folder is. No problem. If Premiere Elements is still running when you try to install a plug-in, the program may crash and you may lose unsaved work. Again, carefully read the documentation that comes with the plug-in there might be a Readme file for specific installation instructions. After you place the plug-in file in the folder mentioned here, it should be available the next time you open Premiere Elements.

For example, if the plug-in adds a new transition, look for that transition to appear as an option in the Transitions group on the Effects tab when you restart Premiere Elements.

Portable hand-cranked 16mm film cameras first appeared in the s, and in Kodak introduced the 8mm film format. By the s 8mm film cameras had become downright affordable, and the milestones continued to tick by. Home movie cameras sprouted zoom lenses in the late s; in Kodak introduced the Super 8 format, with its easier-to-handle film cartridges; in a magnetic audio recording system was added to Super 8 cartridges.

Despite many advances, film-based movie cameras still had a few disadvantages. The film had to be developed before it could be watched, and viewing movies required special movie projectors and a big blank wall or a projection screen. In , JVC introduced the VHS videotape format, and by the s most home movie enthusiasts had replaced their antiquated film cameras with video camcorders.

Digital video camcorders appeared in the s, and the rest, as they say, is history. While movie camera technology has progressed steadily over the last 80 years or so, home movie editing is still a relatively new concept.

And home videos can be edited by creatively juggling the pause and record buttons on your VCR and camcorder. Here I introduce you to digital video technology, and I show you how digital video makes video editing easy. If this chapter whets your appetite for information on the basics of digital video and moviemaking, check out my other book, Digital Video For Dummies, 3rd Edition, also published by Wiley.

What Is DV? DV is an abbreviation for digital video. Next subject. Oh, you want a more detailed explanation? All computers really understand are ones and zeros. And yet, we force computers to show us pictures, play music, and display moving video.

The infinitely variable sounds and pictures we perceive must be converted into the language of computers: ones and zeros. This conversion process is called digitizing. Digital video is you guessed it video that has been digitized. To fully understand the difference between analog data — the rich audio and light waves that we humans perceive and sound and images — and digital data, suppose you want to draw the profile of a hill.

An analog representation of the profile see Figure would follow the contour of the hill perfectly because analog values are infinitely variable. However, a digital contour of that same hill would not be able to follow every single detail of the hill because, as shown in Figure , digital values are made up of specifically defined individual bits of data. Figure Analog data is infinitely variable. Chapter 4: Introduction to Moviemaking Figure Digital data contains specific values. Comparing Digital to Analog It could be said that a digital recording will always be theoretically inferior to an analog recording because the analog recording can contain more values.

Yes, a digital recording must have specific values, but modern recordings have so many unique values packed so closely together that human eyes and ears can barely tell the difference. In fact, casual observation often reveals that digital recordings appear to be of higher quality than analog recordings. One of the problems with analog recordings is that they are highly susceptible to deterioration.

Every time analog data is copied, some of the original data is lost. This phenomenon is called generational loss and can be observed in that dark, grainy copy of a copy of a copy of a wedding video that was first shot over ten years ago. A one is always a one, no matter how many times it is copied, and a zero is always a zero. Likewise, analog recordings are more susceptible to deterioration after every playback, which explains why your vintage Meet the Beatles LP pops, hisses, and has lost many of its highs and lows over the years.

You never know when you may need to recover original footage some time in the future. When you consider the implications of generational loss on video editing, you begin to see what a blessing digital video really is. Video is not film. In film, an image is captured when chemicals on the film react with light. In modern video, an image is captured by a charged-coupled device CCD — a sort of electronic eye — and then the image is recorded magnetically on tape.

Converting light to video Little Jenny picks a dandelion on a sunny afternoon. As this scene unfolds, light photons bounce off Jenny, the dandelion stem, the seeds, and anything else in the shot.

Some of those photons pass through the lens of your camcorder. The lens focuses the photons on transistors in the CCD. The transistors get excited, and the CCD converts this excitement into data, which is then magnetically recorded on tape.

This process, shown in Figure , is repeated approximately 30 times per second. In such cameras, each CCD is dedicated to capturing a specific light color red, green, or blue.

Figure The CCD converts light into the video image that is recorded on tape. Chapter 4: Introduction to Moviemaking The prehistoric ancestors of camcorders those portable video cameras of about 20 years ago used video-pickup tubes instead of CCDs. Tubes were inferior to CCDs in many ways, particularly in the way they handled extremes of light.

