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ISBN 0-536-90411-1
2004200352
JC
Introduction
About the Book ................................................................................................................................................ix
Conventions Used in the Book ..................................................................................................................... x
Chapter 3—Lighting
3.1 Lighting a Scene.................................................................................................................................... 3.3
3.1.1 Characteristics of Light ...........................................................................................................3.4
3.1.2 Three-Point Lighting System..................................................................................................3.6
3.2 Controlling the Light.......................................................................................................................... 3.10
3.2.1 Controlling Intensity..............................................................................................................3.10
3.2.2 Controlling the Direction.......................................................................................................3.13
3.2.3 Balancing Color Temperature...............................................................................................3.14
Summary.................................................................................................................................................... 3.16
Lab Exercises............................................................................................................................................. 3.17
Exercise 1 ........................................................................................................................................3.17
Glossary....................................................................................................................................................... G.1
Index ..............................................................................................................................................................I.1
ix
Each topic begins with objectives that inform learners about the
learning outcome of a topic.
In addition, you will come across italicized text that represents newly introduced terms.
At the end of this chapter, you will be able to: 1.1 World of Films
• Trace the evolution of different media in filmmaking.
• Identify the types of films. 1.2 The Language of
• Identify the components of a script.
Films
• List the tools required to tell the story of a film.
1.3 Filmmaking Process
• List the phases involved in making a film.
• Identify the tasks involved in each phase of filmmaking.
A few years later, in 1834, William Horner invented a device called a zoetrope. In a
zoetrope, a sequence of pictures is pasted on the inside wall of a cylindrical drum. The
By the end of the 19th century, Thomas Edison had invented a kinetoscope. A
kinetoscope uses a sequence of pictures in the form of a 56-foot filmstrip. A lamp is
positioned behind the filmstrip to project the picture onto a screen. A motor is used to
move the filmstrip in quick succession. However, only one person can view this film at
a time because the kinetoscope has only one aperture, at the top. This device was the
earliest prototype of the modern day movie-theater projector. Figure 1.3 displays a
kinetoscope.
The Lumiere brothers developed the first movie camera, or cinematographe, in 1895.
The cinematographe can record and project images. A cinematographe is similar to a
kinetoscope but differs in size. A kinetoscope is a large cupboard-sized machine, but a
cinematographe is much smaller. This device was portable and soon became popular,
leading to the beginning of the era of motion pictures.
The first film shot by the Lumiere brothers was the “The Arrival of a Train at the
Station” (1895). It is said that the audience started to scream and rush out of the
room.
Filmstrips were soon used to project small entertainment sequences, which developed
into films that had stories running into an hour or more. In the 1920s, sound and
storyline were added to movies, and the silent movies became talkies. The 1960s and
1970s saw rapid development of filmmaking for mainstream cinema. Today’s movie
theaters use a high-definition film projection that displays images larger than life. In
addition, multiple-channel digital soundtracks give the experience of stereo surround
sound, which creates the feeling of sound coming from all directions in the movie
theater.
Television
Today, it has become difficult to imagine life without television programs beaming
round-the-clock into our homes and workspaces. However, television is a recent
phenomenon compared to motion pictures. Television broadcasts live events, news, and
other entertainment programs.
Television is based on the concept of converting light signals into electrical signals and
electrical signals back into light signals. J.L. Baird developed the first television in 1926.
A television camera converts a visual image into an electrical signal. These signals are
recorded and transmitted through space as electromagnetic waves. A television set
receives these electromagnetic waves through the antenna and converts them back into
electrical signals, which can then be seen as visual images on the television screen.
The television set is also called the tube because the main part of a television set is
the picture tube, or the cathode ray tube (CRT), which converts the received signals
into visuals that appear on the screen.
Fiction Films
Fiction films narrate an imaginary story. Cinema or television actors perform these
stories in artificially created environments known as sets. The stories that fiction films
tell can be based on original ideas or on earlier works of literature. Fiction is by far the
most-popular and most-watched type of film. Fiction in mainstream cinema can be
further categorized into genres or types based on similarities of theme, content, and
audiovisual styles. Some of these genres include action, romance, horror, science
fiction, and period films.
Action films typically have a fast-paced storyline and include plenty of stunts, fights,
and chase sequences such as those in James Bond movies. Romantic films revolve
around love themes, and the mood is accentuated with the use of music and soft
lighting. Well-known romantic movies made in Hollywood are Love Story and Roman
Holiday. Science fiction films feature speculative scenarios based on scientific and
technological developments. These films may narrate a story that takes place in far-off
galaxies, perhaps in another millennium, and depict fantastic technology that exists only
in the imagination.
Fiction forms a significant part of modern-day television programming. However, the
segmented nature of television programming has created some new genres that are
unique to television. Some of these genres are television series, music videos, and
advertising commercials. Television series are usually 30-minute to hour-long films that
are structured in the form of episodes. Music videos are short films that picturize the
music of pop, rock, and other musical bands. Music videos have a unique aesthetic style
with quick cuts and stylized visuals and have also set trends in the use of extensive
computer graphics. Commercials are extremely concise, with durations usually ranging
Non-Fiction Films
Non-fiction films present factual information about their subject matter and are often
made without the use of actors or sets. The primary aim of these films is to present
reality in an interesting way, without distorting facts or relating an imaginary story. The
subject matter of these films may be historical, cultural, scientific, biographical, or
geographical. Non-fiction may also deal with current events. Categories in non-fiction
filmmaking include biographies, documentaries, news, and training videos. Biographies
are staged like a fictional film but are based on the life of a real person. Documentary
films record aspects of real life. In documentary filmmaking, nothing is staged before
the camera, and the role of the cameraman is very significant. Documentary films cover
a large spectrum of issues related to science, geography, people, and wildlife.
Television has usurped much of the role of the traditional newspaper. Twenty-four-hour
news channels use satellites to bring world news instantly, long before the newspaper
arrives in the morning. Electronic news gathering (ENG) is the system deployed by
news agencies. In this system, news channels post their correspondents all over the
world. The correspondent reaches the place where an incident or an event is taking
place and reports the latest news. News features are extensive reports on a particular
issue or an incident. News features are crisp, sharp, and to the point.
Training videos are used widely in education, industrial training, and in the corporate
world. These films impart knowledge and skills in specialized subjects. Training videos
help institutions to cut costs by eliminating the need to take large teams on site to train
them.
To read scripts of famous Hollywood movies, visit the following Web sites:
http://www.screentalk.org
http://screenwriting.about.com
A complete script consists of many scenes. Each scene is a subunit of the script and
consists of a sequence of events that take place in the same setting. The sample script
shown in Figure 1.4 is a complete scene. It opens with Debbie’s discovery of a
You will learn more about the different types of shots in the next chapter, “Camera
and Composition.”
1. A wide shot of Debbie’s kitchen. Debbie and Ken 2. Debbie’s hand reaches out for the refrigerator
are seated at the kitchen table. Debbie gets up from handle and she pulls the door open.
the kitchen table and turns around toward the
refrigerator.
7. The kitchen door opens, cutting off Debbie's 8. Full shot of Tim (from Debbie’s point of view). Tim
sentence. Tim is shown entering the kitchen. stops and immediately takes his hands to his back,
hiding something.
9. Wide shot taken from Tim’s back. Debbie, Tim, 10. A close shot of Tim. Tim has a scared look. He
and Ken in focus (Ken is sitting at the table). Debbie looks at Debbie with his eyes wide open.
puts the plate on the table and bends down toward
Tim and says, “What is it, Tim, that you are hiding?”
Sound Equipment
Film is an audiovisual medium, and sound plays an important role. To observe the
importance of sound, play back a riveting sequence from any film with the audio turned
off. A good example would be a chase sequence from a film such as “The French
Connection.” Without the soundtrack, the sequence loses much of its effect.
Sound equipment include the microphones, audio control devices such as mixers, and
audio recording devices such as digital audio tape (DAT) and compact disc (CD)
recorders.
The audio in a film is recorded from various sources and should be carefully
controlled and blended to remove noise and distortion from audio. Audio control
devices, such as the mixer, help you control audio levels and distortion.
Depending upon the direction from where a microphone can pick up sound,
microphones are categorized as:
Unidirectional microphones: Capture sound emanating from one particular
direction only. This helps cut off all unwanted sound at the filming location and lets
you concentrate on the sound that is relevant to the film. For example, you can use
these microphones to record a scene with a single person standing in his backyard.
The unidirectional microphone records this person’s voice clearly but leaves out the
sound of the dogs barking down the lane, and that of the cars passing on the nearby
highway.
Unidirectional Bidirectional
Omnidirectional
Creating a Budget
You need to work out a budget to assess the monetary requirements for completing the
project and compare the requirements with your existing resources. The available funds
have to be put to optimum use during the filmmaking process. You need to find
alternate options for parts of the script that have expensive shooting requirements that
you cannot afford. Budgeting is important and should consider even minute details.
Producer Gets the finances for the film and handles all the monetary aspects of
filmmaking
Cinematographer Translates the vision of the director into visuals using camerawork and
lighting
Sound recordist Records the dialogues, atmospheric sound, and sound effects
Art director Supervises the construction of the sets at the location of the shoot and
looks into the design aspects, such as the props and color schemes in a
scene
Editor Edits the raw footage and puts together the final product
Casting director Helps match the cast requirements with appropriate actors who fit the
roles
Table 1.1: Roles and Responsibilities of People Involved in the Making of a Film
Designing Costumes
Different films require different types of costumes. For example, the costumes for a film
set in contemporary times can be normal daywear clothes. On the other hand, a period
drama may require specific costumes to be designed. After the costumes are decided on,
they become a part of the inventory for the duration of the shoot.
Identifying Locations
Locations for every scene must be decided well in advance and can be a
time-consuming exercise. Before finalizing a location, you must ascertain the feasibility
of conducting a shoot at the location. You must obtain permission to film at the
location. You need to also identify alternative locations.
Determining Logistics
Formulate a detailed list of equipment required for the film. The equipment has a direct
bearing on the budget. For example, you need to choose a single camera or a multiple
camera shoot depending on the requirements and budgetary constraints. Decide whether
you will buy or rent equipment. Often, to keep the cost of the film low, much of the
equipment for the shoot is rented.
Performing Rehearsals
You need to hand out scripts in advance to the cast, to prepare for the shoot. Rehearsals
help achieve good results and meet deadlines for the project. During rehearsals, a
director hones the acting skills of his cast and fleshes out details of the characters. In
musicals, rehearsals are especially critical because the movements of many dancers
have to be carefully choreographed and synchronized.
Adding Sound
After the raw footage is transferred to the hard disk of the computer, sound needs to be
added to the film. This involves adding and mixing dubbed voices, sound effects, and
music.
Lab Exercises
Trace the evolution of different media in filmmaking.
Identify the types of films.
Identify the components of a script.
List the tools required to tell the story of a film.
List the phases involved in making a film.
Identify the tasks involved in each phase of filmmaking.
Exercise 1
Problem Statement
Write a script of 10 shots on any of the following:
Murder mystery
Advertising commercial for a mobile phone
Use the table provided to perform the exercise.
Hints
Take up one shot at a time.
In the first column, write down the person or object involved in a shot.
In the second column, mention the action occurring in the shot.
In the last column, specify the dialogues or sound effects required in the shot. For
example, in the script for the commercial for a mobile phone, you can mention the
sound of the ring tone of the mobile phone.
1.
2.
3.
4.
5.
6.
Lab Exercises
8.
9.
10.
Observations/Learning
Yes No
Lens
To understand the functionality of a camera lens, consider the analogy of the human
eye. To see anything, the human eye needs light. When light strikes an object, light
reflects from the surface of the object and enters the eye. The human eye has a retina, a
lens, and an iris. The iris allows the required amount of light to pass through the lens.
The lens, in turn, converges this light to form an image on the retina. You can detect the
shape and texture of an object by the manner in which the object reflects light into the
eye. You can see a bright patch, known as a highlight, in the spot from where a large
amount of light is reflected into the eye. You can see a dark area, or a shadow, from the
spot where less light is reflected. It is through this combination of light and shadow that
you distinguish the shape and texture of any object.
CCD
A video camera uses a lens to focus light on a light-sensitive electronic chip known as a
charge-coupled device (CCD). The CCD contains thousands of light-sensitive diodes
called pixels. When light falls on the pixels, it is converted into an electrical charge. The
bright part of an image results in a high electrical charge while the dark portion of the
image results in a low electrical charge.
The electrical charge generated by a CCD is measured by the circuits in the camera and
converted into video signals. This video signal is then recorded on a recording medium.
The recording medium can be videotape or digital video disc (DVD).
Most consumer video cameras have a single CCD. However, professional video
cameras usually have three CCDs to obtain better color recording and picture
quality.
Viewfinder
All cameras enable you to see the image you are trying to capture. Still cameras have a
small window called a viewfinder through which you can see what you are going to
capture in a photograph. The viewfinder enables you to decide what you are going to
include in your photograph and what you want to leave out.
Similarly, video cameras also have a viewfinder that helps you compose and focus a
shot. There is usually a small monitor screen that flips out and you can see your
Automated Controls
All video cameras are equipped with automated controls that enhance picture quality
and help during editing video clips. Some of these automated controls are:
White balance
Time code
Focus control
White Balance
All good video cameras have a control called white balance. This control can be used
with preset positions or can be set manually. You may have noticed that sometimes an
image produced by a video camera while filming in places lit by fluorescent lights has
an overall greenish hue. Alternatively, you may have seen an outdoor scene with a
peculiar blue tint.
Red, blue, and green are called the primary colors of light. A mixture of these colors
produces all other colors in the color spectrum. Sunlight on a bright day seems almost
white because all the primary colors are equally mixed. At sunset, you get a reddish hue
because at that time, the red color dominates. The human brain corrects such color
biases normally and, when seen from the shade, sunlight appears normal to the eye.
However, a camera has no perceptions of light and records the real cast of the light.
Therefore, an outdoor shot in the afternoon may appear normal to you when shooting,
but when you see the image, it has a blue cast. The white balance system was developed
to help make the colors captured by the camera match human perception.
Modern video cameras interpret colors accurately because they incorporate automatic
white balance controls that compensate for different kinds of lighting conditions. If you
want to set the white balance manually, you can hold a white card in front of the lens,
keep the camera aperture at Auto mode, and adjust the focus ring to get a sharp image.
On achieving a sharp image, press the white balance button on the camera. The camera
normally takes a few seconds to adjust the settings. In some cameras, a “White Balance
OK” message might be flashed on the viewfinder.
It is important to remember that you choose the right filter for the lighting condition in
which you are shooting. If you change the filter, you need to white balance the camera
once again.
