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This will place a cursor in the field next to Make Subclip…. Press the number 0 zero on the top row of keys above the letters O and P to enter this value as the keyboard shortcut for Make Subclip Click on OK or press the Enter key to close this window.

You are now ready to go. Proceed to the next section of this task, where you will use these shortcuts to create subclips from your video files. You\’ll now bring in your media and create subclips from longer video clips:. If you are still in the Audio Bin file, click on the Up One Level folder button in the upper-left corner of the Project panel to move to the main Project panel.

Open the Video Bin file inside the Project panel by holding down the Ctrl or command key, and double-clicking on the Video Bin file. Here, you should find all the video files you copied across at the start of this project. Click on any file in the browser window to select it, then with the Ctrl or command key held down, click on each file you want to include in your project.

Now you need to start slicing up the larger files large is relative when it comes to creating a montage sequence. Begin by double-clicking a long file in your Bin folder to send it to the Source window. Use L to play forward until you find a point where you would like a clip in your montage to begin, and press K to stop playback at that point.

Pressing the L key during playback will play your clip back at a faster rate. To slow it back down again, press J. Hold down both K and L to play forward at roughly eight frames per second, or alternatively, hold down just the K key, and press and release L to move forward one frame. You can also use the left and right arrow keys to step forward or backward a single frame at a time. Combine this with the Shift key to step forward or backwards in advancements of five frames. Once you have identified the start of your subclip, press the keyboard shortcut I to set an In point.

Repeat step 7 to find the Out point for this subclip, but this time use the keyboard shortcut O to set the Out point. There is no hard-and-fast rule for montage clip duration, but typically subclips are around 5 to 10 seconds long, depending on content. Don\’t worry if your clip is slightly longer or shorter than this; you will be given the chance to correct this later in the project.

Useful though they are, a problem that can occur with subclips is that of insufficient media handles. This problem will be dealt with later in this project. For now, simply put a Media Handle is the extra space padding at the start and end of a clip used by transitions on the Timeline. Don\’t worry if this doesn\’t mean anything to you right now. You can now create the subclip by using the keyboard shortcut you set at the start of this section the 0 key above the letters O and P.

Give your subclip a logical name, one that makes sense later in the edit process and press Enter to save this subclip to your currently active Bin file. Repeat steps 6 through to 10 to create all the subclips you need for your montage. Avoid naming your subclips Clip A or Clip 1A , as this can lead to confusion when you come to place them on the Timeline. In this task, you learned how to create a brand new keyboard shortcut, divided your clips up into manageable lengths, and once again allowed yourself to work to a frame level of accuracy using the keyboard.

I and O : These keys set In or Out points of your subclip. J or L multiple times : These keys fast rewind and fast forward your clip; use the opposite key to slow it back down again.

Subclips serve only as proxy markers to the main media file. Those proxy markers exist in the mind of Premiere Pro CS6 and indeed a temporary version can be found somewhere inside the application\’s inner sanctums ; but, the original file remains intact and creating a subclip has no permanent effect on the original video clip. However, you can use these subclips in another Premiere Pro project simply by importing that project into your current one.

Choice is as much about rejection as it is about selection. In this section, you\’ll review your image choices inside a maximized Project panel, then copy and paste your final selection across to a new bin the Montage Bin file. You\’ll finish this section by doing the same with your selection of subclips created in the previous task. Create a final selection of your clips by following these steps:.

It\’s time now to select and reject the media needed for your video montage. Browse to your Images folder on your designated video drive and import your images. With the Project panel at its maximum size, make sure the Icon view is selected lower-left corner of the Project panel and review images for duplications or images that say nothing new in comparison to the other images.

You can expand the size of the icons by using the Zoom tool at the lower-left corner of the Project panel. Press Enter , and then Esc to exit the rename function. Repeat steps 3 through to 9 for the video subclips stored in your Video Bin folder, so you have only your chosen subclips and chosen images in the Montage Bin file. See Classified Intel at the end of this task for information on how to review video clips inside the Project panel. Close the Montage Bin file when you are finished by clicking on the red cross in the upper-right corner of the window.

At the end of this task, you should now have all the assets you want to include in your montage saved to one specific Bin. This is important as it will allow you to quickly and easily automate these clips to the Timeline in the next task; however, you need to be sure that only those clips you want to include are added to this Bin.

You can add more at a later point if you want to, and subtract some, of course, but you will be making life easier for yourself by only copying across the bare minimum at this stage in the project. The new keyboard shortcuts covered in this task are as follows:. To review video clips in a project Bin , place your mouse cursor over the video clip and move it left or right to invoke hover scrub, a new feature in Premiere Pro CS6.