With video-pickup tubes, points of bright light such as a light bulb or reflection of the sun bled and streaked across the picture, and low-light situations were simply too dark to shoot. These terms identify a variety of broadcast television standards. Your cameras, TVs, and tape decks probably conform to only one broadcast standard.

Which standard is for you? Used primarily in North America, Japan, and the Philippines. This category actually covers several similar standards used primarily in France, Russia, Eastern Europe, Central Asia, and most of Africa. Adobe Premiere Elements supports all three major broadcast formats. When you begin a project, you should always adjust the project settings to the correct format. See Chapter 5 for more on setting up a new project. Mastering broadcast compatibility issues The most important thing to know about these three broadcast standards is that they are not compatible.

This is because VHS is merely a physical tape format, not a video format. Ideally, try to burn DVDs only in the video format used in your country. Chapter 17 shows how to control the export format when you burn DVDs, but if you want to export to videotape in a different broadcast format, you will need to use a different program such as Adobe Premiere Pro. A video image is made up of a series of still images that flash by so quickly that they produce the optical illusion of motion.

Each of these still images is called a frame. The frame rate of video is the rate at which individual frames flash by. Frame rate is usually abbreviated fps frames per second. A video picture is usually drawn as a series of horizontal lines. An electron gun at the back of the picture tube draws lines of the video picture, much like the way the printer head on your printer moves back and forth as it prints words on a page. The resolution of a video image is usually expressed in the number of these horizontal lines that make up the image.

Table details the differences. This means that the horizontal lines are drawn in two passes rather than one. Every other line is drawn on each consecutive pass, and each of these passes is called a field. On a PAL display, which shows 25 fps, there are actually 50 fields per second.

Noninterlaced displays are also common. Modern computer monitors, for example, are all noninterlaced, meaning that all the lines are drawn in a single pass.

Noninterlaced displays are also sometimes called progressive scan displays. A full accounting of all the High-Definition Television a. HDTV formats would practically fill a book by itself. Resolutions for HDTV formats range from as low as x pixels up to x Frame rates for HDTV range from 24 fps noninterlaced, and up to 60 fps interlaced or progressive scan. Because of all the uncertainly surrounding HDTV, I recommend against developing video for specific HDTV formats until a single format emerges as a standard in your geographic area.

The many aspects of aspect ratios Different moving-picture displays have different shapes. The screens in movie theaters, for example, look like long rectangles, whereas most TV and computer screens are almost square.

The shape of a video display is called the aspect ratio. The following two sections look at how aspect ratios affect editing in Adobe Premiere Elements. Image aspect ratios The aspect ratio of a typical television screen is This means that for any given size, the display is four units wide and three units high.

To put this in real numbers, measure the width and height of a TV or computer monitor that you have nearby.

If a picture completely fills this display, the picture is also said to have an aspect ratio of Different numbers are sometimes used to describe the same aspect ratio. The aspect ratio is sometimes expressed as 1. Likewise, the aspect ratio is sometimes expressed as 1. Many movies are distributed on tape and DVD today in a widescreen format. The aspect ratio of a widescreen picture is usually but not always If you watch a widescreen movie on a TV screen, you will see black bars — sometimes called letterbox format — at the top and bottom of the screen.

Widescreen movies are popular because they more closely match the aspect ratio of the movie-theater screens for which the movies were originally shot. Figure illustrates the difference between the and aspect ratios.

In fact, various aspect ratios for film have been used over the years. Many movies have an aspect ratio of over — the image is more than twice as wide as it is high! But for most films, is considered close enough.

Adobe Premiere Elements fully supports media, and in Chapter 5, I show you how to set up a project for widescreen video. This becomes important when preparing still images for use in movies, or when choosing settings for a new movie project. Pixel aspect ratios You may already be familiar with image aspect rations, but did you know that pixels can have various aspect ratios too?

A pixel is the smallest piece of a digital image. Thousands — even millions — of uniquely colored pixels combine in a grid to form an image on a television or computer screen. On computer displays, pixels are square. But in standard video, pixels are rectangular. Pixel aspect ratios become an issue when you start using still computer graphics in projects that also contain standard video.

For more on preparing still graphics for use in movie projects, see Chapter 6. See Chapter 15 for more on exporting still frames from your video. Chapter 4: Introduction to Moviemaking Understanding timecode A video image is actually a series of still frames that flash rapidly on the screen.