You should refer to the user manual of your camera for finding the exact procedure
for setting white balance. This is because the procedure may differ for cameras of
different makes.
Time Code
When you are shooting a long film, you will find yourself taking hundreds of shots.
Later, while editing, it may become very difficult for you to find a particular shot. To
locate the position of an image on a tape accurately, you use a time code, which is an
electronic signal that is added to the videotape, while recording. Time code is similar to
a fixed address and is unique for each frame. Time code appears on the digital display
of a videocassette recorder (VCR), showing the exact location of the shot that you are
watching on the videotape.
The time code is recorded in the following order: hours, minutes, seconds, and frames.
If you are recording a 30-minute video, the time code starts at 00:00:00:00 and ends at
00:30:00:00.
While editing, you can use the time code to find the position of a particular shot on the
tape. This makes editing easier and accurate.
There are 25 frames per second in the Phase Alternation Line (PAL) recording
system, and 30 frames per second for National Television Standards Committee
(NTSC) recording system.
Focus Control
Focusing is the act of adjusting the lens of the camera to achieve the sharpest possible
image. Use the focus control ring that is a part of the lens assembly in all video cameras.
This control has distance settings shown in meters or in feet. Most video cameras offer
you a choice between manual and auto focus.
Microphone
Video cameras usually have a built-in microphone to record sound along with video.
However, built-in microphones have the tendency to pick up extraneous noise. If you
change the frame by using the zoom while recording, the sound of the zoom motor may
also be recorded. You can usually connect an external microphone, which can be placed
closer to the subject to avoid extraneous noise and obtain better sound quality.
Digital
In digital video systems, the video signal from the camera is converted to a digital
format through a process known as sampling, which converts samples of the signal into
a series of numbers. The digital video signal is compressed and recorded to the tape
using rotating video heads similar to those used in analog systems.
In digital video systems, you can store the digital footage on videotape, a hard disk, or a
DVD. To edit video data on a computer and post it on the Internet, you need to transfer
the video data to a computer. The process of transferring video from a camera to a
computer is called digitization or capturing. To transfer footage from a digital camera to
a computer, you can use a capture card or a Firewire cable. After you transfer video
data, you can edit the scenes and add titles by using editing software. Most digital
camera manufacturers provide an editing program with their cameras.
The analog video footage can be digitized using a video capture card. The video
player is connected to the card and the video footage is imported and digitized.
Characteristics of Lenses
Lenses have certain key characteristics that can be manipulated to get the desired effect.
These characteristics are:
Focal length: Defines the distance between the optical center of the lens and the
point where the image is formed when the lens is focused on infinity. Infinity is a
point represented by any object very far away from the camera. Focal length is
measured in millimeters (mm).
The focal length of a lens affects the size of the image produced by a camera.
Filming an object using a lens with a long focal length gives a larger image than
filming from the same distance with a shorter focal length lens. The long focal
length magnifies the image, making it seem closer to the camera. In contrast, a lens
with a short focal length forms a smaller but wider-angle image.
Figure 2.3 shows the focal length of a lens when it is focused on infinity.
Focal
Length
Lens
Types of Lenses
Video cameras come with a variety of lenses to suit individual needs. The types of
lenses are:
Fixed lens
Zoom lens
Wide angle: A wide-angle lens has a shorter focal length than a normal lens and has
a wider lens angle or a wider angle of view as compared to a normal lens. From a
given position, a shot taken through a wide-angle lens captures more elements of
the scene than a shot taken with a normal lens. The effect is that the elements in the
scene appear smaller and farther apart than they actually are. In addition, a
wide-angle lens distorts depth and perspective to give a dramatic effect. For
Telephoto: A telephoto lens has a longer focal length and offers a narrower angle of
view than a normal lens. This lens covers a smaller part of the scene than the
telephoto lens and magnifies the subject while the background and the foreground
become blurred. This blurring is due to shallow depth of field and is a characteristic
of telephoto lenses.
A telephoto lens enables you to capture a detailed view of a subject from a distance.
It is useful in situations where you cannot move the camera close to the subject: for
example, while photographing wild animals. Another area where telephoto lenses
are used commonly is sports events, such as horse races or baseball games.
Macro lenses: A macro lens is used for a detailed close-up shot of a subject. When
you use a macro lens, tiny objects appear larger than life. A macro lens can have a
focal length of 60 mm, as in a normal lens, or 200 mm, as in a telephoto lens.
Unlike other lenses with similar focal lengths, the macro lens allows sharp focusing
just inches from the subject. Macro lenses are often used to capture images of
nature. For example, macro lenses are useful in a documentary on various species
of insects.
Zoom Lens
Most video cameras have a built-in zoom lens, which is a combination of lenses rather
than one lens with a fixed focal length. A zoom lens can change focal length
continuously without the object going out of focus. This type of lens has a variable focal
length. You can also change the image size without changing the distance of the camera
from the subject. This allows you to use the zoom lens as a wide-angle lens for one shot
and a telephoto lens for another. Therefore, you can take different types of shots without
moving the camera.
Aperture
A lens of a video camera has a circular diaphragm that consists of several metal blades
that overlap each other. This mechanism is known as the aperture. The aperture of a
camera is similar in function to the iris of the human eye. The iris has the ability to
dilate or contract depending on the amount of light. Similarly, the aperture determines
the amount of light entering the camera. By varying the diameter of the aperture, you
can control the amount of light passing through the lens. Therefore, the aperture
controls the brightness and quality of the image produced.
Depth of Field
Photographs in which a subject is in focus while the rest of the elements and the
background are blurry have shallow depth of field. Photographs in which all the
elements in the foreground and the background remain in sharp focus have a greater
depth of field. The term “depth of field” is a measure of the distance between the
nearest and farthest elements that remain in reasonably sharp focus in an image.
Figure 2.10 shows the same image captured using a greater depth of field to focus both
the background and the foreground.
The aperture affects the depth of field of an image. The smaller the aperture, the greater
the depth of field. The depth of field is directly proportionate to the shooting distance,
or the distance between the camera and the subject. The depth of field also depends on
the focal length. The depth of field is greater for lenses with short focal lengths: for
example, a wide-angle lens. In contrast, lenses such as telephoto lenses, which have
long focal lengths, provide shorter, or shallow, depth of field.
Close-up Shot
Medium Shot
Long Shot
A close-up shot generates interest by drawing attention towards the reactions and
emotions of an actor. A close-up shot also brings a viewer closer to the action in a
scene. These shots are widely used in television programs.
To use close-ups effectively, adhere to the following guidelines.
A close-up shot should not restrict the viewer from seeing an interesting action
taking place somewhere else in the scene.
You should not use close-up shots to focus on details with which the audience is
already familiar or on details that are obvious.
However, telling a story exclusively by using close-up shots can confuse the audience
by restricting them from knowing about the setting in which a story is unfolding. A
judicious use of long shots in between close-up shots helps the audience to orient
themselves better.
A variation of the close-up shot is the extreme close-up shot, which is used to show
certain features of a subject’s face such as the eyes or the mouth. An extreme close-up
shot creates a dramatic impact. It can also be used to show the significant details of an
object. For example, in a car chase, take an extreme close-up shot of the fuel gauge of a
car, indicating that the vehicle is running out of fuel. This can add tension to the scene.
A B C
A F
Triangle System
When you use the line of action, follow the triangle system while deciding the
placement of the camera. According to this system, you can take the basic shots for any
scene from three camera positions in the 180-degree space on one side of the imaginary
line. These three points can be joined together to form a triangle. You can vary the
shape of the triangle by placing cameras in another set of three points in the semicircle.
Shots within a triangle cut seamlessly with each other.
Panning
Panning involves turning the head of the tripod on which the camera is resting
horizontally. The head can be smoothly turned in a complete circle. Panning can be
used to follow characters as they walk from one point to another in a scene. Another
type of panning shot is a surveying shot, when a camera looks for a subject or an object.
For example, a character is already present in the scene, and the camera pans to reveal
him or her.
Subject
Camera
Tilting
Tilting involves moving a camera up or down through an angle of 90 degrees on the
tripod head. It is used to illustrate vertical action in a scene. You can also tilt the camera
up and down to denote height, for example, to show a man climbing a tall and steep
ladder. Tilting is often called a vertical pan.
Zooming
Zooming is another way of simulating camera movement. By changing the focal length
of a zoom lens, the camera appears to move closer to or farther from the subject in a
scene. Zooming is convenient because it allows you to stand in one position instead of
moving the camera around and yet gives the impression of movement.
A quick zoom draws the attention of the viewer to a detail of a scene from a wider shot,
and can add to dramatic effect. For example, in an action film, quickly zooming in on a
gun in the hand of a bank robber adds to the dramatic effect.
Dollying
You can also move a camera backward, forward, and diagonally across a scene by
putting the camera and its tripod on a dolly, which is a small platform or a cart. The
dolly has noiseless wheels, so that it can be physically moved around by crew members.
To increase emphasis on the subject in a scene, you need to move the camera towards
the subject. To emphasize an expression such as a character’s moment of realization, the
camera may dolly into the character’s face, instead of taking a closer view of his or her
face. The effect created by dollying the camera underscores the emotion of the character
in the scene. To create a sense of isolation and loss, you can move the camera away
from the subject. For example, a man is standing on an island shore and a ship is
moving away from the island. The camera can simulate this movement and move
backward, showing him becoming smaller and smaller. This can be used to convey that
the man is being left behind and is lonely.
Tracking
A tracking shot is similar to dollying a camera and is used to follow the movement of a
subject or to reveal a location. A tracking shot involves moving the camera and its
tripod on a platform that runs along tracks or rails. In dollying, a camera can follow any
path in a scene, but in a tracking shot a camera moves along a specific track.
You can use a tracking shot to establish a location by selectively revealing the details of
the location. An example of a tracking shot is a shot that follows two or more subjects
who are in conversation with each other.
The camera can track along the subjects from various positions, such as directly ahead
of or behind the subjects. The camera can also track with the walking subjects at a
position slightly ahead of them or behind them.
A high-angle shot is also used to show expanse: for example, a view of the city from a
skyscraper. This adds drama to the scene.
Balance
Balance is essential to compose an effective shot. You can create a balance by carefully
placing the subject and selecting the camera viewpoint in the scene. You can also create
a balanced composition by arranging shapes, colors, or areas of light and dark in the
composition. There are two types of balances:
Symmetrical balance: In a composition, you can observe symmetrical balance by
dividing the composition with an axis running through its center. The elements on
one side of the axis are balanced by those on the other side.
Some compositions seem to flow slowly like a piece of music and some cause the eye to
move from one point to another in a fast and abrupt manner. Both of these compositions
illustrate two different types of rhythm. For example, to convey a serious mood, you can
use smooth, flowing lines. Rapid and jerky elements can be used to show excitement.
Lab Exercises
Identify the components of a camera.
Distinguish between digital and analog formats.
Describe the functions of lenses.
List the characteristics of a lens.
Identify the types of camera lenses.
Identify the types of shot sizes.
Explain the types of camera movements.
Explain the principle of line of action.
Explain the triangle system of camera placement.
Describe the principles of composition: rule of thirds, balance, and visual rhythm.
Exercise 1
Problem Statement
Classify the given photographs into different types of shots, such as close-up, extreme
close-up, medium shot, and long shot.
Hints
The three types of shots are:
Long shot
Medium shot
Close-up shot
Yes No
Hints
To record the movement of a person from one place to another:
Put a camera on a tripod and make a student walk from one place to another.
Pan the camera in varying shot magnifications.
Perform this on a road and follow passing vehicles after you are more confident.
Solution
Movement of a Person A Conversation Between Two Persons
from One Place to Another
Yes No
Lighting 3.3
Quality of Light
The hardness or softness of light is referred to as the quality of light. Observe what
happens when a person stands outdoors on a bright and clear afternoon. The light of the
sun casts sharp, well-defined shadows and is called hard light. On a bright sunny day,
the sun acts as a source of hard light.
Look closely at the face of the person standing in the hard light of the sun. You notice
that the prominent shadows make the face look unattractive. The harsh light accentuates
flaws in the skin and features. However, if you make the same person stand out in the
sun on a cloudy day, the soft light makes him look completely different. The shadows
now are much softer because the clouds diffuse the sunlight. A soft light casts soft and
less-defined shadows. You can try to simulate the effects of hard and soft light with an
ordinary light bulb too. When you cast the light of the bulb directly onto an object, it
acts as a source of hard light. If you bounce the same light off a wall, the light falling on
the object becomes soft.
You may have seen pictures of fashion photographers bouncing light off umbrella-like
reflectors onto a model’s face in a studio. You may have wondered why they do this.
The light brightens the features with soft, shadowless lighting, making the model look
attractive.
Cameramen place plastic diffusing material, wire nets, and meshes in front of light
sources to soften the light. When transmitted through material such as white satin cloth,
light diffuses to reduce the harshness of the shadows.
3.4 Lighting
Direction of Light
The direction of light depends on the location from which the light emanates, the angle
at which it strikes a subject, and the relative height of the light source. The direction of
light is defined in relation to the viewpoint of the camera. Depending on the direction of
light, one part of the scene is illuminated while the other part lies in shadows. The
direction of light also determines how the texture and contours of the subject appear in
the final image. By changing the direction of light, you can either emphasize or
suppress the surface details of an object. If you project light directly onto the face of the
model, the result is rather unflattering. For one, there are no shadows, and all facial
features lose contour. If you raise the light, the effect worsens. Deep shadows appear
under her eyes and the shadow of the nose gets stretched, making the nose look
prominent and long. Cameramen usually avoid front lighting.
Now, observe what happens if you place the light at a 45-degree angle to the model.
The resulting shadows bring out the definition and texture of the face. From this angle,
you can light up the model well without creating nose shadows and other such
disastrous effects. Place the light at an angle of 90 degrees to the subject now. The
subject is lit from an extreme side angle, and the light just skims along the surface of the
skin. This kind of light placed somewhat behind the subject casts a rim of light and is
called rim light.
Intensity of Light
Intensity is the brightness of light. It is also referred to as the quantity of light. The
intensity of light is measured in foot-candles or candelas. In cinematography, it is
necessary to calculate the intensity of light falling on various areas of the scene so that
you can work out a proper ratio for the light falling from various sources.
Cinematographers use an instrument known as a light meter to measure the intensity of
light. Using the light meter, you can adjust the light depending on the requirements of
the scene.
Lighting 3.5
Color temperature is defined with reference to a black body. A black body does not
reflect light. On heating the black body, the spectrum distribution of the resultant
light changes with its temperature, which is measured in degrees Kelvin (°K =
273 °C).
3.6 Lighting
When you are lighting for a scene that has a dialogue between two characters, both
characters should be illuminated from the same direction.