Click inside the icon if you would like to review and even adjust the In and Out points of that clip or subclip. You are now in a position to create a rough running order of your montage. You\’ll do this first in the project Bin , using hover scrub to check the clips\’ content and by moving the clips physically about the bin folder. You will then automate the clips to the Timeline, so they appear at the markers you created in the Music Markers Matter section of this chapter.

Confirm whether it is the active panel by looking for the gold border. With the Ctrl or command key held down, open the Montage Bin file by double-clicking on it.

If icons are not already displayed, click on the Icon View button in the lower-left corner of the Project panel. Adjust the size of the icons using the zoom slider to the right-hand side of the Icon View button. Bigger is better, but ideally all icons would be visible in the panel without scrolling. Select the clip you have chosen to display first on your Timeline, either image or video, and place that in the upper-left corner of the panel by dragging it with the mouse.

When you automate clips from a Bin file, Premiere Pro CS6 will place clips on the Timeline in the order they appear in the bin. The first clip will be the one in the upper-left corner of the bin; the second clip will be the one to its immediate right. Repeat step 5 with all other video and image clips until you have a rough running order inside your Project panel. When you have completed your rough running order, remove any unused clips from the Bin file by clicking on each one and pressing the Delete key.

Use the mouse or the left arrow key to move it there. Click on the Automate to Sequence button found in the lower-right area of the Project panel. Deselect Ignore Audio if you would like to include the audio from your clips in the Bin: Montage tab. You can always mute them later if you change your mind, as shown in the following screenshot:. Click on OK or press Enter on the keyboard to send your clips automatically to the Timeline and aligned with your markers.

If you want an image file or a subclip to appear more than once in your montage, right-click on it and select Duplicate from the context menu fifth down on the list. You have now created a montage using the Project panel to create a rough running order and the Automate to Sequence function to dump that running order onto the musical markers you created earlier in this project.

The steps to get here may have seemed somewhat longwinded, but the next time you attempt this, you should find your workflow speed increased significantly. It\’s a simple yet deceptively powerful method of creating a montage, one of the most used tools to gain the immediate attention of an audience.

Automate to Sequence is a longstanding feature of Premiere Pro but one that few people seem to realize exists. It has a few quirks, such as it only works with unnumbered markers that are placed on the Timeline rather than markers placed on the clip in the Source panel. However, it is a great timesaver for creating montages, as the only alternative would be to add each clip to the Timeline, one at a time, until you are done.

Not so bad for a second montage, but somewhat more arduous for a 3 or 4 minute venture using 40 or 50 images and video clips. You\’ve now reached the stage where you need to make some important creative decisions about the timing of each edit point, known as edit decision points. You will also make use of the shortcut keys J , K , and L that you have used in previous tasks.

Play back the sequence by hitting the L key. Play the sequence back several times to get a feel for the timing; ignore any gaps in the playback at this point in the task. Once you have an idea of how you want to improve your edit, stop the play back by hitting the K key and move onto the next step.

You will have probably spotted gaps in the playback shown as a black screen. This is caused by the duration of a clip being insufficient to fill the gap between the beat markers. First of all, find a place where both files on either side of the gap are image files. You can paste the lists of keyboard shortcuts from the Keyboard Customization dialog box into a text document, like a spreadsheet, from which you can print.

The advantage of the copy and pasting method is that you can view your customized keyboard shortcuts, as well. If you select Final Cut Pro, Avid Media Composer, or Custom keyboard shortcuts, then those keyboard shortcuts are the ones that are printed.

Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. Visual keyboard layout for assigning keyboard shortcuts. Premiere Pro detects the keyboard hardware and the appropriate keyboard layout is displayed accordingly. When Premiere Pro detects a non-supported keyboard, the default view is to display the U. English keyboard. By default, the Adobe Premiere Pro Default preset is displayed. When you change a shortcut, the preset pop-up menu gets changed to Custom.

After you make the required changes, you can choose Save As to save the customized shortcut set as a preset. Color coding. Keys shaded in purple are application-wide shortcuts. Keys shaded in green are panel-specific shortcuts. Keys shaded in both purple and green represent the panel commands that have been assigned to keys that also have an application command already assigned to them. Application shortcuts and panel shortcuts. Commands can be assigned for application shortcuts and command shortcuts.

Application shortcuts function regardless of panel focus with some exceptions and panel shortcuts function only when the panel is in focus.

Certain keyboard shortcuts work only in specific panels. This means that you can have more than once shortcut assigned to the same key. You can also make use of the pop-up window that shows only a certain batch of panel shortcuts for example, only for the timeline. When a Panel Shortcut has the same assigned shortcut as an application Shortcut, the application shortcut does not function when that panel has focus. You can search for commands in the Command List, which is filtered by the search criteria.

You can also assign shortcuts by clicking in the shortcut column and tapping keys on their keyboard to create the shortcut including adding modifiers. A warning indicating a shortcut conflict appears when: An application shortcut already in use by another application shortcut. A panel shortcut is already in use by another command in the same panel. A panel shortcut overrides an application shortcut when that panel has focus.

