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Available on Compatible NOOK Devices and the free NOOK Apps. WANT A NOOK? Adobe Premiere Pro CS4 Classroom in a Book Add to Wishlist. The fastest, easiest, most comprehensive way to learn Adobe Premiere Pro CS4 Adobe Premiere Pro CS4 Classroom in a Book contains 21 lessons. Adobe Premiere Pro CS4 classroom in a book: the official training workbook from Adobe Systems. Publication date:
Adobe premiere pro cs4 classroom in a book pdf free
You can add horizontal or vertical text anywhere in a composition. This star shape will go well in the background. Aw, come on. BG from the pop-up menu. I would like to say thank you to the team of the author of this book.
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Be the first one to write a review. There’s also live online events, interactive content, certification prep materials, and more. The book covers the basics of learning Adobe Premiere Pro and provides countless tips and techniques to help you become more productive with the program. You can follow the book from start to finish or choose only those lessons that interest you. Learn to use the new Speech Search technology for speech transcription projects and how to work with the latest tapeless media in Premiere Pro.
Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. If you want to go to a specific time in the Timeline, Program Monitor, Source Monitor, or Reference Monitor you can simply enter the time no punctuation e. But this does not work when the Effects Control panel has focus.
Note that if one or more clips are selected when using this technique, the clips are moved so that the in point of the first clip aligns with the entered time. I tried a variation on Lesson add a 5. With Reverb bypassed everything is fine; with Reverb enabled, there is no output.
Maybe Premiere is using the stereo version of Reverb rather than the 5. I would like to say thank you to the team of the author of this book. They have a done a great task to made this book for many people include me to learn premiere pro cs4.
I never have any experience with premiere pro or video editing software before reading this book. But after I have completed it within 2 months, I really feel confident to do any video editing. The book has the following pro: – The author who wrote this book using a simple word to explain.
Very easy to understand. If you are the beginner, this book is for you. For the cons of this book are: – The font are two small to read. I have a difficulty with my eyes to read the book in small font. But in my opinion, the theory should be divide in one section and the second section is practice. So it is easy for people spend the time to read all the concept then start doing the practice just one time. Instead of read the concept, practice and read the concept again.
If there is another book, this book should be tell read which book that they should read after they completed this book. But this book didn’t tell any other book for further reading. In summary, this book is target to the people who is hurry to learn the video editing in adobe premiere pro because its writing style was target to the beginner level whose want to learn its fast.
Even I have found some cons on this book, but I didn’t down grade it to 4 starts. I still give it 5 star because I found this book teach you a lot to get master on the complex software Good luck, Kanel. The lessons are all self contained and very easy to follow. The only problem I have with this book and other books in the series is the creative nature of the lessons.
While the skills and techniques that you learn can be applied to your own projects, you won’t create anything meaning through the course of this book.
Other training books like Derek Lea or Apple Pro Training Series allow you to create interesting and creative works over the course of each lesson, while the Adobe CIAB’s usually will just show you how to use the tools.
Overall it is a great learning tool and well worth the money. This book gives you the basics and is great for any beginner. Four Stars! Make no mistake about many of Adobe’s breakthrough visual products, they are difficult to master.
Contrary to popular, mastering visual arts is not any easier than mastering many complex scientific and technological studies. It’s just that our attitude toward mastering the arts is not based in any reality. Powerful applications like Premiere and Photoshop go beyond a “learning curve.
This book helps the user to wrap their head around the exceptional power and capability contained in Premiere Pro CS4. Some lessons build on preceding lessons; in those cases, a starting project file is provided for you for the second lesson or project.
About copying the sample movies and projects You will create and render one or more QuickTime movies in some lessons in this book. These files tend to be large, so you may not want to devote the storage space or time to copying all the sample movies before you begin. You cannot play movies from the DVD.
After you finish viewing the movie, you can delete it from your hard drive. Use these files for reference if you want to compare your work in progress with the project files used to generate the sample movies. These end project files vary in size from relatively small to a couple of megabytes, so you can either copy them all now if you have ample storage space, or copy just the end project file for each lesson as needed, and then delete it when you finish that lesson.
Some lessons build on projects created in preceding lessons; some stand alone. All of these lessons build on each other in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order.