Fill Light
Key light produces prominent shadows. To fill in the shadow areas created by the key
light, you use a fill light. The light source used for a fill light is diffused and placed near
Lighting 3.7
Back Light
The backlight is used to make the subject appear distinct from the background. This
creates an illusion of depth. When a backlight is not used, the subject tends to blend into
the background, reducing the depth in the scene. You might have noticed a rim of light
around a character in movies and television programs. This is due to the presence of a
backlight that helps in highlighting the contours of the subject. The backlight is also
referred to as hair light because it brings out the color and texture of a person’s hair.
3.8 Lighting
If you only use a backlight without illuminating the subject with a key light, a
silhouette effect is created. This can be used for dramatic effect. For example, you
can create a sense of mystery by hiding the identity of the subject.
Figure 3.3 shows a scene with all types of light sources: key, fill, and back lights.
Lighting 3.9
3.10 Lighting
Figure 3.4 shows how to change the intensity of light by increasing the distance.
Initially, the light is five feet away from the subject, and the intensity of light that is
falling on the subject is 2,000 lux. When the distance between the subject and the light
is increased to 10 feet, the intensity of light decreases to 500 lux, which is one-fourth of
the initial intensity.
Using Scrims
You can also use scrims to control the intensity of light falling on a subject. A scrim is a
large metal frame made up of finely woven wire and can be placed in front of a light
source to reduce the intensity of light that is emitted from the source. You can use
Lighting 3.11
In addition to scrims, you can control the intensity of light by using dimmers. A
dimmer helps you to control intensity by reducing or increasing the voltage of the
lamps used in light sources. However, dimmers also change the color temperature
of the light source.
3.12 Lighting
Lighting 3.13
Candlelight 1,750 °K
Floodlights 3,200 °K
3.14 Lighting
Daylight 5,400 °K
You can vary the color temperature to change the mood of a scene and make an impact
on the audience. You can balance the color temperature of light so that it appears
normal to the human eye by using filters. A filter is a colored lens that is used to lighten
or darken a particular color. For example, in outdoor photography, you can use a
polarizing filter to deepen the blue color of the sky and to reduce glare. You can use the
fog filter to give a misty look to the scene and add drama.
Lighting 3.15
3.16 Lighting
Lab Exercises
Problem Statement
Set up the following light sources, one by one, to record a subject:
Key light
Fill light
Back light
Note the changes that occur in the appearance of the subject in the following table.
Type of Light Observations
Key light
Lighting 3.17
Observations/Learning
Yes No
3.18 Lighting
At the end of this chapter, you will be able to: 4.1 Editing: An
Overview
• Identify the types of editing.
• Identify the importance of sound editing. 4.2 Transition
• List the transition techniques. Techniques
• Identify the techniques of editing.
Simple Editing
In this technique, various shots are combined in a simple and continuous manner. As a
result, actions flow smoothly across shots and scenes without any jerks. Simple editing
enables you to give a settled idea of space to the viewer.
For example, you are watching a video recording of an interview. When the interviewee
is answering a question, you see a close-up shot of the interviewee talking animatedly.
Next, you see a close-up shot of the interviewer listening. This close-up shot is called a
reaction shot. You also see a tilt down from the face of the interviewee to his hands as
he gestures to make a point. Then, you see a cutback of both people in a studio and a
third person joining them. All these shots in the video have been combined using the
continuous editing technique to give the impression of a continuous action happening in
one place. With this technique, the viewers feel that the subjects are sitting together in
one place and talking to each other in real time.
An editor needs to ensure continuity throughout a film. The term “continuity” denotes
the level of smoothness of the actions and compositions across cuts. For example, you
switch from one camera angle or magnification to another during an action. You wish to
show one action in two shots taken from two different angles. In such a situation, the
movements of the actors within the sequence should be a smooth, unnoticeable, and
continuous action, although the sequence consists of different takes merged together.
For example, an actor steps on an escalator in a medium shot. You switch to a long shot
showing that the escalator is in a hotel lobby. The position of the actor, relative to the
escalator, should match across the two shots. If the positions across the two shots do not
match, the actor will seem to have physically shifted to another place. This break in
continuity is called a jump. A proper cut must match the exact movements of the actor
between the two shots, although they are two different takes of the same action. This
kind of cut is called a match cut. In this example, you can smooth the action if an error
occurs during shooting. You can show some other relevant visuals between the two
Jean Luc Godard, the French New Wave director, introduced the jump cut in his
film Breathless (1959).
In general, bad continuity in the film disturbs the audience. Viewers may lose interest in
the film if they observe too many inconsistencies between different shots.
Continuity jumps can also appear in the form of inconsistent movement of individuals in
different shots. For example, a film has a shot of a child who is cycling from right to left and
is approaching a garden. However, in the next shot, you see the child entering the garden
from the left side. This confuses the audience. Keep editing in mind while shooting the film.
It is a good practice to hold establishing and wide shots longer on the screen as
compared to close-up shots. The audience takes longer to absorb the information in
establishing and wide shots.
Parallel Editing
Parallel editing involves showing two different locations and sets of action
simultaneously. You can use the parallel editing technique to introduce an element of
suspense in the story. By cutting back and forth between the two sets of action, you
heighten the tension of the audience.
For example, a man is told by the doctor to get a particular medicine for his sick child
immediately. The sequence shows him rushing to the chemist. Next, you see shots of
the child’s deteriorating condition. Then, you see the shot of the father at the chemist
shop asking for the medicine. The following shot has the doctor trying to revive the
Montage
The montage editing technique combines short shots in a quick succession. The link
between the short shots is a common theme. A rapid succession of these images gives
comprehensive information within a very compressed time frame. For example, you can
use the montage editing technique and present visuals along with a fast-paced music
track to show the various types of sports included in a sports event. This succession of
shots can be the opening segment of a television special on the event. Figure 4.1 shows
a montage of visuals of various sports.
Dialogues in feature films are usually dubbed later, but with the advent of highly
sophisticated microphones, the trend of shooting on location with synced sound is
on the rise.
4.2.1 Cut
A cut is the simplest and most widely used transition technique for building a link
between two distinct shots. The editor decides the point where the shot begins, and
where it ends, giving way to the next shot.
The editor then removes the part of the shot that lies before the starting point, or the in
point, and the part of the shot that lies after the ending point, or the out point.
A cut can be jarring for the audience and can break the flow in a movie if the cut is not
well planned and executed at the right point. With each cut, the audience has to shift
their attention from one shot to the other to interpret the new shot. This attention shift
can be disturbing for the audience, unless all cuts are made unobtrusively.
The following are specific situations in which you avoid the cut transition technique:
Similar or near-similar shots: Introduces a break. The audience experiences a jump
if you place these shots next to each other.
Extreme change in size: Disorients the audience and is avoided in the classical style
of filmmaking. However, contemporary music videos may include such a
transition. Figure 4.3 shows an extreme change in size.
Fade In
In the fade in transition technique, the image gradually appears on the screen. The shot
begins in darkness and slowly light increases to show the entire image. For example, a
fade in can appear at the beginning of a film, after the credits have been shown. The
credits appear against a black screen, with the music playing in the background. The
first visual of the film can then fade in as the music goes down in volume.
Fade Out
The fade out technique is the opposite of fade in. In this transition, the image slowly
gives way to a black screen. Fade out may be one of the ways of ending a film, where
the last shot fades into a black screen with titles scrolling across.
Fade Out-in
This technique is a combination of fade out and fade in. The most common use of this
transition technique is to indicate the end of one scene and the beginning of another.
The audience knows clearly that one segment has ended and that another has begun. If a
cut is used in place of a fade out-in, the audience feels that the same scene is being
continued and gets confused when the new set of shots shows another location and a
different series of actions.
4.2.3 Dissolve
The dissolve transition technique is used when you want a shot to gradually come onto
the screen while the earlier shot is fading out. The two shots superimpose for a fraction
of time during the transition.
4.2.4 Wipe
This technique was commonly used in the early days of Hollywood cinema. In this
transition technique, the new shot appears from a corner of the frame and pushes the
preceding visual out of the frame, taking its place, as it were. This transition is again
used as a way of changing from one scene to another.
Earlier, the wipe transition technique was implemented optically as a special effect
in a laboratory. With the advent of video production, you can implement the wipe
transition technique by pressing a button on the editing machine.
Wipe transition technique is often used in music videos and cartoons to provide a
special visual effect. Modern video-editing systems offer various types of wipe patterns.
However, this transition technique must be used very sparingly because an overuse of
different wipe styles can make a video look too loud and amateurish.
Linear
In linear or analog editing, you physically copy shots from one or more tapes onto a
new tape called the edit master tape. While copying the shots, the original shots are
trimmed and rearranged, bad shots are removed, and effects and titles are added.
A source video player plays the original footage, and a recorder is used to record the
final edited movie.
The method of locating shots through a count of control track pulses is called
control track editing.
The process in which visuals from two sources are edited into one master tape is known
as A/B roll editing. This process allows you to use transition effects between shots. In
this type of editing, two players run simultaneously, and you can select the in and out
points of the shots on the shooting tapes by using an edit controller. These shots are
recorded onto the master tape with suitable effects inserted between the two shots.
Linear editing can be classified into following two types:
Assemble editing
Insert editing
Assemble editing involves joining selected shots linearly along the associated control
track. A control track is a guide pulse, acting as sprocket holes, recorded on the
videotape. Control track pulses are used by servo systems to maintain a tape speed that
allows precise playback head tracking. Assemble editing does not provide for changing
or adding audio or video separately.
In insert editing, you need to record a stable control track on the entire edit master tape
before you start editing. You can add a new video clip over existing video without
disturbing the existing audio track. You can also add a new audio track over the
previous one without changing the previously recorded video.
Non-Linear
Non-linear editing involves editing on a computer screen using an editing program.
Editing on a computer helps save time when there are many shots with complicated
transition effects between the shots.
In non-linear editing, analog footage is transferred onto a computer by using a capture
card. A capture card converts analog footage into digital information, which can then be
edited using editing software, such as Adobe Premiere.
However, if the original footage has been shot using a digital camera, you can directly
transfer the footage onto the computer using a FireWire cable, and you do not need a
capture card.
A FireWire cable is used to directly transfer raw footage from the camera to the
computer.
Lab Exercises
Identify the types of editing.
Identify the importance of sound editing.
List the transition techniques.
Identify the techniques of editing.
Exercise 1
Problem Statement
Study the shots provided by the instructor. Arrange these shots to form a scene. In the
following table, paste the shots in a logical sequence and add narration about each shot
in the space provided. The narration must include the type of shot, the action occurring
in each shot, the type of camera movement, and dialogues, if any.
Solution
Shot Narration
1
Lab Exercises
7
Observations/Learning
Yes No
1. Pasted the shots in the table
A/B Editing
When you select the A/B editing option in the Initial Workspace dialog box, various
windows are displayed in a basic format. This format is similar to the simple A/B
roll-editing environment, in which you edit a video clip by using two sources of video
or rolls A and B. In addition, a separate transition track is used to provide transition
between the video clips. In an A/B editing workspace in Premiere, the video clips (A
and B) and the transition track are displayed in separate windows. If you are not sure
about which option to select, you can select the A/B editing option.
Single-Track Editing
In this type of workspace, video clips and transitions are placed on the same track,
which you can then expand to display a transition track in between the two tracks. After
you start working on a project in Premiere, you should avoid switching between the two
editing workspaces. This is because A/B editing requires two tracks and single editing
requires one. Therefore, one workspace does not support positions of clips in the other,
and some formatting can be lost.
When using Premiere, you can click Workspace on the Window menu and then
choose the type from the Workspace submenu.
Menu Bar
The menu bar is located at the top of the interface, as shown in Figure 5.2. It consists of
menus such as File, Edit, Project, and so on. Each menu consists of commands that
enable you to manage video and audio clips.
File Provides various commands related to file management, such as create, open,
save, import, export, and close
Edit Provides commands for performing general edit-related functions, such as undo,
redo, delete, copy, and edit clips
Project Provides commands for specifying various types of project settings, such as
general, audio and video, and utilities, such as batch processing
Clip Provides commands to work with clips, such as view the properties of a clip, add
a clip to a project, and specify the duration and speed of a clip
Timeline Provides commands to perform tasks in the Timeline window, such as preview a
project, add and delete tracks from the Timeline window, and render audio
Window Provides commands to view other components of the Premier interface, such as
windows and palettes
Windows
Windows form the main part of the interface in Premiere and enable you to work with
clips. The following three windows are available in Premiere:
Project
Timeline
Monitor
Project Window
The Project window enables you to manage the various components of a project, such
as video, audio, and effects. It contains all references to the audio and video files that
are part of the project. To begin editing, you need to import the audio and video files
that you require in the movie into the Project window.
The audio and video files are arranged in the form of bins. A bin is a folder-like view in
the Project window, which enables you to organize a large number of audio and video
clips in the form of a hierarchical structure. The bin view is similar to the folder
structure in the Windows Explorer of the Microsoft Windows operating system.
You may not need to use every clip you import into the Project window.
Based on the number of tracks, there are two types of workspaces, A/B Editing and
Single-Track Editing.
The Timeline window in the A/B Editing workspace displays the following tracks:
Video 1: Contains the first video clip
Transition: Contains transitions between two or more video clips
Audio 1, 2, and 3: Contain audio tracks to be played with video clips
Video 2: Contains the second video clip. The Video 2 track is also called the
superimpose track.
The track that contains the clip to be superimposed is called a superimpose track.
Superimposing is the process of playing one clip over another.
In addition to tracks, the Timeline window also displays a toolbox that enables editing
tasks, such as selecting clips in the Timeline window. The toolbox is located at the
top-left corner of the Timeline window. It contains tools for selecting, editing, and
viewing clips. To select a tool, click the respective button on the toolbox. Figure 5.6
displays the Timeline toolbox.
Table 5.2 lists the tools in the Timeline toolbox along with their names and uses.
Icon Name Used to
Selection Tool Allows you to select any clip in the Timeline window
Range Select Tool Allows you to select multiple clips by creating a range in the
Timeline window
Block Select Tool Allows you to select a rectangular block of a clip in the Timeline
window
Track Select Tool Allows you to select a complete track in the Timeline window
Slide Tool Allows you to move a video clip ahead or back in the Timeline
window without affecting the duration of the video clip or the
program. Use of this tool also affects the duration of adjacent
clips in the Timeline window.
Rolling Edit Tool Allows you to edit a clip in the Timeline window without affecting
the total duration of the program. Use of this tool also affects the
duration of adjacent clips in the Timeline window.
Ripple Edit Tool Allows you to edit a clip in the Timeline window without affecting
the duration of adjacent clips. Use of this tool affects the total
duration of the video program.