Every frame is uniquely identified with a number called a timecode. The location and duration of all edits that you perform on a movie project use timecodes for reference points, so a basic understanding of timecode is critical. Timecode is usually expressed like this: hours:minutes:seconds:frames Thus the fourteenth frame of the third second of the twenty-eighth minute of the first hour of video is identified like this: You already know what hours, minutes, and seconds are.

Frames are the individual still images that make up video. The frame portion of a timecode starts with zero and counts up from there. In NTSC, frames are counted from 00 to The frame count starts at 00, which is why the fourteenth frame mentioned above has the timecode As mentioned earlier, the frame rate of NTSC video is NTSC timecode actually skips frame codes 00 and 01 in the first second of every minute — except for every tenth minute. This is called drop-frame timecode.

In Premiere Elements and most other video-editing systems, dropframe timecode is expressed with semicolons ; instead of colons : between the numbers. Why does NTSC video use drop-frame timecode? Well, back when everything was broadcast in black and white, NTSC video was an even 30 fps. For the conversion to color, more bandwidth was needed in the signal to broadcast color information. Dropping a couple of frames every minute left enough room in the signal to broadcast color information, while at the same time keeping the video signals compatible with older black-and-white TVs.

Clever, those earthlings. Some alternatives are very expensive and oriented toward video professionals, while others are different just for the sake of being different. I describe the most common camcorder formats in the following sections. Always check the price and availability of blank media before you buy any camcorder. If blanks are unavailable or too expensive, your camcorder could become virtually useless.

Virtually all consumer digital camcorders sold today use MiniDV, which means that blank tapes are now easy to find and reasonably affordable.

MiniDV tapes are small and more compact than even audiocassette tapes. Small is good because smaller tape-drive mechanisms mean smaller, lighter camcorders. Tapes come in a variety of lengths, but the most common length is 60 minutes. Digital8 A few years ago, MiniDV tapes were expensive and difficult to find.

Several manufacturers began to offer alternative formats for digital camcorders, and many of those alternatives are still available. Digital8 cameras record DV video on Hi-8 videotapes, which are about the size of audiocassette tapes. Digital8 camcorders are available from both Sony and Hitachi. A minute Hi-8 tape can store 60 minutes of Digital8 video.

Because Hi-8 is a popular format for analog camcorders, Hi-8 tapes have been affordable and widely available for several years. But more recently, the price of MiniDV tapes has come down enough to make Digital8 camcorders less advantageous.

In theory, MiniDV camcorders can record slightly higher resolution than Digital8 camcorders, but in practice the resolution recorded by similarly priced Digital8 and MiniDV camcorders is about the same.

Other consumer-grade options Various other recording formats have appeared on the mass market. Some camcorders use a built-in DVD digital versatile disc recorder for storage, but DVD-based camcorders have a few drawbacks. Sony, for example, briefly offered some very small digital camcorders that used a proprietary format called MicroMV. MicroMV camcorders can be used with Premiere Elements, so if you already have one you should be fine. You could spend that sum very quickly on professional-grade video equipment.

Wonderful though MiniDV may be for general-purpose use, it does present some shortcomings when used in a professional environment. This format is called 24P. Professionalgrade camcorders can also sometimes record in the HD high definition format. Many professional-grade formats are actually derivations of MiniDV. Older pro-digital formats included D1, D2, D3, and D5.

These formats also offered robust design, but the video resolutions were lower than the newer MiniDV-based formats. A major portent of the death of analog came in late , when Sony announced that it would discontinue its beloved Betacam SP format.

Betacam SP was long preferred among video professionals, but Sony opted to drop the format because digital equivalents offer virtually the same quality for far less money.

Chapter 4: Introduction to Moviemaking Because analog video has been around for so long, countless formats exist. Besides the generational-loss problems of analog video, analog formats usually provide fewer horizontal lines of resolution. Once the analog video is captured onto your computer in a common digital format such as MPEG, it can then be imported into Premiere Elements for editing.

Decoding Codecs A digital video signal contains a lot of data. If you were to copy uncompressed digital video onto your hard drive, it would consume 20MB megabytes for every second of video.

Simple arithmetic tells us that one minute of uncompressed video would use over 1GB gigabyte. Even with an 80GB hard drive, you would have room for only about an hour of uncompressed video — assuming that big drive was empty to begin with.