In this book, some techniques and processes are explained and described in detail only the first few times you perform them. Many aspects of the After Effects application can be controlled by multiple techniques, such as a menu command, a button, dragging, and a keyboard shortcut.
The organization of the lessons is also design-oriented rather than feature-oriented. Classroom in a Book aims to give you confidence and skills so that you can start creating your own projects. Community Help is an integrated online environment of instruction, inspiration, and support. It includes custom search of expertselected, relevant content on and off Adobe. Community Help combines content from Adobe Help, Support, Design Center, Developer Connection, and Forums—along with great online community content so that users can easily find the best and most up-to-date resources.
Access tutorials, technical support, online product help, videos, articles, tips and techniques, blogs, examples, and much more. Visit www. Adobe certification The Adobe Certified program is designed to help Adobe customers and trainers improve and promote their product-proficiency skills. Adobe Authorized Training Centers offer instructor-led courses and training on Adobe products, employing only Adobe Certified Instructors.
For information on the Adobe Certified program, visit www. A basic After Effects workflow follows six steps: importing and organizing footage, creating compositions and arranging layers, adding effects, animating elements, previewing your work, and rendering and outputting the final composition so that it can be viewed by others. This lesson will take about an hour to complete.
The After Effects interface facilitates your work and adapts to each stage of production. When you are done, quit QuickTime Player. You may delete this sample movie from your hard disk if you have limited storage space.
You can do this with a simple keyboard shortcut. When prompted, click OK to delete your preferences file. After Effects opens to display an empty, untitled project. An After Effects project is a single file that stores references to all the footage you use in that project. It also contains compositions, which are the individual containers used to combine footage, apply effects, and, ultimately, drive the output.
The main window of the program is called the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone, as shown in the following figure. Composition panel E. Preview panel I. You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window.
As you rearrange panels, the other panels resize automatically to fit the window. When you drag a panel by its tab to relocate it, the area where you can drop it—called a drop zone—becomes highlighted. The drop zone determines where and how the panel is inserted into the workspace. Dragging a panel to a drop zone results in one of two behaviors: docking or grouping.
If you drop a panel along the edge of another panel, group, or window, it will dock next to the existing group, resizing all groups to accommodate the new panel.
If you drop a panel in the middle of another panel or group, or along the tab area of a panel, it will be added to the existing group and be placed at the top of the stack. Grouping a panel does not resize other groups. You can also open a panel in a floating window.
To do so, select the panel and then choose Undock Panel or Undock Frame from the panel menu. Or, drag the panel or group outside the application window. Press the key again to return the panel to its original size. You can use Adobe Bridge to search for, manage, preview, and import footage.
Shift-click to select the DJ. Then click Open. A footage item is the basic unit in an After Effects project. You can import many types of footage items, including moving-image files, still-image files, still-image sequences, audio files, layered files from Adobe Photoshop and Adobe Illustrator, other After Effects projects, and projects created in Adobe Premiere Pro.
You can import footage items at any time. As you import assets, After Effects reports its progress in the Info panel.
Choose Composition from the Import As menu, and then click Open. The footage items appear in the Project panel. Notice that a thumbnail preview appears at the top of the Project panel.
You can also see the file type and size, as well as other information about each item, in the Project panel columns. Instead, each footage item in the Project panel contains a reference link to the source files. When After Effects needs to retrieve image or audio data, it reads it from the source file. This keeps the project file small, and it allows you to update source files in another application without modifying the project. To save time and minimize the size and complexity of a project, import a footage item once and then use it multiple times in a composition.
In some cases, you may need to import a source file more than once, such as if you want to use it at two different frame rates. You create all animation, layering, and effects in a composition. An After Effects composition has both spatial dimensions and a temporal dimension time.
Compositions include one or more layers, arranged in the Composition panel and in the Timeline panel. Any item that you add to a composition—such as a still image, moving-image file, audio file, light layer, camera layer, or even another composition—becomes a new layer. Simple projects may include only one composition, while elaborate projects may include several compositions to organize large amounts of footage or intricate effects sequences.
To create a composition, you will drag the footage items into the Timeline panel, and After Effects will create layers for them. The New Composition From Selection dialog box appears.