Slip Tool Allows you to shift the in and out points of a clip in the Timeline
window without affecting adjacent clips or the video program in
any way
Fade Scissors Tool Allows you to adjust the audio levels of a clip
Multiple Razor Tool Allows you to cut sections of multiple clips at the same point
Hand Tool Allows you to navigate and scroll through the Timeline window
Zoom Tool Allows you to zoom in and out of the Timeline window to facilitate
easy editing
Link/Unlink Tool Allows you to link and unlink audio and video clips
Cross Fade Tool Allows you to adjust a seamless continuation between changes in
the modulation of one clip with respect to the other
Out Point Tool Allows you to mark the end point of a clip
Monitor Window
In addition to Project and Timeline windows, the third window available in Premier is
the Monitor window. This window helps you preview the individual clips imported into
the Project window. It displays both individual video clips and the complete edited
movie. The edited movie is also called the program.
The Monitor window provides the following two views:
Source view: Allows you to see the video clip used as the source to create the final
movie
Program view: Allows you to see the edited movie while you edit the movie in the
Timeline window
Figure 5.7 displays the Monitor window.
Palettes
In addition to the menu bar and windows, the Premiere work area also displays palettes,
which contain tools to monitor, modify, and enhance your work in Premiere. The
various features offered by palettes are grouped under different tabs in a palette. You
can view any palette by clicking its tab in the palette window.
Premiere provides the following palettes:
Audio and Video
Effect Controls
Navigator
Commands
History
Info
Transitions
There are 21 audio effects and 74 video effects available in the Audio and Video
palettes.
Commands Palette
The Commands palette displays a list of shortcuts for commonly used tasks in Premiere.
To perform a task listed in the Commands palette, you can either click the appropriate
button or press the keyboard shortcut keys mentioned on the button, such as the F2 key
to create a project. You can also create your own set of commands and assign keyboard
shortcut keys to them.
You can use the History palette to correct any mistakes that you have made in the
project.
By default, all transitions in the Transitions palette are not animated. You need to
double-click the transition to preview the transition. Alternatively, you can animate
the transitions in the Transitions palette by selecting the Animate command from
the Transitions menu. You can access the Transitions menu by clicking the
button in the top-right corner of the Transitions palette.
NTSC is the North American broadcast standard that sets 29.97 frames per second.
SECAM and PAL are the European and Asian broadcast standards, respectively,
that set 25 frames in a second.
If you are unsure of the option to be selected, select the Multimedia Video for
Windows option in the Load Project Settings dialog box.
You will now learn about the various types of project settings that you specify to edit
audio and video clips.
General Settings
The General settings option allows you to specify the basic properties of a program.
This includes how Premiere processes video files and the advanced settings provided by
third-party manufacturers. You can specify the following properties in General settings:
Editing Mode
Timebase
Time Display
Figure 5.17 displays the General settings panel of the Project Settings dialog box.
Timebase
Using the Timebase option, you can divide a project into multiple time divisions. You
need to specify time divisions because you edit a project within a time division. You
can use the Playback Settings option when you select the QuickTime or DV Playback
mode in the Editing Mode option. Using this option, you can choose to play the video
clip either on a camcorder or on the desktop.
Time Display
The Time Display option enables you to specify time code for a video clip. Time code is
defined as the count of hours, minutes, and seconds of each frame. Organizing a frame
in a time code enables you to easily identify a particular frame and specifically edit only
that frame. It is similar to assigning a unique ID to a frame.
Video Settings
Video settings determine the video compression scheme, the amount of compression,
the color depth, and the frame size of the program that you play back. If needed, you
can choose the settings that match your source video footage.
You need to specify the following properties in the Video settings section:
Compressor
Depth
Frame Size
Frame Rate
Quality
Data Rate
Compressor
You select the Compressor option to specify the compressor and decompressor (codec).
A codec enables you to compress or decompress a video file for editing. A fast codec
enables quick editing of a video file by appropriately compressing it. You can configure
a compressor to restrict a video file to black and white or compress the colors of a
video file.
Depth
The Depth option enables you to set the number of colors that will be supported by a
particular video. To set the number of colors that the video footage should support, you
need to load a color palette by clicking the Palette button next to the Depth option.
Figure 5.18 displays the Palette button. Note that the Palette button is enabled only
when you select the Microsoft RLE or None options with 256 Colors. The rest of the
compressors do not support a wide range of color schemes, and the Palette button is not
provided.
When you click the Palette button, the Make Palette dialog box is displayed, as shown
in Figure 5.19. To load the required palette, click the Load Palette Now option button,
and then select the required palette available on your computer.
Frame Size
The Frame Size option is used to set the size of a frame in a project. The size of a frame
is determined by the width and height of the frame, measured in pixels. You need to
select the frame size very carefully because a video file can be exported to a variety of
media, such as videotape, DVD, or even the Web. Therefore, when you export your
video to the Web, you should select a small frame size that would facilitate fast and
easy download of the video clip from the Web. The default frame size provided by
Premiere for the Web is 320x240.
Frame Rate
Using the Frame Rate option, you can set the number of frames to be played in one
second. This value can be similar to the frame rate of video or can be low to enable easy
preview of the video clip. You can choose from various international frame rate
standards, such as NTSC, PAL, and SECAM.
Quality
The Quality option controls the quality of the picture and the disk space used when
playing a video clip from the Timeline window. You can set the Quality option to Low
so that the video clip plays faster and uses less disk space. If you select the High quality
option, you will get a superior video or image. However, this requires more disk space.
Audio Settings
Audio settings control the attributes of the audio clip that the program plays back. When
you choose the Audio option in the Project Settings dialog box, you can select the data
rate, format, type of audio codec, audio interleave, and processing options. You need to
match the source audio settings. When the source audio files differ, choose the audio
quality based on the output goal.
Figure 5.20 displays the Audio settings panel of the Project Settings dialog box.
You need to specify the following properties in the Audio settings panel:
Rate
Format
Compressor
Interleave
Processing Options
Format
The Format option defines the bit depth of the audio. Bit depth refers to the number of
bits of audio that you need to transmit in one second. You can specify two types of bit
depths, 8-bit and 16-bit sound. The 16-bit sound is of a higher quality than the 8-bit
sound and is used for CD quality, while the 8-bit sound is used for FM broadcast.
Compressor
Similar to video, you need to compress audio using a codec. The Compressor option
enables you to specify a codec to compress audio. Compressing audio helps you transfer
audio across a limited bandwidth.
Interleave
The Interleave option enables you to specify how often you want the audio to interject
in between the video frames. For this, you first need to load audio into the RAM of the
computer and then interject it between video frames. This increases RAM utilization
and affects the speed of the editing process. A value of one frame means that, when
Premiere plays back a frame, audio for the duration of that frame is loaded into RAM so
that it can play until the next frame appears. The other options on this drop-down menu
play back audio with respect to the limit set in seconds, such as half a second, one
second, or two seconds.
Processing Options
Processing Options include a collection of advanced options that enhance the quality of
audio. Using these options, you can make the audio sound soft or loud. You can also
create sample audio files if there are a certain number of tracks in your project. For
example, if a project has more than five audio tracks, you need not process all of them.
Only the first five audio tracks will be processed while the rest of the audio tracks will
be created as preview files. This saves the resources of the computer and enables faster
editing.
You need to specify the following properties in the Keyframe and Rendering settings:
Keyframe options
Rendering options
Keyframe Options
You need to select this option if you have selected the compression mode in the Audio
and Video settings of the project. This option enables the codec to compress video in a
project. You can use this option to add keyframes for compression in two ways:
Adding keyframes at markers: Enables you to insert keyframes in a video clip at
regular intervals. This option enables intensive and meticulous compression. This is
generally used when the video project is very large.
Adding keyframes in between clips: Enables you to insert keyframes in between
clips. This option enables compression at the end of each video clip. This is
Rendering Options
This set of options enables you to specify the options to play the video clip in the
project. You may not choose to play the entire project because of resource constraints or
your current need. For example, if you need to review only the video portion of a
project, you can select the Ignore Audio Effects option. Similarly, if you need to edit
and review only audio in the project, you can select the Ignore Video Effects option.
This option suppresses the video portion in a project and plays only audio.
Capture Settings
Before you capture video, you must specify the characteristics of the digitized clips,
such as the file format, frame size, frame rate, and so on. You can specify various
capture settings using the Project Settings dialog box. Figure 5.22 displays the Capture
settings panel of the Project Settings dialog box.
Analog Signal
Digital Signal
Analog Video Source
After an analog video is digitized, it is ready to be captured. With digital video on the
hard disk of your computer, you can easily edit or enhance it in Premiere.
To capture video:
1. Click the File menu.
2. Point to the Capture submenu, and click the Movie Capture command. This
displays the Movie Capture window.
3. Using the controls of the videotape deck, play the tape for several seconds,
before you begin capturing, to allow the deck to reach normal speed. If the
system is properly configured, the video clip should appear in the preview area
of the Movie Capture window.
4. In the video image in the Movie Capture window, click Record. Premiere
begins capturing video on the hard disk.
5. To stop capturing, click Stop. You should also stop playback on the camera or
deck.
Lab Exercises
Identify the interface components of Adobe Premiere.
Set up the workspace for a project.
Specify project settings using the Project menu.
Capture analog video using the Movie Capture dialog box.
Capture digital video using the Movie Capture dialog box.
Exercise 1
Problem Statement
SuperGraphics Inc. has created a video clip that introduces its clients to the audio-
editing facilities that exist in the organization. The video clip displays the various
equipment and facilities at the SuperGraphics audio-editing room. The video clip exists
in two video files, Office1 and Office2. You have been assigned the task to edit these
video clips in Adobe Premiere. Perform the following tasks in Adobe Premiere:
Set the workspace as A/B editing.
Start a new project.
Specify the following project settings:
• Editing Mode: Video for Windows
• Timebase: 30
• Video Compressor: Microsoft Video 1
• Quality: 80 percent
Save the project with the name Office.
Hints
You can select a workspace either through the Initial Workspace dialog box or from
the Window menu.
Observations/Learning
Yes No
2. In the Import dialog box, select the Man2 video clip. The Man2 video clip is
listed as Man2.avi in the Import dialog box, as shown in Figure 6.3.
3. Click Open to import the clip into the Project window.
Similarly, you can add other clips to a Premiere project by importing those clips into the
Project window.
As discussed in Chapter 5, clips are arranged in bins in the Project window. By default,
there is one bin in the Project window. All clips imported into the Project window are
added to this default bin. You can create additional bins in the Project window and
insert clips into these bins.
2. In the Create Bin dialog box, type Video Clips, and click OK. A new bin
named Video Clips is created in the bin view area of the Project window.
Figure 6.6 displays the Video Clips bin in the Project window.
The default bin contains four video clips, which can be identified by the video clip icon
to the left of the clip name. You can move any clip, say Man1, to the Video Clips bin.
4. In the clip view area of the Project window, point to the left of Man1 video
clip. The cursor changes to a hand, as shown in Figure 6.8.
The Man1 video clip can be seen in the clip view area of the Project window. Similarly,
you can add other clips to this bin by dragging the clips from the default bin.
You can create several bins in a Project window to organize clips within a Premiere
project. You can create a hierarchy of bins by moving an entire bin into another bin. To
move a bin into another bin, drag the bin over another bin in the bin view area of the
Project window.
When you import a clip into a Project window containing several bins, the imported clip
is added to the bin that is currently selected.
Figure 6.10: Project Window Containing the Man1 and Man2 Video Clips
Notice that the icons on both the clips are similar. By looking at the icons, you can tell
that both clips contain a video of Sam in a room, which might be an audio editing room.
The only way to identify the clips is by playing the clips. In Premiere, there are three
methods of viewing a video source clip. These are:
Viewing in the thumbnail viewer
Viewing in the Clip window
Viewing in the Monitor window
Play Button
Shuttle Slider
The thumbnail viewer consists of a thumbnail view area on the left, and a clip
information area on the right. The thumbnail view area contains a Play button and a
shuttle slider showing the position of playback within the video clip. To view a clip in
the thumbnail viewer:
1. In the Project window, click the icon or thumbnail next to the clip Man1. This
displays Man1 in the thumbnail viewer, as shown in Figure 6.11.
The Man1 clip is played in the thumbnail preview area. The shuttle slider below the
thumbnail preview shows the current position of playback in the video clip.
3. To stop the playback of Man1, click Play again.
It is useful to preview a clip in the thumbnail viewer when you want to get a rough idea
about the content of the clip. However, the thumbnail viewer displays the clip in a very
small area and does not give you much control over the playback. For more control and
a better view of a video clip, you can view the clip in the Clip window.
The Clip window displays the name of the clip in the title bar. The clip is played in a
video playback area below the title bar. The window contains a set of playback control
buttons below the video playback area, which enables you to control the playback of the
clip with great precision.
Play In to Out Play a section of the video clip marked using the in and out
points
The Clip window also includes a shuttle slider area between the video playback area
and the playback controls. A blue, triangular shuttle slider displays the current playback
location within the video clip. You can also jump to a particular scene in the clip by
clicking the exact point on the shuttle slider area or horizontally dragging the shuttle
slider to that point.
You can view the exact location within the clip from the time code displayed to the
right of the playback buttons. The Clip window also displays the total clip duration on
the left of the playback buttons.
As Man2 is played in the Clip window, the shuttle slider moves to the right, indicating
the current location of the clip. The time code on the right of the play back buttons also
increases constantly, displaying the elapsed playback time.
4. To stop the playback of Man2, click Stop.
You can open multiple clips in separate Clip windows and play all the clips together.
Source View
The left half of the Monitor window is called the Source view. As the name suggests,
this part of the window is used to view source clips. The Source view is similar to the
Clip window. You can view a video clip in the Source view.
To view the Man2 video clip in the Source view:
1. In the Project window, place the cursor on the thumbnail or icon of the Man2
clip.
2. Click Man2 and drag it onto the video playback area of the Source view.
3. In the Source view, click Play to start playing Man2. Figure 6.20 shows the
Play button in the Source view of the Monitor window.
As Man2 is played in the Source view, the shuttle slider moves to the right, indicating
the current location of the clip. The time code on the right of the play back buttons also
increases constantly, displaying the elapsed playback time.
4. To stop the playback of Man2, click Stop.
In addition to viewing source clips, the Source view is used to prepare a video clip that
needs to be added to the final video.
Program View
The right half of the Monitor window is called the Program view. In Premiere, the final
video produced after editing the source clips is called a program. The Program view is
used to preview the video program during the editing process.
The controls in the Program view are similar to the Source view and the Clip window,
but the Program view displays the clips as they appear in the final video, whereas the
Source view and the Clip window show source clips that might not even be a part of the
final video.