I have to shut down Premiere and open it up again, then it works for a few minutes again, and then the same problem occurs. Please help! Or you can hold Shift, and use the Left and Right arrows to move 5 frames at a time.

Zooming in and out on your timeline is important to fine-tune your edit and make precise cuts. This is great for quickly previewing your edit full screen. This also works great for getting a closer look at any other window on a laptop. This will make it easier to add keyframes or see the thumbnail of your video track. This will show you a better look at the audio waveform and will make automating levels with keyframes much easier to dial in.

With the selection tool, holding down Shift will allow you to select multiple clips. This is handy to adjust the settings on multiple clips, copy and paste multiple clips, or even shift multiple clips in your timeline. This works for audio and video tracks, too. To duplicate an audio or video clip, hit Option and then click and drag.

This will create a copy of the clip for you to place anywhere in your timeline. This shortcut will become your best friend. This is super helpful to really fine-tune the timing of an edit. This is super helpful for making L cuts or just quickly unlinking your audio and video tracks. This breaks the link between audio and video tracks so you can individually move, copy, or delete them. This is a great little shortcut for getting to the gain control panel quickly.

You can boost or lower the decibels dB on an audio track by selecting the track, hitting G, and then punching in how many dBs you want to raise or lower it by. Edit the clip into the Timeline. Double click the clip to load it into the Source Monitor.

Cue to an In point or Out point. Cue to the previous or next edit. Remove source clip In point or Out point. To open it in the Source Monitor, double-click a clip in the Project panel. Timeline trimming. Selecting edit points. Selecting edit points with the mouse. To select an edit point on the Timeline, click with the mouse to position the playhead.

Using modifier keys with trim tools. Only one clip in the linked selection is selected. Use the Shift modifier key to add or remove other edit points to the current selection. You can combine both the Alt Windows or Option Mac OS key and Shift to ignore linked clip selection while adding or removing other edit points from the current selection. If the preference is checked, then the use of the modifier key is inverted. Trimming in Timeline gaps.

Regular Trim: This technique works the same as selecting the clip side of the edit point for the opposite direction. For example, selecting a Trim Out on the right side of an empty gap is equivalent to selecting the Trim In of the adjacent clip. Rolling Trim: If one side of the edit point is an empty gap then it behaves the same as a regular trim. Ripple Trim: Trimming the gap would move the edit point and shift all trailing clips.

Trimming the gap includes the adjacent clip, in a different position but with its In point remaining the same. Trim type context menu.

Select multiple edit points. Keyboard shortcuts for edit point selection. Performing a Timeline trim. Trims can be performed in the Timeline three different ways: The edit points can be dragged with the mouse to a new position in time.

Keyboard shortcuts can be used to trim all selected edit points to the right or the left by one or more frames. Trim by dragging with the mouse. Trim with keyboard shortcuts. Trim with numeric keypad entry. Trim with the selection tool. Click the selection tool and do one of the following:. To edit the In point, drag the left edge of the clip once the Trim-in icon appears.

To edit the Out point, drag the right edge of the clip once the Trim-out icon appears. As you trim with the Selection tool, a gap in the Timeline is left behind. To trim multiple edit points at once or to shift adjacent clips, see Making ripple and rolling edits in the Timeline and Make slip and slide edits. Trim with the playhead. Making ripple and rolling edits in the Timeline. About ripple and rolling edits.

Rolling edit. Ripple edit. Make a rolling edit using the Rolling Edit tool. Select the Rolling Edit tool. Make rolling edits extend edits with the playhead. Make a rolling extend edit to the playhead.

Click a track header to target the track containing the clip you want to trim. Click the Rolling Edit tool, and then select the edit point. Make a ripple edit using the Ripple Edit tool. Select the Ripple Edit tool. Make slip and slide edits. Make a slip edit. Select the Slip tool. Position the pointer on the clip you want to adjust, and drag left to move the In and Out points later in the clip, or drag right to move the In and Out points earlier in the clip.

Keyboard shortcuts to slip a clip. Keyboard shortcut. Slip clip selection left five frames. Slip clip selection left one frame. Slip clip selection right five frames. Slip clip selection right one frame. Make a slide edit. Select the Slide tool. Position the pointer on the clip you want to adjust, and drag left to move the Out point of the preceding clip and the In point of the following clip earlier in time, or drag right to move the Out point of the preceding clip and the In point of the following clip later in time.

Keyboard shortcuts to slide a clip. Slide clip selection left five frames. Slide clip selection left one frame. Slide clip selection right five frames. Slide clip selection right one frame. Nudging clips. Nudge clip selection 5 frames to the left.