In this example, all of the footage is sized identically, so you can accept the default settings. The footage items appear as layers in the Timeline panel, and After Effects displays the composition, named Bgwtext 2, in the Composition panel. When you add a footage item to a composition, the footage becomes the source for a new layer. A composition can have any number of layers, and you can also include a composition as a layer in another composition, which is called nesting.
Without layers, a composition consists only of an empty frame. Using layers, you can work with specific footage items in a composition without affecting any other footage. For example, you can move, rotate, and draw masks for one layer without disturbing any other layers in the composition, or you can use the same footage in more than one layer and use it differently in each instance. In general, the layer order in the Timeline panel corresponds to the stacking order in the Composition panel.
In this composition, there are five footage items and therefore five layers in the Timeline panel. Depending on the order in which the elements were selected when you imported them, your layer stack may differ from the one shown in the preceding figure.
From this point forward in the workflow, you should be thinking about layers, not footage items. After Effects includes tools that enable you to modify elements of your composition. Some of these tools—the Selection tool and the Hand tool, for example—will be familiar to you if you use other Adobe applications, such as Photoshop. Others will be new.
The following image identifies the tools in the Tools panel for your reference. Selection B. Hand C. Zoom D. Rotation E. Camera tools F. Pan Behind G. Mask and Shape tools H. Pen tools I. Type tools J. Brush K. Clone Stamp L. Eraser M. Puppet tools When you hover the pointer over any button in the Tools panel, a tool tip identifies the tool and its keyboard shortcut. A small triangle in the lower-right corner of the button indicates that one or more additional tools are hidden behind it.
Click and hold the button to display the hidden tools, and then select the tool you want to use. Now that your composition is set up, you can start having fun—applying effects, making transformations, and adding animation.
The easiest way to start is to apply any of the hundreds of effects included with After Effects. Working with duplicates lets you apply an effect to one layer and then use it in conjunction with the unmodified original. A new layer with the same name appears at the top of the stack, so the first two layers are now both named DJ. Then press Enter or Return again to accept the new name. Adding a Radial Blur effect The Radial Blur effect creates blurs around a specific point in a layer, simulating the effects of a zooming or rotating camera.
Notice that layer handles appear around the layer in the Composition panel. To return to the Composition panel, click the Composition tab. After Effects searches for effects and presets that contain the letters you type, and displays the results interactively.
After Effects applies the effect and automatically opens the Effect Controls panel in the upper-left area of the workspace. As you drag the cross-hair, the Center value updates in the Effect Controls panel. The left and right values are x and y coordinates, respectively. Center the blur at approximately , Dragging to change values is called scrubbing. Adding an exposure effect To punch up the brightness of this layer, you will apply the Exposure colorcorrection effect.
This effect lets you make tonal adjustments to footage. It simulates the result of modifying the exposure setting in f-stops of the camera that captured the image. This will make everything brighter in the layer to simulate an overexposed image. This keyboard shortcut displays only the Position property, which is the only property you want to change for this exercise.
Leave the y coordinate at You will move this layer to the right. Now you can see the three waveforms—left, center, and right—in the Composition panel, hanging like a beaded light curtain.
To contrast the left and right waveforms with the center waveform, you will reduce their opacity. It all looks great, but how about some movement? For this exercise, you will animate the Position property of a text layer using keyframes, and then use an animation preset so that the letters appear to rain down on the screen.
About the Timeline panel Use the Timeline panel to animate layer properties and set In and Out points for a layer. In and Out points are the points at which a layer begins and ends in the composition. Many of the Timeline panel controls are organized in columns of related functions. Time zoom slider F. Composition marker bin Before delving too deep into animation, it helps to understand at least some of these controls. The duration of a composition, a layer, or a footage item is represented visually in the time ruler.
On the time ruler, the current-time indicator indicates the frame you are viewing or editing, and the frame appears in the Composition panel. The work area start and end brackets indicate the part of the composition that will be rendered for previews or final output. When you work on a composition, you may want to render only part of a composition.
Do this by specifying a part of the composition time ruler as a work area. To move to a different time, drag the current-time indicator in the time ruler or click the current-time field in the Timeline panel or Composition panel, type a new time, and click OK.
For more information about the Timeline panel, see After Effects Help. This composition is the layered Photoshop file you imported. Two layers, Background and Title Here, appear in the Timeline panel. The Title Here layer contains placeholder text that was created in Photoshop. To display the flowchart, tap the Shift key when a Composition, Timeline, or Layer panel is active.