The Program view is also used to edit a video program.
The timeline gives you a time-based view of the project. You can identify the time at
which a clip starts and ends in the film. The time is displayed in the time ruler at the top
of the Timeline window. The time increases as you move from left to right in the
timeline. A clip placed on the left would be played before the clips on its right in the
timeline.
You want to play Man1 first, followed by Man2. To add these clips to the final video,
you must place them on the timeline and arrange them so that Man1 is played before
Man2. To arrange these clips in the timeline:
1. In the Project window, point to the thumbnail or icon of the clip Man1. Note
that the cursor changes to a hand.
3. In the Project window, point to the thumbnail of the clip Man2. The cursor
changes to a hand.
4. Click the clip Man2 and drag it to the right of Man1 in the Video1 track.
Man2 is added to the Video1 track beside Man1. Premiere automatically snaps Man2
into position next to Man1 as you drag Man2 close to Man1 in the timeline. Figure 6.25
shows the Timeline window after Man2 has been added to it.
2. In the Project window, click the icon or thumbnail of the clip Man1 and drag
the clip to the video playback area of the Source view. This action displays
Man1 in the video playback area in the Source view, as shown in Figure 6.27.
4. After you reach the beginning of the required segment of the clip, click Stop to
stop playing the clip at that point.
The video clip pauses just before the required segment starts. You must fine-tune the
current position of the clip to point to the exact frame where the useful segment of the
video clip starts.
Figure 6.29: Fine-Tuning the Position with the Frame Back and Frame Forward Buttons
The video clip Man1 is now positioned at the first frame of the useful segment within
the clip. This is the last frame before Sam starts talking about the audio editing room.
6. In the Source view, click Mark In to mark the current frame as the in point.
Figure 6.30 shows the Source view with the Mark In button clicked.
Figure 6.31: Positioning the Out Button at the End of the Useful Segment
The video clip Man1 is positioned at the last frame of the useful segment within the
clip. This is the frame near the end of the clip, after which Sam tells the cameraman to
cut the recording.
On the shuttle slider, an out point icon appears at the current location of the
clip.
The shuttle slider area between the in and out points is highlighted. You can
add the section of the clip between the in and out points to the final video by
moving the clip from the Source view to the timeline.
11. In the Source view, place the cursor on the video playback area displaying the
clip Man1. The cursor changes to a hand.
The clip added to the timeline is only a part of the original Man1 video clip. It contains
only the section of the video between the in and out points.
To trim the clip Man1 at both ends using the timeline, perform the following steps:
1. In the Timeline toolbar, click the Selection tool. The Selection tool is the
button with an arrow icon on the top left corner of the toolbar, as shown in
Figure 6.35.
2. In the timeline, point to the left edge or the in point of the clip. The cursor
changes to a red trim tool. The trim tool is a red square bracket with a
single-sided arrow pointing to the right.
3. With the cursor as the trim tool, click the left edge of the clip and drag it to the
right. Figure 6.37 shows the left edge of the clip Man1 being dragged.
The segment of the Man1 video clip between the previous in point and the
newly set in point is trimmed off. Similarly, you can trim the clip at the end.
5. With the cursor as the trim tool, click the right edge of the clip, and drag it to
the left. Figure 6.39 shows the right edge of the clip Man1 being dragged.
Three-Point Editing
In three-point editing, a total of three points are specified between the Source and
Program views of the Monitor window. You can choose to specify both the in and out
points in the Source view, and only one of either in or out points in the Program view.
You can also specify only one point in the Source view and both the in and out points in
the Program view.
For instance, you can insert the video of the mixing equipment into the video program
using the three-point editing technique. The mixing equipment footage is stored in the
clip Equipment. To insert the clip into the video program, open the Equipment clip in
the Source view of the Monitor window. Figure 6.40 shows the Equipment clip opened
in the Monitor window. The Program view of the Monitor window shows the video
program within which the clip is to be inserted.
The Equipment video clip contains some extra footage at the beginning and end of the
clip. Mark the in and out points within the clip and extract the required portion of the
clip. To insert the Equipment clip segment within the video program at the point where
Sam stops describing another piece of equipment, perform the following steps:
1. In the Source view, click Play to start playing the Equipment video clip.
2. After you reach the beginning of the required section of the clip, click Stop to
stop the clip at that point.
The video clip pauses at the beginning of the required segment where Sam is
describing the mixing equipment.
3. In the Source view, click Frame Back or Frame Forward to move to the first
frame of the useful segment.
The Equipment video clip is positioned at the first frame of the useful segment
within the clip. This is the last frame before Sam starts talking about the audio-
mixing equipment.
Notice that on the shuttle slider, an in point icon appears at the point
corresponding to the current location of the clip.
5. In the Source view, click Play to start playing the Equipment clip again. The
video clip starts playing from the in point, where it was paused.
6. After you reach the end of the required section of the clip, click Stop to stop
the clip at that point.
The video clip pauses at a point near the end of the useful segment.
7. In the Source view, click Frame Back or Frame Forward to move to the last
frame of the useful segment.
The Equipment video clip is positioned at the last frame of the useful segment
within the clip. This frame is near the end of the clip, after which the extra
footage begins.
Figure 6.43: Marking the Out Point within the Equipment Clip
On the shuttle slider, an out point icon appears at the point corresponding to
the current location of the clip. The shuttle slider area between the in and out
points is highlighted. You can add the section of the clip between the in and
out points to the final video by specifying a point of insertion in the Program
view.
9. In the Program view, click Play to start playing the video program.
This plays the master video in the Program view, as shown in Figure 6.44.
On the shuttle slider, an in point icon appears at the point corresponding to the
current location of the clip. Notice that, in the Program view, the in point
marks the point where a clip is inserted.
After marking both the in and out points in the Source view and an in point in
the Program view, you can move the required segment from the Source view to
the specified location in the video program.
Figure 6.46: Inserting the Source Clip into the Program View
The clip segment between the in and out points in the Source view is inserted at the in
point in the Program view. The first frame of the source segment appears after the frame
marked as an in point in the video program. The frames that previously appeared after
the in point in the program are shifted to the right to make way for the newly inserted
frames.
Four-Point Editing
The sample video has a faulty segment that shows the screen saver in the audio editing
room. You have to replace this segment of the video with a new video segment. The
new video of the monitor is stored in a clip named Screen. You can do this using the
four-point editing technique.
In four-point editing, you must specify a total of four editing points between the Source
and Program views within the Monitor window. You must specify the in and out points
within the source clip in the Source view and the in and out points within the video
program in the Program view. The video segment between the in and out points of the
source clip is placed over the segment between the in and out points of the video
program. This is called overlaying. In this process, the video segment from the source
clip is laid over the faulty segment in the target video program. While overlaying, you
must make sure that the length of both the segments is equal.
Figure 6.47: Screen Video Clip in the Source View of the Monitor Window
The Screen video clip contains some extra footage at the beginning and end of the clip.
Mark the in and out points within the clip to extract the useful portion of the clip. To
insert the Screen clip segment within the video program, perform the following steps:
1. In the Source view, click Play to start playing the Screen video clip. The
Screen video clip plays in the Source view.
2. When you reach the beginning of the required section of the clip, click Stop to
stop the clip at that point. The video clip pauses at the beginning of the
required segment, which shows a monitor in an audio editing room.
3. In the Source view, click Frame Back or Frame Forward to move to the first
frame of the useful segment. The Screen video clip is positioned at the first
frame of the segment within the clip. This is the last frame before the monitor
is displayed.
4. In the Source view, click Mark In to mark the current frame as the in point.
On the shuttle slider, an in point icon appears at the point corresponding to the
current location of the clip.
5. In the Source view, click Play to start playing the Screen video again. The
video clip starts playing from the in point, where it was paused.
6. After you reach the end of the useful section of the clip, click Stop to stop
playback at that point. The video clip pauses at a point near the end of the
required segment.
7. In the Source view, click Frame Back or Frame Forward to move to the last
frame of the required segment. The video clip, Screen, is positioned at the last
frame of the useful section within the clip. This frame is toward the end of the
clip, after which the extra footage begins.
8. In the Source view, click Mark Out to mark the current frame as the out
point.
Figure 6.49: Marking the Out Point in the Screen Video Clip
On the shuttle slider, an out point icon appears at the point corresponding to
the current location of the clip. The shuttle slider area between the in and out
points is highlighted. You can add the section of the clip between the in and
out points to the final video by specifying in and out points in the Program
view.
9. In the Program view, click Play to start playing the video program. The master
video plays in the Program view, as shown in Figure 6.50.
On the shuttle slider, an in point icon appears at the point corresponding to the
current location of the clip.
13. In the Program view, click Play to start playing the video program again. The
video program resumes playback from the in point, where it was paused.
14. When you reach the end of the faulty section of the clip, click Stop to stop
playback at that point.
The video clip pauses at a point near the end of the faulty segment. The
marked segment in the Source view replaces this faulty segment.
15. In the Source view, click Frame Back or Frame Forward to move to the last
frame of the faulty segment to be replaced. The video program is positioned at
the last frame of the faulty segment within the clip.
After you have marked both in and out points in the Source view and the in
and out points in the Program view, you can move the required segment from
the Source view in the video program.
17. In the Source view, click Overlay to overlay the marked segment from the
Source view on the marked segment in the Program view. The Overlay button
is located below the time code display.
Figure 6.53 shows the Overlay button.
Rolling Edit
The rolling edit technique can be used to trim a set of clips arranged on the timeline, as
shown in Figure 6.54.
2. In the timeline, position the cursor on the left edge or the in point of the clip
Man2.
The cursor changes to a Rolling Edit tool. This tool is a red square bracket with
two double-sided arrows.
Figure 6.56 shows the cursor positioned over the left edge of the clip.
Figure 6.56: Rolling Edit Tool on the Left Edge of the Man2 Clip
The Man1 video clip is trimmed at the end. The Man2 clip is lengthened at the
beginning.
Ripple Edit
The ripple edit technique can be used to trim a set of clips arranged on the timeline, as
shown in Figure 6.58.
Slip Edit
The slip edit technique can be used to trim a set of clips arranged on the timeline, as
shown in Figure 6.60.
Slide Edit
The slide edit technique can be used to trim a set of clips arranged on the timeline, as
shown in Figure 6.61.
To move the clip Man2 ahead in the timeline without affecting the length of the entire
video program, readjust the lengths of the adjacent clips to accommodate the slide of the
clip Man2. As Man2 is dragged to the left, the Man1 clip on the left is trimmed from the
end, and the Screen clip on the right is lengthened. This process is called slide edit.
In the transition of Figure 6.67, the A frame appears first. The first stage on the left
shows the point at which the cube is just about to spin. In the second stage, the cube has
spun halfway. The final stage on the right shows the point at which the cube has almost
completely spun.
You can select any transition and insert it between two video clips in the timeline.
An overlapping region is created between Man1 and Man2 clips. The frames at the end
of Man1 that occur in the overlapping region constitute the tail material. The frames at
the beginning of Man2 that occur in the overlapping region constitute the head material
for the transition.
The transition does not cover the entire overlapping region. You must adjust
the length of the transition to cover the overlapping region.
7. Expand the 3D Cube Spin transition to fit the overlapping region in the
Transition track. This implies that the duration of the transition effect is equal
to the length of the overlapping region between the two clips, Man1 and Man2.
The work area bar has two markers at the start and end of the bar, which can be dragged
to adjust the length of the bar.
For instance, you want to preview the 3D Cube Spin transition that you inserted
between the clips Man1 and Man2. To build a preview for a segment of the program,
perform the following steps:
1. In the Timeline window, horizontally drag the work area bar and position it
over the required segment of the program.
Figure 6.76 shows the work area bar dragged over the segment containing the
transition.
Figure 6.76: Positioning the Work Area Bar over the Transition
Figure 6.77: Positioning the Left Marker of the Work Area Bar
Figure 6.78: Positioning the Right Marker of the Work Area Bar
Now that you have marked the region in the timeline that you want to preview,
you can generate the preview.
This action displays the Building Preview dialog box, as shown in Figure 6.80.
The Building Preview dialog box contains a progress bar, which shows you the
status of the preview build. After the preview is built, it is automatically played
in the Program view of the Monitor window.
Render Scrubbing
Render scrubbing enables you to quickly preview segments of the video program in the
timeline. You can preview a video segment on the timeline by dragging the edit line
over the segment in the timeline, while holding down the Alt key. Recall that the edit
line is used to show the current location in the timeline. Figure 6.81 shows the edit line
in the Timeline window.
2. On the time ruler, drag the edit line over the area containing the transitions to
be previewed. The program is displayed in the Program view of the Monitor
window, showing the effects of transitions.
This method of previewing usually produces a jerky display in the Monitor window
because the quality of the preview depends on how smoothly you can drag the edit line
over the timeline.
While choosing between building a preview and render scrubbing, you must make a
tradeoff between quality and time. If quality is more important, build a preview, but if
you need a quick preview, use the render scrubbing method.
Lab Exercises
Exercise 1
SuperGraphics, Inc. has created a video that introduces its clients to the audio-editing
facilities that exist in the organization. A video has recorded the equipment and
facilities at the SuperGraphics audio-editing room. The video exists in two video files,
Office1 and Office2. You have been assigned the task to edit these video clips in Adobe
Premiere. You have already created a project in the lab exercise of the preceding unit.
Now you need to begin editing the clips Office1 and Office2.
Problem Statement 1
Create a bin named “Office Clips” and import the two video clips in the Project
window.
Hints
The clips are imported to the currently selected bin in the Project window. Before
importing the video clips, make sure the target bin is selected.
Ending at the point where the clip stops displaying the equipment and starts
focusing on the glass panel.
Problem Statement 3
Lab Exercises
From the Office2 clip, extract the segment of the video clip:
Starting at the point where the clip starts displaying the monitor.
Ending at the point where the clip stops displaying the monitor.
Hints
To insert a segment of video in the program, you can use the three-point editing
technique.
Problem Statement 4
Add the segment of the Office2 clip to display a wooden door at the end of the video
program. At the start of the Office2 clip, insert a dissolve transition effect.
Hints
To add the video segment at the end of the program, you can simply mark the in
and out points and drag the segment to the right end of the clips in the timeline.
Observations/Learning
Yes No
Lab Exercises
1. Created a bin named “Office Clips”
• Add titles to a video by using the Title window. 7.3 Adding Animations
• Create rolling and scrolling titles by using the Rolling to a Video Clip
Text tool.
• Animate video clips by defining a motion path and
keyframes.
In Figure 7.1, the Man2 and Man1 video clips are placed in the Video 1 and Video 2
tracks, respectively. In this case, Man1 has been superimposed on Man2. You can also
say that a composite of Man1 and Man2 has been created.