Nudge clip selection 1 frame to the left. Nudge clip selection 5 frames to the right. Nudge clip selection one frame to the right. Making split edits. Work in trim mode. Trim mode interface. Entering trim mode. Reviewing trims. Trim mode playback looping. J-K-L dynamic trim. Refining Trims in trim mode.

 
 

 

Solved: high speed scrubbing (cs6) – Adobe Support Community –

 

Morph Cut is a video transition in Premiere Pro that helps you create more polished interviews by smoothing out jump cuts between sound bites. A common challenge that comes with editing footage with a \”talking head\” is that the subject can stutter, make frequent use of \”umms\” , \”uhs\” , or unwanted pauses.

All of which keep you from having a clean, continuous sequence without the use of jump cuts or cross dissolves. Now, you can effectively clean interview dialog by removing unwanted portions of a clip and then apply the Morph Cut video transition to smooth out distracting jump cuts. You can also use Morph Cut to effectively rearrange clips in your interview footage to ensure a smooth flow without any jumps in visual continuity. Morph Cut uses an advanced combination of face tracking and optical flow interpolation to create a seamless transition between clips.

When used effectively, a Morph Cut transition can be so seamless that it looks as natural as shooting the video without unwanted pauses or words that can break the narrative flow.

Important: For best results, apply Morph Cut to fixed shots that have a single talking head and a static background. You can remove clips from your sequence in different ways, like lift and extract, delete, and ripple-delete. To see how you can do it in different ways, see this video tutorial. To avoid lip sync problems, apply Morph Cut between places where the last or first words of the speech peak.

You can also use audio waveforms to help identify areas with a natural pause and make your cuts there. After you apply the Morph Cut effect, analysis of the clip begins immediately in the background.

As analysis begins, an \”Analyzing in background\” banner displays within the Program Monitor indicating that analysis is occurring. After analysis is complete, a symmetrical transition is created, centered at the edit point.

The transition duration matches the default of 30 frames specified for Video Transition Default Duration. You can change the default duration using the Preferences dialog. If the lip movements and voice are not exactly in sync or the results are not satisfactory, change the In and Out points or adjust the duration of the transition. Every time you make changes to a selected Morph Cut, or even undo a change, Premiere Pro retriggers a new analysis.

However, you don\’t need to delete any previously analyzed data. When you apply Morph Cut, a transition is created using default settings. You can fine-tune the transition using the Effect Controls panel or Timeline. The following controls in the Effect Controls panel help you adjust the duration of the transition and align it accurately. To change the default transition before applying a transition, use the Preferences dialog. To change the duration of a transition after applying a transition, enter a new duration in the Duration field in the Effect Controls panel.

Aligns the transition to be automatically centered on the edit point between the two clips with the Center At Cut option selected.

For finer control, you can drag the transition slightly left or right in the Effect Controls Timeline. Premiere Pro then creates an asymmetrical transition that is not centered on the edit point.

For more information on modifying transitions using the Effect Controls panel, see Modifying and customizing transitions. To change the duration of the transition, double-click the transition in a Timeline panel and enter the new duration in the Set Transition Duration dialog.

You can also lengthen or shorten the transition by dragging the edges of the transition as desired. When you apply Morph Cut to a clip that does not contain a talking head, you see a failure message that says \”Analysis Failure: Couldn\’t find face in input video\”.

Morph Cut can be applied only on fixed shots that contain a well-framed talking head against a static background. Morph Cut uses a face tracker to analyze video footage and find the most prominent face in the video. If there are multiple faces, it can confuse the face tracker and result in Morph Cut blending one face with the other in the transition. This can cause a blotchy frame, which is best avoided. Morph Cut works best on a static background. If there is more than one background to analyze, the result is a blotchy frame.

However, you can have minimum background movement, like a tree blowing in the wind. Morph Cut is designed to seamlessly transition between two similar shots. Given this focus, Morph Cut may not look right when applied to a clip that has different effects applied on both sides of the edit point. For a complete list of best practices, see this article. Legal Notices Online Privacy Policy. Buy now. User Guide Cancel.

What is Morph Cut? Apply Morph Cut. Set In and Out points on the Timeline to select the part of the clip that you want to remove.

Repeat this step for all portions of the clip that you want to remove. You are free to work with the footage or elsewhere in the project while the analysis occurs. A typical transition duration that works well is about frames. Fine-tune transition. Modify transition using Effect Controls panel The following controls in the Effect Controls panel help you adjust the duration of the transition and align it accurately. The default duration of a video transition is 30 frames. Modify transition using the Timeline.

Zoom into the Timeline so that you can clearly see the transition. Applying Morph Cut to more than one talking head results in a blotchy frame. Here are some tips that can help you get good results: Morph Cut works best with shorter transitions and similar head placement on either end of the cut. Morph Cut performs best if there are few hand or face movements to interpolate. After the initial application of Morph Cut, adjust the duration and symmetry of the transition as needed.

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