At the top of the Composition panel is the Composition Navigator bar, which displays the relationship between the main composition Bgwtext 2 and the current composition Bgwtext , which is nested within the main composition. You can nest multiple compositions within each other; the Composition Navigator bar displays the entire composition path.
Arrows between the composition names indicate the direction in which pixel information flows. Before you can replace the text, you need to make the layer editable.
A T icon appears next to the layer name in the Timeline panel, indicating that it is now an editable text layer. The layer is also selected in the Composition panel, ready for you to edit.
Then, type Substrate. Each footage item, layer, and composition in a project has its own duration, which is reflected in the beginning and ending times displayed in the time rulers in the Composition, Layer, and Timeline panels.
The way you view and specify time in After Effects depends on the display style, or unit of measure, that you use to describe time. Note that the figures are separated by semicolons in the After Effects interface, representing drop-frame timecode which adjusts for the real-time frame rate , but this book uses a colon to represent non-drop-frame timecode. To learn when and how to change to another system of time display, such as frames or feet and frames of film, see After Effects Help.
Press Shift after you start dragging to constrain the operation to the vertical axis. An orange diamond appears in the Position bar for the layer in the time graph, indicating the new keyframe.
A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated.
When you use keyframes to create a change over time, you must use at least two keyframes—one for the state at the beginning of the change, and one for the state at the end of the change. Press Shift to constrain the drag operation to the vertical axis. Your final Position values should be approximately , The blue lines at the top, bottom, and sides of the Composition panel indicate title-safe and action-safe zones. Television sets enlarge a video image and allow some portion of its outer edges to be cut off by the edge of the screen.
This is known as overscan. The amount of overscan is not consistent between television sets, so you should keep important parts of a video image, such as action or titles, within margins called safe zones.
Keep your text inside the inner blue guides to ensure that it is in the title-safe zone, and keep important scene elements inside the outer blue guides to ensure that they are in the action-safe zone.
Easing into and out of animations keeps the motion from appearing to be too sudden or robotic. As the text approaches its final position, it will ease to a smooth stop. The keyframe icon changes to an arrow. Applying an animation preset will bring it to life.
Remember, you can go to the time by dragging the current-time indicator or by clicking the Current Time field in the Timeline panel or Composition panel. The Effect Controls panel opens so that you can customize the Echo effect, which is a component of the animation preset.
The default settings are fine for this project. After Effects provides several methods for previewing compositions, including standard preview, RAM preview, and manual preview. For a list of manual preview controls, see After Effects Help. All three methods are accessible through the Preview panel, which appears on the right side of the application window in the Standard workspace.
Using standard preview Standard preview commonly called a spacebar preview plays the composition from the current-time indicator to the end of the composition. Standard previews usually play more slowly than real time. The number of frames played depends on the amount of RAM available to the application. In the Timeline panel, RAM preview plays either the span of time you specify as the work area, or from the beginning of the time ruler. Before you preview, check which frames are designated as the work area.
When all of the frames in the work area are cached, the RAM preview plays back in real time. You can control the amount of detail shown in either the standard or RAM preview by changing the resolution, magnification, and preview quality of your composition.
About OpenGL previews OpenGL provides high-quality previews that require less rendering time than other playback modes. It provides fast screen previewing of a composition without degrading resolution, which makes it a desirable preview option for many situations. When OpenGL does not support a feature, it simply creates a preview without using that feature. For example, if your layers contain shadows and your OpenGL hardware does not support shadows, the preview will not contain shadows.
Complex compositions can require a large amount of memory to render, and the rendered movies can take a large amount of disk space to store. Otherwise, you can just save it, and continue getting acquainted with the After Effects workspace. Customizing the workspace In the course of this project, you may have resized or repositioned some panels, or opened new ones. As you modify the workspace, After Effects saves those modifications, so the next time you open the project, the most recent version of the workspace is used.
You can save any workspace configuration, or use any of the preset workspaces that come with After Effects. These predefined workspaces are suitable for different types of workflows, such as animation or effects work.