3. To add more video tracks, click Add in the Track Options dialog box.
4. The Add Tracks dialog box is displayed, as shown in Figure 7.4. To add two
video tracks in the Timeline window, type 2 in the Add Video Track(s) text
box and click OK.
Two tracks are added to the Timeline window above the Video 2 track. Figure
7.5 displays the Timeline window after the tracks have been added. By default,
Notice that the clip Man1 has been superimposed over Man2. During playback, for the
duration of the Man1 clip, you would only be able to see Man1 on the screen. This is
because Man1 is on a higher track and is played over Man2. Only when the Man1 clip
ends would the Man2 clip be visible.
The Video 1 track does not have an opacity rubberband. A clip in the Video1 track
cannot be superimposed on any other clip.
The opacity rubberband is not visible in the normal track view. Premiere allows you to
expand a video track to display the opacity rubberband below the video clip in the track.
For example, you can view the opacity rubberband for the Man 1 video clip by
expanding the Video 2 track in the timeline. To expand a track and display the opacity
rubberband, perform the following steps:
1. On the Video 2 track, click the triangular Collapse/Expand Track control.
This control is located on the left of the Video 2 track name, as shown in
Figure 7.7.
3. On the Video 2 track, click the Display Opacity Rubberband control. This
control is located below the Video 2 track name in the expanded region of the
track, as shown in Figure 7.9.
To adjust the transparency of the video clip, you can vertically drag the red rubberband
at any point. Dragging the line downwards makes the video transparent, and dragging
the line upwards makes the video opaque at that point.
Using the opacity rubberband, you can control the transparency of the video at multiple
points within the video track. You can do this by creating handles on the opacity
rubberband. A handle is used to pivot the rubberband at a specific point. The slope of
the segment between two handles defines the fading effect on the video during that
segment. If the rubberband slopes upward, the video fades in, which means, it gradually
appears on the screen. If, on the other hand, the rubberband slopes downward, the video
fades out, that is, it slowly disappears from the screen.
By default, there are two handles at the endpoints of the rubberband. By vertically
moving these handles, you can gradually fade the video through the length of the audio
clip.
On playing the video clip in Figure 7.11, you will first see only the underlying video
clip Man2, but gradually the Man1 clip would appear over the Man2 clip on the screen,
which means that the Man1 clip would fade in and superimpose itself on the Man2 clip.
You can also create more complicated fade effects by repositioning the rubberband at
several points. For this, you must create additional handles on the rubberband. You can
create a handle by clicking the rubberband at any point.
Using an opacity rubberband, you can fade a clip and also vary the fading effect over
time. The effect is equally applied throughout the screen. But if you wish to fade only a
certain region on the screen, you can use transparency keys and mattes.
Alpha Channel key A clip based on the alpha channel within a clip. This key can
only be applied on clips that contain an alpha channel.
Consider that you want to add a logo at the top-right corner of a video clip. Figure 7.12
displays a sample logo.
You want to add this logo to the clip Man 1. To add the logo, you need to first
superimpose the logo on the video clip. You then need to set the transparency key of the
The size of the image is equal to the frame size of the video clip. This ensures that
the logo will display on the top-right corner of the clip.
Figure 7.14: Adding the Logo to the Video 2 Track of the Timeline
7. In the Transparency Settings dialog box, to specify the type of key, select
Chroma from the Key type drop-down list, as shown in Figure 7.17.
8. To choose the key color, click the color swatch in the color area and select the
color of the background in the Transparency Settings dialog box. You can also
use the eyedropper tool to select the color, as displayed in Figure 7.17.
9. To adjust the key effects, specify the following settings in the Transparency
key dialog box, as displayed in Figure 7.18:
a. Similarity: Drag the similarity slider to adjust the range of colors that
matches with the color you specified in the Color area.
b. Blend: Drag the Blend slider to blend the logo with the clip that plays
below the superimposed logo.
c. Threshold: Drag this slider to adjust shadow areas. If the threshold
value is more, the shadow areas in the clip will be clearly visible.
d. Cutoff: Drag this slider to darken or lighten the shadow imposed by
the logo.
e. Smoothing: Select an option from the Smoothing drop-down list to
specify the sharpness of the edges of the logo.
10. After specifying all settings, to preview the keying effect, select any of the
following settings given below the Sample area in the Transparency Settings
dialog box:
c. Image : Use this option to display the underlying clip (on the Video
1 track) in the preview.
You can also use the Zoom tool for a detailed preview of the clip. In addition,
you can use the Hand tool to drag the clip into the Sample area.
Figure 7.19: Video Clip with a Logo Displayed on the Top-right Corner
A project can have multiple title objects, a title object can have multiple text
objects, and a text object can have multiple lines of text.
In Premiere, title objects are created using the Title window. You can use the Title
window to add and edit text objects within a title object.
Work Area
The text and graphics that make up the titles are added to the work area, located on the
right of the Title window. Text objects can be arranged on this area to control the way
they appear on the screen. The work area includes two safe zones represented by dotted-
line boxes. These are:
Title-safe zone
Action-safe zone
In Figure 7.21, the inner dotted box represents the title-safe zone and the outer dotted
box represents the action-safe zone. These safe zones are used to check
incompatibilities that arise in the way images are displayed on different television
screens and monitors. Television sets usually overscan the display and cut off parts of
the screen near the edges. Titles placed outside the title-safe zone might appear distorted
on some television screens. Similarly, titles placed outside the action-safe zone might
not be displayed at all.
You should always place your text within the title-safe zone to prevent it from
being truncated or distorted near the edges.
Rectangle Tool Create a rectangle. The left half of the Rectangle tool
creates a framed rectangle and the right half creates S
a filled rectangle.
Rounded Rectangle Create a rectangle with rounded corners. The left half
Tool of the tool creates a framed rounded-rectangle, R
whereas the right half creates a filled one.
Rolling Title Tool Make text scroll vertically or horizontally across the
Y
screen
In case of a rectangle, rounded rectangle, polygon or oval, you can choose to create
either a framed figure or a filled figure. To create a framed figure, you need to click
on the left half of the tool, whereas to create a filled figure, click on the right half of
the tool.
3. When you select the Type tool, the pointer changes to an insert icon (I). On the
Title window work area, click to add text at that point.
5. The border of the text box disappears, and only four corners of the text box are
visible. This text box is referred to as a text object. Figure 7.25 displays the
text object.
The title is saved and added to the active Project window in the Premiere
project. Figure 7.28 shows Title1 added to the Project window.
3. The text object appears as a simple text box with a blinking insert-text icon, as
shown in Figure 7.31. In the text box, click the space before the word “Video”
and drag to the end of the word to highlight the word.
The pop-up menu displayed in Figure 7.33 is also called a shortcut menu.
Alternatively, you can use the Title menu at the top of the Premiere interface for
selecting the same options that are given in the shortcut menu.
You can also change attributes of the entire text within a text object by selecting the
entire object instead of a part.
2. On the toolbar, click the Gradient Start Color swatch. Figure 7.36 displays
the Gradient Start Color swatch.
The selected shade is displayed in the lower color box on the top right of the
dialog box, as shown in Figure 7.38.
6. To specify the gradient end color, click the Gradient End Color swatch on the
toolbar, as shown in Figure 7.40.
The Color Picker dialog box is displayed, in which you select the ending color
of the gradient. Click a shade of red to select it as the gradient ending color.
8. In the Color Picker dialog box, click OK to finalize the selection of the
gradient end color.
The gradient end color is applied to the text in the text object. Figure 7.42
displays the text object after the color has been applied. The color of each letter
of the text within the text object appears as a gradient between blue and red.
Gradients can also be applied to a part of the text within a text object by highlighting the
desired text. The procedure to highlight a part of the text within a text object was
Text Stretching
In Premiere, a text object can be stretched to a desired shape. Stretching increases the
length or breadth of characters within a text object, depending on the direction in which
stretching is applied. Stretching can be applied to entire text objects only and not to
selected text within an object. To apply stretching to a text object, perform the
following steps:
1. In the Title window work area, click the text object to select it. The four
corners of the text object appear, indicating that the object has been selected.
Figure 7.43 displays the selected text object.
The characters within the text object are stretched in the direction of the drag.
Figure 7.45 shows the text object after the lower-left corner of the text object is dragged
further down and to the left.
Each character within the text object is lengthened. You can stretch a text object in any
direction by dragging any of the four corners of the object.
To increase the character spacing within the word “Premiere” in the Title1 title object,
perform the following steps:
1. In the Title window, double-click the text object to display the object as a
simple text box.
The spacing between characters increases as the button is clicked. You can
repeatedly click the button to increase the spacing between characters.
Similarly, you can use the Decrease Kerning button to decrease the spacing between
characters of the selected text within a text object.
2. When you select the Rolling Title tool, the mouse pointer changes to a cross
(+). On the Title window work area, click and drag to create a square area.
3. An empty text box with vertical and horizontal scroll bars appears, as shown in
Figure 7.51. This text box can be called a rolling text object. In the rolling text
object, type multiple lines of text and click anywhere outside the text object in
the work area.
To apply crawling effect to the text, you can select the Move Left or Move Right
radio button.
2. On the Clip menu, position the mouse pointer to Video Options and then select
Motion, as shown in Figure 7.57.
7. Figure 7.62 displays the Motion Path window after the new keyframe has been
added and positioned. You can refer to the new keyframe created as
keyframe3. On the motion path segment between keyframe3 and End
keyframe, create another keyframe as in step 3 and drag it to a point such that
only a part of the lower right edge of Clip2 overlaps the visible area.
9. Figure 7.64 displays the Motion Path window after the End keyframe has been
repositioned. The motion path of Clip2 starts from the left of the visible area,
goes around the visible area in a counterclockwise direction, and finally ends at
the center of the visible area. You can preview the motion path in the Sample
window on the left of the Motion Settings dialog box.
Rotation
This effect rotates the clip as it moves between keyframes in the motion path. The clip
rotates in clockwise or counterclockwise directions, with the center of the clip as the
axis of rotation. The degree of rotation can vary between –1440 to 1440 degrees; where
a negative value denotes a counterclockwise rotation and a positive value denotes a
clockwise rotation.
You can rotate a clip by specifying the degree of rotation at a particular keyframe. For
example, consider the example in the previous topic in which you defined a motion path
for Clip2, with Clip1 in the background. Suppose you want Clip2 to rotate once in the
clockwise direction, as it moves from the Start keyframe to keyframe1. One complete
rotation corresponds to 360 degrees. Therefore, to add this effect, you can specify a
rotation value of 360 degrees to the Start keyframe.
To add the rotation effect, perform following steps:
1. In the Timeline window, click Clip2 to select it. A blinking, dotted-line frame
surrounds Clip2, as shown in Figure 7.65.
4. On the Rotation slider, click the right handle of the slider to increase the value
in the rotation field to 360. Figure 7.68 shows the Rotation slider. You can also
directly type in the value 360 in the Rotation field on the right of the slider.
You can preview the rotation effect in the Sample window on the left of the
Motion Settings dialog box.
4. On the Zoom slider, click the left handle to decrease the value in the zoom
field to 10. You can also type the value 10 directly in the Zoom field to the
right of the slider. Figure 7.71 shows the Zoom slider. You can preview the
zoom effect in the Sample window on the left of the Motion Settings dialog
box.
4. On the Delay slider, click the right handle to increase the value in the delay
field to 10. You can also type the value 10 directly in the Delay field on the
right of the slider. Figure 7.74 shows the Delay slider. You can preview the
delay effect in the Sample window to the left of the Motion Settings dialog
box.
5. In the Motion Settings dialog box, click OK. The Delay effect is applied to
keyframe1 within the motion path for Clip2. You can add delays to all
keyframes in the motion path for a clip. However, the duration of delay at a
Lab Exercises
Exercise 1
Problem Statement
Add the Office1 clip to the Video1 track in the timeline. Superimpose the first half of
the Office2 clip over the second half of the Office 1 clip. Adjust the transparency of the
Office2 clip such that it starts playing as completely transparent but is completely
visible at the point where the Office1 clip ends.
Hints
Place the Office2 clip on the Video2 or higher track.
You can adjust the transparency of the Office2 clip using the opacity rubberband.
Yes No
Hints
To display the title object, place it on the Video3 track above the rest of the video.
To make the text appear at the bottom of the screen, move the text object
containing the text to the bottom of the work area in the Title window.
Yes No
Lab Exercises
Animate the Office2 clip at the end of the video program such that during the final 25
percent of the Office2 clip:
The Office2 clip makes two complete rotations in the clockwise direction.
The Office2 clip zooms out of view, which means it decreases in size until it is
invisible.
The clip moves from the center of the screen to the top-left corner of the screen.
Hints
To apply these settings to the final 25 percent of the Office 2 clip, specify a delay
of 75 percent at the start frame.
Two complete rotations correspond to 720 degrees of rotation.
Observations/Learning
Yes No
• Filter noise from a recorded audio sample by using Noise 8.2 Working with
Gate. Sound Forge
• Adjust the frequency of an audio sample by using the
Pitch Bend control. 8.3 Working with
• Adjust levels of frequency bands within an audio sample
Audio in Premiere
by using Graphic EQ.
• Add audio clips to Premiere by using the Timeline
window.
• Apply effects to audio clips by using the pan/balance
rubberband.
• Adjust the volume of audio clips by using the volume
rubberband.
Median
Wavelength
Sound Wave
Properties of Sound
There are a number of properties of sound that you must understand before you record
and digitize audio. These properties can help you make some crucial decisions that
affect the quality of recorded audio. The properties of sound are:
Amplitude
Wavelength
Frequency
Pitch
Median
Wavelength
To understand wavelength, you must know the meaning of a cycle. In Figure 8.1, the
sound wave travels in a repetitive path, rising to a peak position before falling and rising
again. When a sound wave starts from one position and comes back to the same position
after traveling through the central line, it completes a cycle. The wavelength of a sound
wave is the distance covered by the wave in completing one cycle. Figure 8.1 displays
the wavelength of a sound wave.
Wavelength can be measured from its waveform as the distance between the two
endpoints of a complete cycle. Wavelength is measured in meters (m).
Frequency
Sound waves always pass through a medium, such as air. A medium has many
microscopic particles in it. The frequency of a sound wave refers to the rate at which
these particles vibrate when a sound wave passes through the medium and is measured
in cycles per unit time or waves per unit time. Frequency can also be measured in hertz
(Hz). One Hz is equal to one cycle per second.
Pitch
You hear sounds when your eardrums detect fluctuations in air pressure. Sound waves
of different frequencies produce different sounds. Humans can detect waves with
frequencies ranging from 20 to 20,000 Hz. The human ear can distinguish sounds
having different frequencies by the sensations produced by these sounds. These
sensations are referred to as the pitch of the sound.