To deal with the massive bandwidth requirements of video, digital video is compressed using compression schemes called codecs. The DV codec, used by most digital camcorders, compresses video down to 3. This data rate is far more manageable, and most modern computer hardware can handle it.

When you capture digital video from a camcorder using a FireWire interface, a minute of video consumes just over MB of hard-drive space. Again, most modern computers can manage that. Why do codecs matter to you? Adobe Premiere Elements enables you to choose from a variety of codecs when you output movies for the Internet see Chapter 16 for more on preparing movies for online use. Logically enough, the more you compress your video, the more quality you lose.

A majority of Internet users still have pretty limited bandwidth. Users with high-speed broadband access still account for well fewer than half of all Internet users. Alternatively, you may choose to provide several levels of compression for various bandwidths. Provide a bigger, higher-quality version for broadband users, and a smaller, more compressed version for dial-up users.

Most CD-ROM drives also have serious bandwidth limitations, so you need to use a codec that uses a high compression ratio. If so, your own output hardware is your primary concern. The Nonlinear Editing Method My grandfather is a tinkerer. Over the years, he has tinkered with wood, old lawn mowers, and even 8mm film. He performed edits by cutting the 8mm film with a razor blade and then splicing scenes together in a different order, using cellophane tape Scotch tape to hold the splices together.

The process described above is what professional video editors call linear editing, and all motion pictures were edited this way many years ago. Video, too, was once edited linearly, and until recently, linear editing was the only option available for home video users. Consider the process of dubbing video from a camcorder onto a tape in a VCR.

If there is a scene on the camcorder tape that you want to leave off the VHS tape, you might pause recording on the VCR until that scene has passed. This process is another form of linear editing because you perform all of your edits in order from beginning to end.

Linear editing is terribly inefficient. If you dub a program and then decide to perform an additional edit, subsequent video usually has to be redubbed. What is the alternative? Nonlinear editing, of course! Chapter 4: Introduction to Moviemaking by the miracle of the computer and programs like Adobe Premiere Elements.

In Premiere Elements, you simply place Scene 1. Imagine trying to perform this kind of edit by shuttling tapes in a pair of video decks — take a moment to wince — and you realize what a blessing a nonlinear editor NLE like Premiere Elements really is. Figure To insert a scene between two existing scenes, just drop the new scene in the appropriate place on the Timeline. Drop a clip Figure When you perform an insert edit, Premiere automatically shifts subsequent material in the Timeline.

But ultimately, a video editor can wield only so much magic. If you want to make a great movie, you need to start with great video footage because there is only so much improvement that an editing program like Premiere Elements can make.

The following sections give you some simple tips that can help you shoot video like the pros. Planning the shot Camcorders are so simple to use these days that they encourage seat-of-thepants videography. Just grabbing your camcorder and hastily shooting the UFO that happens to be flying overhead is fine, but for most other situations, some careful planning will provide better quality.

Composing the shot Like a photograph, a great video image must be thoughtfully composed. Start by evaluating the type of shot you plan to take. Does the shot include people, landscapes, or some other subject?

Consider what kind of tone or feel you want to achieve. Figure illustrates how different compositions of the same shot can affect the overall tone.

In the first shot, the camera looks down on the subject. Children are shot like this much too often, and it makes them look smaller and inferior. The second shot is level with the subject and portrays him more favorably. The third shot looks up at the subject and makes him seem important, almost larger than life. Thus, you may have a hard time convincing everyone who is attending that they should dress appropriately for video.

Red is especially problematic because it tends to bleed into neighboring portions of the video image. Figure Composition greatly affects how your subject is perceived. Panning effectively Another important aspect of composition is panning, or moving the camera. This technique is called firehosing and is usually not a good idea. Panning too quickly — say, over a landscape — is a common mistake. Ideally you should use a higher-quality tripod with a fluid head for smooth panning. A tilting horizon is very disorienting.

This reduces out-of-focus issues with the camera lens, and it also helps to keep the subject in frame. Using not abusing the zoom lens Most camcorders have a handy zoom feature. A zoom lens is basically a lens with an adjustable focal length.

A longer lens — also called a telephoto lens — makes faraway subjects appear closer. A shorter lens — also called a wideangle lens — allows more of a scene to fit in the shot. Zoom lenses allow you to adjust between wide-angle and telephoto views. Because the zoom feature is easy to use and fun to play with, amateur videographers tend to zoom in and out a lot.