You can also change workspaces using the Workspace menu at the top of the window. The Paint and Brushes panels open. The Composition panel is replaced by the Layer panel, for easy access to the tools and controls you need to paint in your compositions. If a project with a custom workspace is opened on a system other than the one on which it was created, After Effects looks for a workspace with a matching name.
Controlling the brightness of the user interface You can brighten or darken the After Effects user interface. Changing the brightness preference affects panels, windows, and dialog boxes. You can click Default to restore the default brightness setting. Finding resources for using After Effects For complete and up-to-date information about using After Effects panels, tools, and other application features, visit the Adobe website.
To search for information in After Effects Help and support documents, as well as other websites relevant to After Effects users, simply enter a search term in the Search Help box in the upperright corner of the application window.
You can narrow the results to view only Adobe Help and support documents, as well. For additional resources, such as tips and techniques and the latest product information, check out the Adobe Community Help page at community. For more up-to-date information, view the Help files online or download the current PDF for reference. You can easily obtain these updates through Adobe Updater, as long as you have an active Internet connection. The Adobe Updater automatically checks for updates available for your Adobe software.
Select how often you want Adobe Updater to check for updates, for which applications, and whether to download them automatically. Click OK to accept the new settings.
Review answers 1 Most After Effects workflows include these steps: import and organize footage, create compositions and arrange layers, add effects, animate elements, preview your work, and export the final composition. An After Effects composition has both spatial dimensions and time.
Compositions include one or more layers—video, audio, still images—arranged in the Composition panel and in the Timeline panel. A standard preview plays your composition from the current-time indicator to the end of the composition, usually more slowly than real time. A RAM preview allocates enough RAM to play the preview with audio as fast as the system allows, up to the frame rate of the composition.
You can drag panels to new locations, move panels into or out of groups, place panels alongside each other, and undock a panel so that it floats above the application window. As you rearrange panels, the other panels resize automatically to fit the application window. In this lesson, you will continue to learn the basics of the Adobe After Effects project workflow. You will animate the newscast ID so that it fades to become a watermark that can appear in the lower-right corner of the screen during other TV programs.
You can use them to create great-looking animations quickly and easily. When you begin the lesson, restore the default application settings for After Effects. When asked whether you want to delete your preferences file, click OK. After Effects opens to display a blank, untitled project. However, After Effects also offers another, more powerful and flexible way to import footage for a composition: using Adobe Bridge. You can use Adobe Bridge to organize, browse, and locate the assets you need to create content for print, the web, television, DVD, film, and mobile devices.
You can drag assets into your layouts, projects, and compositions as needed; preview assets; and even add metadata file information to assets to make files easier to locate.
In this exercise, you will jump to Adobe Bridge to import the still-image file that will serve as the background of your composition. If you receive a message about adding an extension to Adobe Bridge, click OK. Adobe Bridge opens, displaying a collection of panels, menus, and buttons. Click the arrows to open nested folders.
You can also double-click folder thumbnail icons in the Content panel. The Content panel updates interactively. Information about the file, including its creation date, bit depth, and file size, appears in the Metadata panel. Alternatively, you can drag the thumbnail into the Project panel in After Effects. Adobe Bridge returns you to After Effects when you place the file.
In Lesson 1, you created the composition based on footage items that were selected in the Project panel. You can also create an empty composition, and then add your footage items to it. This preset automatically sets the width, height, pixel aspect ratio, and frame rate for the composition to NTSC standards.
The foreground object is a layered vector graphic that was created in Illustrator. The Illustrator file is added to the Project panel as a composition named 5logo. A folder named 5logo Layers also appears. This folder contains the three individual layers of the Illustrator file. You should now see both the background image and the logo in the Composition panel and in the Timeline panel. The composition opens in its own Timeline and Composition panels.
Leave all other options in the Character panel at their defaults. Leave all other options in the Paragraph panel at their defaults. Notice that when you switch to the Selection tool, the generic Text 1 layer name in the Timeline panel changes to NEWS, the text you typed. This will apply the effect to all of the layers nested in the 5logo composition. Effects that are turned off do not appear in the Composition panel and typically are not included when the layer is previewed or rendered.
By default, when you apply an effect to a layer, the effect is active for the duration of the layer. However, you can make an effect start and stop at specific times, or make the effect more or less intense over time. However, when you apply an effect to an adjustment layer, the effect is applied to all layers below it in the Timeline panel.