The Cool Stuff in Premiere Pro

Published by Jarle Leirpoll, Elverum, Norway, April 2015

EAN/ISBN for PDF version: ISBN 978-82-993648-7-4

Sponsored by Østnorsk Filmsenter AS

(East Norwegian Film Center), www.ostnorskfilm.no

Layout by Steve Williams, Red Inc.

http://redinc8.wix.com/redinc

Visit the books web site at http://premierepro.net

for lots of tutorials, free presets and templates.

To navigate this PDF file, click the logo in the top banner on any page
to go to the Table of Contents.
Click the name of the chapter in the footer to go to the start of the chapter.
Click any topic in the table of contents to go to
the page where that topic starts.
Foreword
Why I wrote this book
It’s been bothering me for a few years that there were no

Jarle Leirpoll, Photo by Polina Sudokova

really advanced books on editing in Premiere Pro. The
existing books tend to start from scratch and take the
reader to a certain level. That leaves no room for the really
advanced stuff.
A few years back, I read Mark Christiansen’s excellent book
on Compositing in After Effects. It was very hands-on and
practical, and at the same time it had the technical info that
visual effects professionals need to work efficiently in the
high-end VFX industry.
I wanted to write a book for video and film editors with the same level of practical and
hands-on info for professional editors, as well as those who want to become professional
editors. My assumption is readers are already familiar with the basics of Premiere Pro
software, though there should be new and useful information here for editors of all levels.

My sincere thanks to:

Everyone who has given me permission to use their footage, and to those who shot and
created specific video or stills material for me. There would be no book without you!
Grete Nordhagen, my partner in love – for your patience and support. My grown-up
children Anders and Marte, and my bonus daughters Tove and Ida – you have not gotten
the attention you deserve while I was writing, but you never complained.
Fredrik Johannesson (former Adobe), who once believed I would be the perfect person to
present new versions of Adobe software to Norwegians, and got me into beta testing of
Adobe software. You changed my life!
All my students. Your questions have forced me to always explain not only how, but also
why we do things one way instead of another. I’ve learned a lot from that.
Immanuel Heims, for proofreading. You’ve spotted hundreds of errors.
Huge heaps of thanks go to the entire Adobe Premiere Pro team who have patiently
answered my geeky questions, and a very special thank you to David Kuspa, Al Mooney
and Steve Hoeg. Other Adobe people who have helped me a lot are Max Hagelstam, Colin
Smith (former Adobe), Todd Kopriva and Kevin Monahan. It’s always a pleasure to work
with you all!

Jarle Leirpoll, Elverum, Norway, March 31, 2015.

The Cool Stuff in Premiere Pro 3

Contents Color Grading
Effects and Compositing
47
47
Motion Graphics 47
Foreword 3 Sound Mix 48
Why I wrote this book 3 Get a second Opinion 49
My sincere thanks to: 3 Output49
Creating a Master File 49
Accelerated workflow 13 Export to Blu-ray and DVD 50
Get better Results, faster – much faster  13 For the Web, and for Playback on Mac and PC 50
Before you start editing 14 Putting it on the Shelf 50
Copy Folder Template 14 Make Sequence and Project Dupes 50
Create a new Premiere Project 16 Offline (Proxy) Editing 51
Import Template Project 16 Render & Replace 51
Import all the Media via the Media Browser 17 More Workflow Tips 51
Create Bin from Media Browser 17 Comments and Suggestions are welcome 51
Sorting the Clips into Bins 18
Time for Backup 19 Audio in Premiere Pro 53
Renaming Clips 20 Oh, what a difference a sound makes  53
Add Metadata 21 Audio adds to the continuity 54
Decide what Metadata to see in the Project 22 Audio quality matters 54
Locating Assets in the Project 23 Always record sound 54
Advanced Search and Search Bins 23 Temporal relations of sound 55
Metadata Origins 24 Types of Audio 55
Sidecar File or Embedded Metadata? 24 SOT55
Understanding Clip Metadata and File Metadata 24 MOS55
Link Clip Metadata to File Metadata 25 Dialog56
Deciding on your Keywords 25 Ambience, Nat-sound, Atmos, Presence 56
Use older Versions for Speech Recognition 26 Room tone 56
Order Transcripts online 26 Wild sound 56
Add Markers 26 Silence56
Change Marker Colors with Shortcuts 27 Foley56
Search for Markers in Zipped Project File 27 Sound Motif 57
Use Labels to quickly find Stuff in Timelines and Bins 27 Sound FX 57
Decide what to do with your Audio 28 Make your own Sound FX 57
Merge Clips? I don’t think so! 29 Walla58
Backup again 29 ADR, Dubbing, Looping 58
Do it! 30 Voice-Over (Narration) 59
The Rough Cut (String-Out Sequence) 30 Music59
To Hover Scrub, or not to Hover Scrub 30 The Audio Chain in Premiere  59
Storyboarding31 Channel Mapping 60
Top & Tail Editing 33 Audio Gain 60
Quick Navigation in the Timeline 35 Clip Volume 60
Keep Notes inside of Premiere 36 Clip Channel Volume 61
Trimming and Fine Tuning 36 Clip Audio Effects 61
Dynamic Trimming 38 Clip Pan 62
Avoid complex Timelines - use Nesting  39 Track Effects 62
Nesting Gotchas 43 Track Volume, Solo and Mute 63
Make it shine 46 Post-Fader Track Effects 63