I recommend that you avoid zooming during a shot as much as possible. Consider your purpose before you touch that dial. Wide-angle lenses have greater depth of field. If you shoot subjects by zooming in on them from across a room, they may move in and out of focus. But if you move the camera in and zoom the lens out, focus will be less of a problem. Lighting the shot Light can be subdivided into two basic categories: good light and bad light.

Good light allows you to see your subject, and it flatters your subject by exposing details that you want shown. Bad light, on the other hand, washes out color and creates lens flares — the reflections and bright spots that show up when the sun shines across the lens — and TEAM LinG – Live, Informative, Non-cost and Genuine!

Chapter 4: Introduction to Moviemaking other undesired effects. Consider Figure Meanwhile, the left side of the face is obscured in shadow. Not good. Figure Improper lighting spoils this shot. How do you light your shots effectively? Remain ever aware of both the good light and the bad. Light reflecting from a surface, such as a white sheet or foil screen, is more diffused, providing more flattering lighting than shining bright light directly on the subject.

Light on the front of the subject brings out facial details, while light from above and behind highlights the subject relative to the background. Some cameras have an automatic backlight compensation feature, though as you can see on the right side of Figure , sometimes the just creates more problems.

Intense light can reflect on the lens glass and cause flares that only show up later on video. Your camcorder might include built-in features to help you deal with special lighting situations, such as sporting events or a sun-washed beach.

A neutral-density filter, for example, reduces light in bright outdoor settings and makes colors appear more vivid. A polarizing filter controls how reflective surfaces like water or glass appear. Oh, there he is, horribly overexposed on the right. Shooting the shot Perhaps the most important tip I can give you before you shoot your video is this: Know your camera.

Even the least-expensive digital camcorders available today are packed with some pretty advanced features. For example, most digital camcorders include image stabilization, in-camera effects, and the ability to record bit stereo audio. Spend a few hours reviewing the manual that came with your camcorder and practice using every feature and setting.

Keep the camcorder manual in your gear bag when you hit the road. Also, review the manual from time to time; no doubt some useful or cool features are lurking that you forgot all about or never saw the first time you reviewed the manual.

You might be able to download a replacement manual. Virtually all modern camcorders include automatic exposure and focus control. Get friendly with the manual exposure and focus controls on your camera if it has them and practice using them.

If your camera has a manual focus mode, you can avoid focus hunting by turning off auto focus. Also, getting handy with the manual exposure control also called the iris will ultimately give you more control over light exposure in your video. First, you start by creating new movie projects. Then you find out how to capture video from your digital camcorder and how to import other kinds of media.

When you have some media to work with, I show you how to perform basic editing to turn your media into a basic movie. I also cover adding transitions between video clips, a common and often essential editing task. When you want to check your e-mail, you look in your Inbox. I used to have an Internet service that had pages named Runway and Boardwalk. One of them was a page of search engines, and the other a Web directory.

Which was which? I forgot all the time. The people at Adobe probably could have gotten more creative with the names given to parts of Premiere Elements. Thankfully, they picked a few words that worked and stuck with them. When you work on a movie project, for instance, that project is called a drum roll, please project.

This chapter is all about projects in Adobe Premiere Elements. I show you how to create new projects, open existing projects, review and adjust the settings for your projects, and how to open projects from other versions of Adobe Premiere. Click the Open Project button and browse to the desired project file.

The difference is, when your new project is created the video capture window instantly appears. Adobe added this button to the Premiere Elements welcome screen because it rightly figured that capturing video is the first step that most people take when making a new movie. I show how to capture video in Chapter 6. Click the name of a project to open it. Fortunately, you have this book to guide you through the many exciting facets of Premiere Elements.

I show you how to choose settings later in this chapter. No harm, no foul. Figure This friendly welcome screen appears whenever you launch Premiere Elements. The New Project dialog box appears, as shown in Figure Give your project a name, and choose a location in which to save the project file. The default location for project files is a special Premiere Elements subfolder of your My Documents folder. Click OK to create the project. Figure Give your new project a filename.

You probably know that video files can eat up a lot of hard drive space. In Chapter 2 I even recommend that you install a separate hard drive in your computer just for storing video. Changing project settings When you click the New Project button, a project is created using default settings. In some cases you may want to change the default settings. If you recorded widescreen video and want to produce your movie in widescreen format, you must choose a widescreen preset in Premiere Elements.