Median
The central line passing through the length of the sine wave is called the median. Figure
8.1 displays the median of a sine wave. Parts of the wave close to the median signify
low amplitude or less vibration of particles. The farther the wave is from the median,
the greater is the amplitude.
These properties of sound differ from one type of sound to another. As a result,
waveforms used to represent different types of sounds are also different. When a
number of such waveforms combine, they form a common waveform. Audio
represented as a combination of waveforms is referred to as analog audio. Analog
audio is usually stored on vinyl records and analog tapes. Earlier, all audio was in
analog form. Today, you can store audio in another form known as digital audio.
Concept of Digitizing
Digitizing is the process of converting analog audio into digital audio. As mentioned
earlier, analog audio is represented using continuous waveforms or sound waves. To
Sample
Sampling
In Figure 8.2, each vertical bar is a sample. The height of the bar represents the
amplitude of the wave at that point.
Each sample is analyzed and a value is assigned to it depending on the average strength
of the signal in the sample. This value is then stored in binary format on a digital
storage device. In this way, an audio track can be stored as a stream of sample values in
a file.
Limitations of Digitizing
While digitizing audio using sampling, you must make some important decisions on
how to convert the audio waveform into samples. These decisions have a direct impact
on the quality of the digitized audio obtained after sampling. You have to take into
consideration the available processing power and memory while making these
decisions. The quality of digitized audio is affected by the following:
Bit depth
Sampling rate
Sampling Rate
The sampling rate refers to the number of samples recorded per second from the source
audio. A higher sampling rate leads to better sound quality.
A high sampling rate also means that more processing power is required while
recording and playing back an audio sample. This is because the computer has to repeat
a set of operations for every sample within the audio. The more samples used to
represent each second of audio, the more operations that the computer must process.
The sampling rate of a sound wave is different for different delivery media. For
example, the sampling rate is about 48 kHz for a CD and about 11 kHz for sound that is
to be broadcast over AM radio.
Data Window
The Data window is used to display the waveform for an audio file. Whenever you open
an audio file in Sound Forge, it is opened in a new Data window. The Sound Forge
workspace can contain multiple Data windows, each displaying the waveform for a
separate audio file. Figure 8.4 displays a Data window for the audio file sample.wav.
In the waveform display of the Data window, time is displayed on the horizontal axis.
The vertical axis displays the amplitude of the waveform at different points in the time
ruler.
Toolbars
Sound Forge includes a wide range of tools that help you edit, play back, and control
the display of the Sound Forge interface. Some of the frequently used tools have been
arranged as buttons in toolbars on the workspace.
Standard Toolbar
The Standard toolbar provides quick access to some of the commonly used tools for file
control and basic editing. Figure 8.5 displays the Standard toolbar in the Sound Forge
interface.
Some of the tools on the Standard toolbar, such as File Open, Save, Cut, and Paste, are
common to most Windows-based applications. Table 8.1 gives a brief description of
each tool on the Standard toolbar.
Icon Name Used to Shortcut
New Create a new audio file. The new file is opened in a new Ctrl + N
Data window.
Save As Save the audio in the current Data window in a different Alt + F2
file
Cut Cut a selected audio segment from the Data window. Ctrl + X
The audio segment is stored in the Clipboard.
Copy Copy a selected audio segment from the Data window Ctrl + C
to the Clipboard
Paste Insert the audio segment from the Clipboard to the Ctrl + V
current cursor position in the Data window
Mix Mix the audio from the Clipboard with the audio starting Ctrl + M
at the current cursor position in the Data window
Repeat Repeat the last edit operation that was performed Ctrl + Y
Transport Toolbar
The Transport toolbar contains some commonly used tools for audio playback. The
buttons on the Transport toolbar resemble the playback buttons on any common VCR or
CD player. Figure 8.6 displays the Transport toolbar.
Record Display the Record dialog box, which enables you to Ctrl + R
record audio
Play All Play the complete audio file from start to end, Shift +
irrespective of selections made in the audio waveform Spacebar
Play Play the audio file or a selected segment of the audio Spacebar
Stop Stop the playback of audio. The cursor returns to the Spacebar
point where it was when playback started.
Go to Start Position the cursor at the beginning of the audio file Ctrl + Home
Rewind Move the cursor backward in the audio file Ctrl + Left
Arrow
Forward Move the cursor forward in the audio file Ctrl + Right
Arrow
Go to End Position the cursor at the end of the audio file Ctrl + End
Status Toolbar
The Status toolbar is used to change the display status of the Data windows. Using the
tools in the Status toolbar, you can change the units of the horizontal axis in the
waveform display. For instance, by default, the horizontal axis in the waveform displays
time. It can be changed to display the number of samples or frames. Figure 8.7 displays
the Status toolbar.
Time View the length of audio in a Data window in the units of time
Measures and Change the units of measurement along the horizontal axis to
Beats measures, beats, and one-fourths of a beat
Status Bar
The Status bar is used to display important information about the status of the audio clip
in the Data window currently in focus. The Status bar is displayed at the bottom of the
Sound Forge interface. Figure 8.8 displays the Status bar containing information about
an audio file.
The information in the Status bar is divided into separate fields. The first field on the
left displays the sample rate of the audio. In Figure 8.8, the sample rate is given as
44,100 Hz. The second field displays the sample size. In Figure 8.8, the sample size is
16 bits. The third field displays information on the number of audio channels in the
audio being played. If the audio being played is stereo, it contains two separate audio
channels for the left and right sides, and if mono, it contains only one audio channel.
The audio in the example is mono audio.
The fourth field displays the total length of the audio file being played. The total length
of the audio file in the example is 9.858 seconds.
The Record dialog box is displayed, as shown in Figure 8.10. The Record
dialog box includes several options for specifying the record settings.
3. The New Window dialog box is displayed, as shown in Figure 8.11. In the
New Window dialog box, you must specify the following three properties for
the new audio file:
• Sample rate: You can select a sample rate in the range of 2,000 to
96,000 Hz.
• Sample size: The sample size can be either 8 or 16 bits.
• Channels: You can specify whether you wish to record stereo or mono
audio.
5. A new audio file is created. The new audio file appears as a blank Data
window behind the Record dialog box. Select a recording mode in the Record
dialog box.
The following recording mode options are available:
• Automatic retake: In this mode, recording starts at a specified point
within the audio sample. The starting point is specified in the Start field.
In the automatic retake mode, Sound Forge automatically resets the
pointer to the previously specified starting point when you stop recording.
The next time you start recording, the new audio overwrites the previous
recording. This method is useful in situations when you wish to repeatedly
record the same piece of audio until you get it right. You can play back
the recorded audio after every take and decide if it is good enough or if
you wish to record it again.
• Multiple takes: This mode is similar to the automatic retake mode,
except that the pointer is not repositioned at the start of the previous
recording. When you stop recording, the pointer stays at the end of the
previous take, and any new recording is stored beyond this point in the
audio file. This method can be used when you wish to record a long audio
sequence in parts. After recording one part of the audio, you can take a
break, and continue recording from where you left off.
The recording procedure begins. The Record button changes into a Stop button
and a flashing Recording sign appears to the right of the Transport toolbar. A
recording meter displays the time recorded and the total time left on the storage
device. The recording meter is located below the Transport toolbar in the
Record dialog box, as shown in Figure 8.13.
9. On the Transport toolbar, click Stop to stop the recording process. You can see
the total recording time from the recording meter.
You can save the newly created audio sequence as an audio file by clicking the
Save button on the Standard toolbar.
2. The Pitch Bend dialog box is displayed, as shown in Figure 8.18. The Pitch
Bend dialog box includes an envelope, within which the pitch of the audio clip
is adjusted at various points. In the envelope, the vertical axis represents the
pitch of the audio, and the horizontal axis represents the length of the audio
clip, or a selected segment of the clip.
In the envelope, repeat the following steps to adjust the pitch of the audio clip
to the desired level.
3. In the envelope, click the pitch bend to create a point (or handle). Figure 8.19
shows a handle created on the pitch bend.
5. In the Pitch Bend dialog box, click OK. The pitch settings are applied to the
waveform in the Data window.
Frequency modulation of an audio clip affects the duration of the audio clip. The
frequency of sound determines the rate at which the sound is played. Increasing the
frequency of an audio clip makes the audio play faster and decreases the total duration
of the audio clip. Similarly, decreasing the frequency of an audio clip increases its
length.
Audio Waveform
Sound Waves
The range of frequencies within an audio sample is called a frequency spectrum. The
frequency spectrum can be divided into a number of regions, where each region
corresponds to a sub-range of frequencies within the spectrum. Such a region is called a
frequency band (or simply band).
In Sound Forge, you can adjust the level of individual frequency bands within the
frequency spectrum of an audio sample. This process is known as equalization (EQ).
Figure 8.24 shows how to increase the gain of the 62 Hz frequency band by
dragging the slider handle upwards.
From the Project window, you can add audio clips to the Timeline window and edit
these as required.
Create a separate bin for audio files in the Project window. This helps you manage
audio clips, especially in large projects.
The default names given to the three audio tracks are Audio 1, Audio 2, and Audio 3.
You can add an audio clip to any of these tracks by dragging the clip from the Project
window to the track.
2. With the hand cursor, click sample.wav and drag it onto the Audio1 track in
the Timeline window. The clip is added to the Audio1 track. Figure 8.30
displays the Timeline window after sample.wav has been added to it.
To add two audio tracks in the Timeline window, type 2 in the Add Audio
Track(s) text box, and then click OK.
Two tracks are added to the Timeline window below the Audio 3 track. Figure
8.34 displays the Timeline window after the tracks have been added.
By default, the added tracks are named Audio 4 and Audio 5. You can insert audio clips
to these two tracks to simultaneously play multiple audio tracks.
2. In the expanded region of the Audio 1 track, click the Show Audio Waveform
control. This control is the leftmost control in the expanded region below the
track name, as shown in Figure 8.37.
The waveform stretches across the length of the audio clip in the Timeline
window.
When you expand an audio track containing a clip, the waveform may already be
visible. In this case, you need not click the Show Audio Waveform control.
However, the control can be used to toggle between the two views at any time.
The expanded-track view also exposes additional controls under the track name. These
controls are used to add the following effects to audio clips:
Panning and balancing with the pan rubberband
Fading with the volume rubberband
Mono audio can be played on a stereo system, but a stereo audio loses its stereo
effect if played on a mono system.
When a mono audio clip is played on a stereo system, the content of both the left and
right audio channels is the same. However, in Premiere, you can adjust the intensity of
the left and right audio channels to different levels, even for mono audio clips. This is
known as panning.
Panning is done using the pan rubberband in the Timeline window. The pan rubberband
is a blue line stretching across the length of an audio waveform in the Timeline window.
By default, the line passes through the center of the waveform. To display the pan
rubberband, perform the following step:
1. On the Audio1 track, click the blue Display Pan Rubberband control. This
control is located under the Audio1 track name in the expanded track, as
shown in Figure 8.39.
3. Click the handle and drag it to the top of the waveform, as shown in Figure
8.44. The adjoining rubberband segments on both sides of the handle are
readjusted.
5. Click the handle and drag it to the bottom of the waveform, as shown in Figure
8.46. The rubberband segments on both sides of the handle are readjusted.
The audio at this point is completely aligned towards the right audio channel. If you
play the audio track on a stereo system with two speakers or a set of headphones, you
will realize that the desired effect has been achieved. There can be many uses of this
audio effect when you add it to a video project. One such example was given at the
Fading
In the Timeline window, you can also adjust the volume of an audio clip at any point to
create a fading effect. The volume of a clip is adjusted using the volume rubberband.
The volume rubberband is a red line stretching across the length of an audio waveform
in the Timeline window. To display the volume rubberband for the sample.wav audio
clip, perform the following step:
1. On the Audio 1 track, click the red Display Volume Rubberband control.
This control is located under the expanded Audio 1 track, as shown in
Figure 8.47.
To adjust the volume of the audio clip, you can vertically drag the red rubberband at any
point. Dragging the line upwards increases the audio volume at that point, and dragging it
downwards decreases the volume. The volume of the audio at any point can range from 0 to
200 percent. At the default central position, the volume is at a 100 percent level.
2. On the volume rubberband, click the starting handle of the rubberband and
drag it to the bottom of the waveform, as shown in Figure 8.50.
4. Click the new handle and drag it to the center of the waveform, as shown in
Figure 8.52. The adjoining rubberband segments on both sides of the handle
are readjusted.
The volume at this point is adjusted to 100 percent of the original volume. The
volume increases from zero to 100 percent during the section between the starting
The volume at this point is adjusted to 100 percent of the original volume. The
rubberband segments on both sides of the new handle are readjusted. The volume stays
constant at 100 percent between handle 1 and handle 2. The volume decreases from
100 percent to zero between handle 2 and the ending handle. If you play the audio track,
you will realize that the desired effect has been achieved. The audio starts off with no
volume and fades in from the starting handle to the first handle. It then stays constant
till the second handle before fading out towards the end.
Lab Exercises
Exercise 1
In the video that you have made for SuperGraphics, Inc. in the preceding lab exercises,
you also need to incorporate audio in the final edited movie that introduces the
audio-editing room to its viewers.
Problem Statement 1
Using Sound Forge, record a narration of 10-second duration. This audio should be
played at the beginning of the video created in the preceding lab session. In the
narration, you must give a brief introduction of what you think the viewer is about to
see in the video program. Save the narration in an audio file, named MyVoice. Add the
MyVoice audio clip at the beginning of the video program in Adobe Premiere.
Hints
You can add the MyVoice audio clip to the Audio1 track in the Timeline.
Problem Statement 2
Import the audio clip Music.wav into your Premiere project. Add the audio clip to the
project as background music that is played throughout the duration of the video clip.
Hints
You can add the Music.wav audio clip to the Audio2 track in the Timeline.
Problem Statement 3
At the start of the clip Music.wav, when the music overlaps with the narration in the file
MyVoice, reduce the volume of the Music.wav audio.
Problem Statement 4
Using the pan rubberband, adjust the audio at the end of the video program so that as
the Office2 video clip moves to the top-right corner of the screen, the audio slowly pans
from the center to the right.
Hints
You can use the pan rubberband to adjust the alignment of audio between the left
and right audio channels.