4 Foreword
 Channel Output Mapping 63 What did we just accomplish? 94
Track Meters 64 Multichannel Adaptive Tracks Set-Up 94
Track Assignment 64 Many other set-ups are possible 95
Track Pan 64 Editors do it differently 95
What about Sends? 65 Who needs 32 Output Channels? 96
Nesting65 Tweak the Audio Meters 96
Audio Track Types in Premiere 65 Audio Output Mapping preference 96
Standard Tracks 65 Multi-channel Audio Export 97
Mono Tracks 65 Multichannel out 97
Adaptive Tracks 65 Export Discrete QuickTime Tracks 97
5.1 Tracks 66 5.1 Track Layout for QuickTime 98
Master Track 66 Audio Sweetening, Mastering and Mixing  98
Submix Tracks 66 Audio Sweetening and Mastering 98
Audio Stuff in the Project Panel 67 Mixing Audio 98
Preferences for Audio Channel Mapping 67 Miscellaneous Mixing tips 99
Audio Settings for FCP 7 and Avid users 67 We need variation 99
Other Audio Preferences 68 Choose your reference level 99
Audio channel patching in the Project Panel 69 Loudness Radar 100
Get rid of audio channels 70 Use Audition for Legalizing 100
Modify Audio on Sequences 70 Normalizing101
Working with dual system sound 70 Submixes101
Gaining and Normalizing in the Project Panel 72 Fill Left with Right/Fill Right with Left 102
Break out to mono and Extract Audio 72 Listen in a loop 102
Speech Analysis 72 Equalizing102
Audio Stuff in the Source Monitor 73 Targeted switch 103
Adjust Audio Volume in Source Monitor 73 Dynamics103
Audio waveform in the Source Monitor 74 Reverb and delays  106
Edit Multi-Clips in the Source Monitor 75 5.1 mixing and editing 108
Audio Stuff in the Timeline 75 5.1 Sequence Setup in Premiere 108
Using a Control Surface 75 Using 5.1 clips in a Multichannel Sequence 110
Ways to adjust Audio Level 76 Sending 5.1 and Stereo to separate Output Channels 110
Panning81 Sound effects 111
Fast forward with better audio 82 Scary voice 112
Select Source Audio Channels 82 Telephone voice 112
Changing Source Channel in the Timeline 82 Distortion113
Source Assignment presets 83 Guitar Suite for Distoriton 113
Track Height Presets AKA Timeline Views 83 DeNoiser is OK for analogue tape noise 113
Third-Party Audio Plug-ins 113
Audio Crossfades 85 Using Audition 114
Long exponential fade 86 Edit in Audition  114
Sample accurate audio editing 87 Fix Problematic Audio 115
Recording Voice Over 87 Get Audition’s Sound FX & Music Library 117
Merge clips 89 Speech Volume Leveler 117
Linked clips, AKA Multi-Clips 89 Match Volume 118
Grouping clips 90 Make Your Audio Broadcast Compliant  118
Time Remapping and Audio 90 Generate Noise and Tones 118
Multi-channel Audio 90 Film Projector Sound  119
Multichannel Mono Set-Up 90 Do your final audio mix in Audition 120