Otherwise, your widescreen video images will be squished up into a aspect ratio by the default project settings in Premiere Elements. Thus, it is important that if you need to work with widescreen video or a foreign video format, you must use a preset to start your project. To create a custom project, follow these steps: 1. In the Premiere Elements welcome screen, click Setup. The Setup dialog box appears, as shown in Figure Click a preset in the Available Presets list on the left side of the dialog box.

A description of the preset appears to the right. This means that the video images have a aspect ratio and have interlaced video fields. Select the preset that you want to use and click Save as Default. The Setup dialog box closes and the Premiere Elements welcome screen appears. Figure You can choose custom project settings here. When you click New Project in the Premiere Elements welcome screen, a new project is created using the preset you chose as the new default.

Chapter 5: Starting Movie Projects a couple of video tracks to each project? If so, you can create a new preset with some custom settings: 1. In the Setup dialog box, click New Preset. The Custom Presets dialog box appears. Click a settings category on the left, and adjust settings for your new preset on the right. The Custom Presets dialog box is almost identical to the Project Settings dialog box.

I describe the settings available in the Project Settings dialog box later in this chapter. Click Save. The Name Preset dialog box appears. Enter a name and description for your preset and then click OK. Reviewing and Changing Project Settings When you click the New Project button to create a new project in Premiere Elements, default settings are automatically applied to your project.

Some of these settings can be changed, and some cannot. The Project Settings dialog box appears, as shown in Figure The Project Settings dialog box includes four categories of options. Click a category in the list on the left to review options on the right. The options in each category are described in the following sections. Figure Adjust project settings here. General settings General project settings in the Project Settings dialog box determine the basic audio and video format for your project and other settings of a, well, general nature.

The settings in this dialog box control how your media plays on a DV device connected to your computer, such as a DV camcorder. If you enable the Play Video on DV Hardware option, video from your project will play both in the Premiere Elements window and on your DV device, if the DV device happens to be connected to your computer and turned on. In Chapter 15, I explain the benefits of previewing video on an external monitor. You no longer have to wait seconds, minutes, or even hours while render files are created.

If you encounter jerky playback or other problems with real-time previews, choose the Playback on Desktop Only option. Does that improve video playback? If not, the problem is probably something else. See Chapter 2 for more on choosing a computer that works great with Adobe Premiere Elements. Figure This dialog box controls how your project is played back on external hardware. See Chapter 4 for a detailed explanation of timecode.

This problem is called overscan. The margins are just lines that appear over the video image to show which parts of the image may get cut off by TV overscan. You can adjust the size of the Title Safe Area if you wish. If the clip has a different aspect ratio — for example, you place a widescreen clip in a fullscreen sequence — the inserted clip is resized without affecting the aspect ratio. This creates a letterbox effect for the inserted clip.

I find that the Display Audio Samples option is easiest to work with. A bunch of other settings are shown but unavailable in the General Project Settings. Adobe Premiere Pro allows you to change those settings, but in Premiere Elements the fields are provided merely for informational purposes. Capture settings Capture settings control the default source from which you will capture video.

The choices available here depend on what hardware is installed on your system. If you want to capture video from another source, such as an analog capture card, you will need to capture it using other software. If your camcorder or other DV source is currently connected to your FireWire port and is turned on, you will also see a DV Settings button in the Capture settings screen. With this dialog box, you can control whether audio or video plays on your computer during capture.

Chapter 5: Starting Movie Projects If you have a computer that is on the low end of the system requirements scale for Adobe Premiere Elements see Chapter 2 , you may want to remove the check marks next to both of the options under During Capture. Figure Uncheck the bottom two options if you have a slower computer. Video Rendering settings As you edit a project and add transitions and effects to your video, Premiere Elements must apply your edits using a process called rendering building preview files for video.

When Premiere Elements renders your work, it creates temporary files on your hard drive that allow your edits to play properly. Video Rendering settings control the format of these render files. The Video Rendering options also contain a check box called Optimize Stills. If your project has a lot of still images, choose this option to reduce rendering time.

Optimizing stills could cause some playback problems, however. If you encounter glitches or other problems when the stills play, disable optimization. Default Timeline settings The Default Timeline settings control how Premiere Elements sets up your workspace when your project first opens.

The Default Timeline settings dialog box also lets you specify the default number of audio tracks. All these settings do is set how many tracks you start out with; you can easily add more tracks later if you want. Or better yet, just click the toolbar button that looks like a floppy disk. You probably could have figured out how to save a project on your own, so why this section?