Observations/Learning
Yes No
Lab Exercises
1. Recorded a narration of 10-second duration
Videotape
You can export a video to VHS videotape, which plays in a videocassette recorder
(VCR). To export an edited video that depicts motion and broadcast the video on a wide
area network (WAN), the video needs to conform to the international broadcast
standards. For example, to broadcast a video in the United States, the video needs to
conform to the National Television Standards Committee (NTSC) standard. To
broadcast to the European or Asian regions, the video should conform to the Sequential
Couleur Avec Memoire or the Sequential Color with Memory (SECAM) and Phase
Alternate Line (PAL) standards, respectively. An advantage of exporting a video to a
videotape is that you can record a video image to multiple videotapes and play them
whenever required. Exporting a video to a videocassette also enables you to play a
video for extended periods, as long as two hours or more.
Web
Exporting a video to the Web is becoming a popular method of distributing images
worldwide. However, you need to keep the file size of the video small to export it to the
Web. Small file size enables fast and error-free download of video and still images even
across lower bandwidth connections. Images exported to the Web can be used on
intranets or be made available to the public domain by using the Internet.
Software Programs
To add special effects to a video, you need to export the video to software programs,
such as Macromedia Flash. For example, if you want to change the basic shape of an
image, you can export the video to Adobe Photoshop. You cannot modify the shapes or
colors in a video clip in Premiere. To add another image to an existing video, use a
graphic-editing software program, such as Macromedia Flash or Adobe Photoshop.
Export the entire video clip in a single file known as a filmstrip that contains all the
frames of the clip in one large document, and edit the frames individually.
Quality
If the quality of an image is not up to expectations, the image does not have the required
impact on the viewer. The compression technique that you use for the image affects the
quality of a clip. The quality of the video clip is inversely proportional to the degree of
compression. You need to select the required compression technique judiciously. Audio
clips do not require a high degree of compression because audio clips do not use as
much hard disk space as compared to video clips. Video clips require high compression
if the storage space is limited and quality is not a major concern. You need to strike a
balance between quality and compression of the video clip.
Size
The duration of a clip, together with its quality, determines the size of the file.
Reduction of the file size can cause compression of the color resolution in a video clip
and affects the video quality. You need to make a tradeoff between the quality and the
download time of a clip. If the clip is not meant for the Web, retain the original file size.
Reduce the file size if it is to be played on the Web. Use a codec to reduce the size of a
file. A codec is a software program that uses a specific algorithm to compress a clip.
In addition to the file size, you also need to consider the size of a frame in a clip. For
example, a large frame of 720 x 480 pixels slows down the playing time of a clip.
Frame rate, the number of frames that are exported in a second, is another size factor
that affects the playing time of a clip. An increase in the number of frames exported per
second causes an increase in the playing time.
Play Speed
Data rate is defined as the amount of data per second that is processed while exporting a
clip. Different media have different data rates and you need to set the data rate
accordingly. For example, to export a clip to a CD-ROM, the export data rate needs to
match that of the CD-ROM drive. For organizational intranets, which usually have high
network bandwidth, you can specify a high data rate of 1,000 KB or more. For
exporting to the Web, the file size is more significant as compared to the data rate. The
speed of data transfer over the Web is determined by the bandwidth of the modem. For
example, if you specify a data rate of 1,000 KB for exporting video and the modem
speed is just 56 KBps, the effective data rate is 56 KBps and not 1,000 KBps.
Before exporting a movie project, ensure that your project is saved as a .ppj file.
Saving a movie project into a .ppj format enables easy re-editing and reuse of the
components of a movie project.
4. In the Export to Tape Settings dialog box, select the Assemble at time code
check box. Selecting this option enables you to begin exporting the video clip
from a specific time code. In addition, you can specify the Preroll time. Preroll
time is the initial time lapse of blank video recorded before the clip begins to
be recorded.
The Print to Video dialog box appears. In the Print to Video dialog box, use the Full
Screen option to specify whether you need the video to play on the entire screen. You
can also specify the total time for which you need to play the video on a TV, computer
screen, or a camcorder screen. The Loop Playback option enables you to continuously
play the video clip.
Figure 9.4: List of Export Options in the Save for Web Dialog Box
The Save for Web dialog box provides a list of export options, shown in
Figure 9.4. These options enable you to export the movie clip in various
formats on Windows and QuickTime platforms. These export options also
enable you to export a video clip for specific bandwidths, such as 28.8 KBps,
56 KBps, ISDN, or broadband. You can also specify whether you want to
include music or voiceover, or export a video clip as a still image, MPEG, or
MP3. You can make bandwidth-related decisions depending upon the
bandwidth available to Web servers in a particular geographic region.
In this dialog box, specify the server name that will host the video file. If you chose the
QuickTime format, specify the Web server name that has the QuickTime software
installed on it. Similarly, specify the name of the Windows Media Server if you choose
the Windows Media-Video and Windows Media-Audio options. In Figure 9.5, you can
see the text box in which you enter the name of a RealVideo Web server. You need to
enter the name of the RealVideo Web server because you selected the RealG2
Streaming option in the Save for Web dialog box.
After specifying the Web server name, you need to specify the name of the .rm file.
This is the extension of the video clip that is to be exported in the RealVideo format.
After the file is exported in the required format, you can copy this file to a Web server
for everybody to access.
Figure 9.6: Windows Media Export Plug-in for Adobe Premiere Dialog Box
In this dialog box, you see a list of bandwidth-related options. Select the
bandwidth available to Web servers in your specific geographic region. To
understand what each option means, you can read the description and technical
details of each option in the Description and Details box below the Profiles
list. Remember that bandwidth varies greatly from one location to another.
In addition to specifying the format, you also need to provide details for
export, such as the title of your video project, the description of your project,
and the rating for the video project, if any.
4. To specify the location where you want to save the video WVM file, click the
button in the Destination area. Refer to Figure 9.6 for the location of the
Destination button, which has three dots. Click the Destination button to display
a dialog box in which you can specify the name of the file in a specific folder.
5. Specify the name of the WVM file and location where you want to save the
file, and then click Save. Clicking the Save button returns you to the Windows
Media Export Plug-in for Adobe Premiere dialog box.
6. Click OK.
The Advanced RealMedia Export dialog box is displayed. In this dialog box,
you can specify the bandwidth that is used to play the exported video clip. You
can provide details such as the clip name, copyright information, and a short
description of the clip. After providing these optional details, specify the file
name and the location to which you want the RealMedia file to be exported.
4. To specify the name of the .ram file and the location at which you need to save
the file, click the Browse button.
For specifying optional details for an audio clip, such as the rating for the clip,
enabling only download service of the file, saving a clip in obsolete formats,
and compression techniques, you can click the Preferences button in the
Advanced RealMedia Export dialog box.
4. In the Export Movie Settings dialog box, to export a video clip, select Video
in the drop-down box, as highlighted in Figure 9.8.
5. Set Frame Size to 320 h and 240 v.
6. Set Depth to Millions.
7. Set Frame Rate to 15.
8. Click OK to begin exporting the video clip.
Figure 9.9: Save for Web Dialog Box with the Settings Wizard Option
Click Start to display the Settings Wizard dialog box, shown in Figure 9.10.
Figure 9.11: Target Machines Screen of the Settings Wizard Dialog Box
Figure 9.12: File Format Screen of the Settings Wizard Dialog Box
After the video clip is exported, you can write a CD-ROM of the same and use it in any
kind of production.
4. In the File Type box, select the Filmstrip option, as shown in Figure 9.14. The
default option is the Microsoft DV AVI.
You select the Filmstrip option because a video is exported to another program
as a filmstrip. A filmstrip is a single file that consists of multiple frames. This
facilitates easy identification of the frame that needs further editing.
5. In the Export Movie Settings dialog box, select the Export Video check box.
6. Click OK to close the dialog box. The Export Movie dialog box is displayed.
7. In this dialog box, specify the name of the file and the location where you want
the video clip to be stored.
8. Click Save. The video project is now a filmstrip that can be imported into
Photoshop and can be freely edited. After editing this file, you can import the
edited filmstrip file back into Premiere.
Exporting is the final activity in the process of creating a video project. Ensure that the
video project is carefully exported to a medium because a lot of effort is spent on
shooting and editing a video. Ensure that you choose the appropriate size for the video
project, file format, and medium.
Table 9.1: List of File Formats Suitable for Exporting to a Digital Medium
Lab Exercises
Define the term “export.”
Select a medium to export a video clip.
Identify the considerations in exporting video clips.
Export a video clip to videotape by using the File menu.
Export a video clip to a CD-ROM by using the File menu.
Export a video clip to the Web by using the File menu.
Export a video clip to another program by using the File menu.
Exercise 1
Problem Statement
SuperGraphics, Inc. has created a video that introduces its clients to the audio editing
facilities that exist in the organization. The video has recorded the different equipment
and facilities at the SuperGraphics audio editing room. The video exists in two video
files, Office1 and Office2. You have edited these video clips in Adobe Premiere and
created the final video.
The video must be available on the organization’s Web site so that the clients can view
the video through the Internet. To export for the Web, use the interactive procedure that
allows you to choose from various options for the Web.
The video must be available on CD-ROMs for the marketing executives who will use
this CD-ROM on their laptops to make presentations to different clients across the
globe. Specify the following settings while exporting for CD-ROMs:
Frame Size: 320 × 240
Depth: Millions
Frame Rate: 15
Export the project to the appropriate media.
Observations/Learning
Yes No
A.1.1 NTSC
The specifications that NTSC laid down were the first set of standards for broadcasting
and displaying video. These standards were implemented first in the United States in
1953, and are known as NTSC standards. NTSC uses an interlaced display for videos.
NTSC standards specify the following:
Each video frame must contain 525 horizontal lines.
The frame rate must be 29.97.
Some of the countries that use the NTSC standards are:
United States
Japan
Korea
Canada
Mexico
Appendix A.3
A.1.3 SECAM
The SECAM standard was established and implemented in France after the PAL
standard was established. It was then implemented in other countries. The SECAM
standard has the same specifications as the PAL standard.
Some of the countries that use the SECAM standard are:
France
Greece
Hungary
A.4 Appendix
Appendix A.5
A.6 Appendix
Analog Video—Consists of waves that are Bit Depth—Refers to the number of bits used
electrical signals. to represent one sample of an audio signal
while digitizing.
Aperture—A circular diaphragm that consists
of several metal blades that overlap each other.
The aperture determines the amount of light
entering the camera. C
Assemble Editing—Allows you to join Camera—A device that gathers light on a
selected shots one after the other along with the recording medium to capture an image.
associated control track.
Camera Angle—The viewpoint that is used to
Asymmetrical Balance—Enables you to
shoot a subject.
achieve balance by carefully distributing the
visual weight of elements. A composition using
CCD—A light-sensitive electronic chip
asymmetric balance is not uniform but is
containing diodes called pixels.
balanced.
Glossary G.3
G.4 Glossary
Glossary G.5
Lens Angle—Refers to the area of a scene Motion Path—The path along which a video
covered by a lens. clip moves on the screen.
M N
Macro Lens—A lens that is used for a very Noise—Undesired sound or disturbance within
detailed close-up shot of a subject to capture an audio, such as the hissing sound heard in
minute details. empty parts of an audio track.
G.6 Glossary
Glossary G.7
G.8 Glossary
Glossary G.9
E
C Editing mode, 5.24, 5.25
Camera, 1.11, 1.14, 1.21, 1.24, 2.1, 2.3, 2.4, Editor, 1.18
2.8, 2.12, 2.18, 2.20, 2.26, 2.27, 2.29, 2.31, Effect controls palette, 5.14, 5.15, 7.15
2.32, 2.34, 2.36, 2.38 Equalization, 8.24
Capturing, 1.23, 1.25, 5.1, 5.32, 5.33, 5.35, Exporting, 9.1, 9.3, 9.4, 9.7, 9.10, 9.17,
5.37 9.22, 9.23, 9.24, 9.25
Cast, 1.19
Cinema, 1.3, 1.7, 1.24
Cinematographer, 1.18 F
Cinematography, 2.3
Fade, 4.8, 4.10, 4.16, 5.11, 7.1, 7.11
Clip window, 6.14, 6.15, 6.17, 6.18
Fade out, 4.10
Close-up shot, 2.24
Index I.3
G Locations, 1.19
Logistics, 1.19
General settings, 5.24
Long shot, 2.21, 2.22
H M
Handle, 8.23, 8.43, 8.45, 8.46, 8.48, 8.49,
Matte, 7.12, 7.13, 7.62
8.50, 8.51
Median, 8.4, 8.6
History palette, 5.18
Medium, 1.23, 2.21, 2.23, 2.46, 2.47, 9.1,
9.3, 9.24
I.4 Index
R
O Reflector, 3.14
Opacity rubberband, 7.7, 7.9, 7.10, 7.65 Rehearsals, 1.19
Render scrubbing, 6.70, 6.71
Rendering options, 5.31
P Resolution, 2.10
Pan rubberband, 8.41, 8.42, 8.44 Rolling edit, 5.11, 6.48, 6.49
Panning, 2.29, 2.30, 2.46, 8.40, 8.41 Rotation, 7.54, 7.56, 7.63
Parallel editing, 4.5
Pitch, 8.1, 8.4, 8.5, 8.22, 8.23, 8.24, 8.52
Pitch bend, 8.1, 8.22, 8.23, 8.24, 8.52
S
Pre-production, 1.17 Sampling, 8.7, 8.8, 8.52
Preview, 1.21, 6.1, 6.54, 6.66, 6.69 Sampling rate, 8.8
Preview monitor, 1.21 Scene, 3.1, 3.3, 3.8, 3.9
Producer, 1.18 Scrim, 3.12
Production phase, 1.20, 1.22 Script, 1.9, 1.10, 1.14, 1.18
Program, 5.12, 5.13, 6.19, 6.21, 6.25, 6.36, Sets, 1.19
6.37, 6.40, 6.41, 6.42, 6.43, 6.45, 6.46, Shot, 2.14, 2.15, 2.16, 2.17, 2.20, 2.21, 2.27,
6.47, 6.48, 6.69, 6.71, 6.72, 9.22 2.30, 2.33, 2.35, 2.37, 2.39, 2.48, 4.17
Project, 5.1, 5.6, 5.7, 5.8, 5.12, 5.21, 5.22, Simple editing, 4.4
5.23, 5.24, 5.26, 5.28, 5.30, 5.31, 5.35, Slide edit, 6.52, 6.53
5.36, 5.37, 5.39, 6.1, 6.4, 6.5, 6.6, 6.7, 6.8,
Slip edit, 6.51
6.9, 6.10, 6.11, 6.12, 6.14, 6.16, 6.19, 6.22,
6.23, 6.24, 6.26, 6.72, 6.75, 7.14, 7.15, Soft light, 3.4
7.28, 7.29, 7.30, 7.66, 8.29, 8.32, 8.33, Split screen, 4.12
8.34, 8.52, 9.7 Stereoscopic, 8.40
Storyboard, 1.12, 1.14
Index I.5
I.6 Index