The Cool Stuff in Premiere Pro 5

 Export OMF from Audition 121 Random Masking Tips 168
Premiere Pro Sequence Audio Signal Path 122 Tracking Masks 169
Combine Qualifiers and Masks 172
Color Grading in Premiere Pro  123 Use Masks and Curves for Dodge & Burn 172
Bring your images to a new level of awesome!  123 Vignettes173
If your film isn’t graded, it isn’t finished  123 Shot matching 174
It’s not black magic 123 Procedure for matching shots  176
You can use the Monitor you have 124 Walkthrough of a simple shot matching job 177
Color Correction, Grading or Look Design? 124 Miscellaneous tips on shot matching 179
Why color grade in Premiere? 124 Fixing problematic Video 180
Grading Software may cause a convoluted Workflow 125 Achieving a “Look” 185
Is this Chapter for you? 125 Sepia186
How much can you push it? 126 Bleach Bypass  186
What is YUV? 127 Teal & Orange 188
Chroma Compression via Subsampling 128 Presets – your secret Weapon 190
LIN, LOG and RAW formats explained 129 More useful Presets you may need 190
Why we get clipped highlights and crushed blacks 129 Additional Tips on Color Grading 199
Working with LOG Material 132 Master Clip Effects 201
Use LUTs and Looks in Premiere with Lumetri 132 Use Adjustment Layer as an Effect Preset 202
Tweaking the Camera Settings 133 Use a neutral Image to assist your Color Matching 202
Working with RAW Footage 135 Use Difference Mode to see what you need to add 203
Working with ARRIRAW Material 135 Huge Project Size with Warp Stabilizer 204
Working with CinemaDNG Material 136 Don’t make Color Grading your only Tool 204
Sony RAW 136
REDCODE RAW 137 Graphics in Motion 205
Cinestyle vs RAW 138 A few Workflow Tips before we start 206
32-bit Magic 139 The Building Blocks of Motion Graphics 206
Transcoding does not increase Quality 139 Animating a Path on a Map 208
See the 32-bit Magic in Action 140 Rotating Earth 211
Multi-Generation Production Workflows 143 Video inside Text 215
8-Bit Effects Advice 143 Comic Book Video Presentation 216
Using the Scopes 144 A grungy Frame for Stills and Video 220
The Reference Monitor 144 Band-Aid holds Images 221
Why use Scopes? 144 Notepad Paper 222
Scopes are partially rendered on the GPU 144 Polaroid Images on Cork Board 227
GPU accelerated Scopes in real-time 145 Dangling Sign 229
Color Correction Workflow Overview 152 Reflections231
Workflow for Primary Color Correction 155 Cover Flow 232
Curves – my Grading Tool of Choice 158 Splatter235
The versatile Three-way Color Corrector 160 Silhouettes235
Memory Colors 161 Lower Thirds 236
Skin Tone 162 Use a dedicated Workspace 238
Sky163 Some Samples 239
Foliage and Grass 164 Put Logos on separate Layers 240
Perceived Color and Contrast 164 Use Photoshop to automate Title Creation 240
Secondary Color Correction 165 End Credits 241
Qualifiers165 Pro’s use more interesting Fonts 241
Masking166 Pro’s use simple Color Schemes 241

6 Foreword
 Pro’s use smaller Font Sizes 242 Video for any Screen 286
Remedy for Jittery and stuttering Rolling Text or Pans 242 Output to Video Walls and non-standard Screens 287
Creating Smooth Rolling Titles 243 Split Screens and PiPs  288
Windows Set-Up 243 Split Screen Basics 288
Mac OS Set-Up 244 Vertical Split Collage 288
HDMI on an HDTV Set should be a safe Bet 244 Making the Mattes 288
Settings in Premiere 245 Placing Clips in nested Sequences 289
Now for a Smooth Credit Roll – the easy Way! 245 Stack it all 289
Smooth Credit Roll with smooth slow-down 246 Nice and tidy Many-Ups 290
Create a Smooth Pan on an Image 248 Picture in Picture (PiP) 290
Does it have to roll? 249 More advanced Split Screens 292
Subtitles250 Random Motion Graphics Tips 293
Create Subtitles in Premiere 250 Add Motion Blur with the Transform Effect 293
Creating Subtitles with third-party Software 252 Use Live Type and Motion Files in Premiere 294
Creating SRT Files with Notepad 254 Royalty Free Video on Vimeo 294
What to do with the exported Subtitles File 254 Free Map Resources 295
Use Microsoft Word (!) 255 Get rid of unwanted Fonts 295
Text Techniques in the Titler  255 Hebrew295
Set new Font as the default 255 That’s it! 295
Animate your Text Effects 257
Glowing Text  259 Compositing in Premiere Pro  297
Slant it 261 The wonderful and versatile Track Matte Key  297
Texturize it 265 What can the Track Matte Key do? 298
Add some Bounce 267 Witness Protection Effect 299
Add some 3D 269 More Track Matte Fun with more Sources 302
Computer Gibberish 269 Track Matte Key as a Wipe Transition 303
Word Clouds 270 Use a Texture or a Video Clip as your Matte 305
Titler Tips  271 Re-lighting a Scene with Track Matte Key 306
Think BIG 271 Using Secondary Color Correction for Track Mattes 306
Use Align & Distribute 271 Digital make-up 308
Do the Math 272 Blending Modes 310
Copy smart 273 The five most useful Blending Modes 310
Move the Anchor Point to a good Position 273 Cycle through Blending Modes 311
Use Integers in Sizes and Positions 274 Some cool uses of Blending Modes 312
Use the Shape Tools as a starting Point 274 Keying Skills 316
Copy Color the easy Way 275 Lighting for Chroma Key 317
Center your Titles if you animate them 275 Shooting for Chroma Key  318
Save a Title with special Characters 277 One-click Key? No, it’s never that easy 321
The Titler – so much more than Text  277 Garbage mattes 321
Can you draw it in the Titler? 277 Core Matte  322
Shiny Buttons 279 Edge Key 323
Easy Button 280 Use separate Settings on different Areas of the Image 324
Simple Text Box with rounded Corners 280 Fine-tuning your Key 325
Magazine style Text Box 281 Sharpen the Composite Image 326
Motion Graphics for non-standard Screens  281 Blur the Edge 328
Vertical Screen Ads 281 Light Wrap 329
Stadium Advertising LED banners 283 Matching color 333
Clear Channel 2 Screen Set-Up 286 What have we achieved with all this? 335