One of the interesting things about Premiere Elements is that although video files tend to be very large, project files are actually quite small. Indeed, the project file for a minute movie may be smaller than 50 kilobytes KB. At the time of uploading, Free-4paid.

The expert team will look into the matter and rectify the issue as soon as possible. However, we are not responsible for the crack version; this may cause the issue if you have not installed all the files in the bundle.

Additionally, you must test all the links available on the site, maybe some links have the corrupt files but you will find the exact one that you are searching for. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Skip to content Close Menu Contact Us. Share this: Twitter Facebook. Like this: Like Loading Read more.

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Mode demploi adobe premiere elements 12 free download

 
To help ease your transition, I want to provide a brief overview of the basic Windows interface controls in Adobe Premiere Elements. Figure details the various playback controls. See Chapter 15 for more on exporting still frames from your video. Use the controls located beneath the viewer section of the Capture window rree review the tape.

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Mode demploi adobe premiere elements 12 free download.Supported File Types

 

With Основываясь на этих данных Premiere Elements, you can create magic with your audio, videos, and photos. You can have more than one version of Premiere Elements installed on your computer.

Open the Adobe Premiere Elements download page in your web browser. Open the Adobe Premeire Elements installer file that you downloaded from the Adobe website. On the Installation Options screen, do the following and click Continue :. Can’t find your serial xownload See Find the serial number of your Elements product to know more. Received a redemption code? Use your redemption code to get your serial number.

See Help with redemption codes to know more. For more information, see Download and install from Adobe website. If you close the dialog box or if the security settings on your computer do not permit AutoPlay, browse to the DVD using Windows Explorer and double-click Setup.

If any security warnings mode demploi adobe premiere elements 12 free download, click Mode demploi adobe premiere elements 12 free download. When you launch Premiere Elements, a screen shows the number of days remaining for the trial to expire. Click Buy now and then follow onscreen instructions to convert your trial to full version. Use the serial number you have received to convert the trial version to a full version. The serial number starts with the number You receive the serial number depending on the type of purchase:.

A serial number has 24 digits, and is different from a redemption code which is alphanumeric. You can use your redemption code to get your serial number. Troubleshoot install using logs. Troubleshoot installation exit codes. Legal Notices Online Privacy Policy. Installing Premiere Elements Search. Convert a trial version страница a full version Troubleshooting Installation.

Download and install from Adobe website. Make sure that you have administrative privileges for the account you are using.

Make sure that you have a valid Adobe ID. Disable pop-up blockers in your приведу ссылку browser. Temporarily disable firewalls, antivirus software, and mode demploi adobe premiere elements 12 free download security software.

Disabling them speeds up adoobe installation process. Make sure that you have a valid serial number for Adobe Premiere Elements. Make sure that you are connected to the Internet until the installation is complete. Download Premiere Elements. Sign in with your Mode demploi adobe premiere elements 12 free download ID. Select the platform and language for download.

Mode demploi adobe premiere elements 12 free download Download. Install Premiere Elements. Enter your system’s account password if you are pormpted. Sign in with your Adobe ID premieree your email and password. Click Continue on the next screen that appears. On the Installation Options screen, do the following and click Continue : Select language Specify installation location.

Installation options. In the screen нажмите чтобы узнать больше appears, click Video Editor. Install Video Editor. Sign in using your Adobe ID and password. Sign in using your Adobe ID. Click Activate now on the Welcome screen. Click on Activate now. Enter the serial number in the next screen and click Next. Enter the serial prekiere. Adobe Premiere Elements launches successfully. Note: Can’t find your serial elemets Install from DVD.

Before you begin. Ensure that you have a DVD drive not CD drive connected to your computer before you begin installation. Insert the DVD into the drive and follow the instructions. Locate the serial number. The serial number is located at the bottom of the DVD sleeve.

For more information on finding the serial number, see Dempoi the serial number of your Elements products. If you have a redemption code, больше на странице the redemption code to a serial number. For more information, see Help with redemption codes. Enter your system’s password if prompted. Convert a trial version into a full version. You receive the serial number depending on the type of purchase: From Adobe website : When you purchase Adobe Premiere Http://replace.me/4863.txt, you receive the serial number in an email from Adobe.

If you have an envelope for your software, the serial number can 21 on the envelope instead. Note: A serial number has 24 digits, and is different from a redemption code which is alphanumeric. Troubleshooting installation. Sign in to your account. Sign in. Quick links View all your plans Manage your plans.

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