The Cool Stuff in Premiere Pro 7

 Now match everything else 335 Rolling Edits  365
Ultra Key Tips 339 Ripple Edits 365
Third-party Plug-Ins 341 Extend Edits 366
Some good ones 341 Lift and Extract 367
Cycore plug-ins in Premiere 342 Replace Edit 368
Compositing in AE 343 Replace with Clip, Match Frame 369
Track Matte Workaround 343 Shuffle Editing 369
Composite in Linear Mode 343 Get back missing Video or Audio 370
Choose the right Blur 344 Disable – don’t delete 370
Premultiplied and Straight Alpha 345 Trim with the Keyboard 371
RAW Formats in VFX 345 Trim Preferences 372
Free Green Screen Plates 345 Ripple Trim to Playhead 372
Current Bug with Adjustment Layers and Track Matte 346 Trim or Extend to Playhead 373
Time-saving Trim Shortcuts 374
Editing Tips & Techniques  347 Selecting Trim Points with the Mouse 374
Random Time-saving Tips to boost your Editing  347 Dynamic Trimming 375
JKL on Steroids 347 Juggling Frame Rates and Manipulating Time 376
Other Keyboard Shortcuts and Modifiers 347 Freeze Frames 376
Multi-Sequence Workflow Tips 350 Easy Fast and Slow Motion 377
Nesting352 Change Duration of many Clips 377
Un-Nesting352 Rate Stretch Tool 377
Sometimes, Grouping is better 353 Mixing Frame Rates 378
Random Tips for Project Panel and Bins 353 Time Remapping for variable Speed 378
Random Info about the Premiere Pro Timeline 354 Removing the Time Remapping effect 380
Preview Render Codec 354 Time Remapping in the Effect Controls Panel 380
Audio Track Types 354 Refine Time Remapping in After Effects 381
Hide Keyframes in New Sequences 354 Fit to fill 381
Track Targeting and Source Patching Behavior 355 Time Warp 381
Sync Lock Behavior 355 So what Method will give the best Slo-Mo? 382
Which Settings where? 356 Some Shutter Speed Science 383
Making Selections 357 24p Footage and Pulldown 383
Playback Resolution is stored per Sequence 357 23.976 in 24 – and the other way around 384
Allow current Tool to change Trim Type 357 Removing Pulldown with After Effects 385
FX Badge Color Codes 358 Working with Still Images 386
Navigating the Timeline 358 Still Image Duration 387
Deleting multiple Gaps in a Track at once 359 Large Stills and RAM 388
Adding Gaps 360 Set your Rendering Preferences 388
Delete many Keyframes 360 Still Image Flicker Removal 388
Copy/Paste Transitions to multiple Edit Points 360 Storyboarding a Still Image Sequence 389
Working with Interlaced Footage 360 Pan & Scan Photo Montage 390
Interlaced Footage in an Interlaced Sequence 361 Working with Image Sequences 392
Progressive Footage in an Interlaced Sequence 361 Editing Time-Lapse Footage 394
Psf Footage in Premiere 361 Editing Stop Motion Animation 397
Closed Captions 362 Multi-Camera Editing 397
Moving, adjusting and swapping Clips 363 Multi-Camera from Bin 397
Dragging Video and Audio to different Tracks 363 Camera Order 400
What exactly are Three and Four Point Edits? 363 Choose what to do with Audio 400
Understanding Slip and Slide Edits 364 Multi-Camera Audio Channels Preset 403
Moving Clips 365

8 Foreword
 Create a Multi-Camera Source Sequence from scratch403 Customize the Metadata View in Bins 437
Flatten the Edit 407 Metadata Display Settings saved with the Workspace 438
Manual Sync Offsets 407 Adding Metadata to Clips 438
Multi-Camera Color Correction 408 Custom Project Templates  439
Multi-Camera instead of Merge Clips 408 Custom Start-Up Projects 439
Multi-Camera Interview Editing  410 Audio Templates 440
Multi-Camera Cooking Show 410 Custom Helper Projects 440
Multi-Camera Reality Shows 411 Making a Self-Contained Template Project 441
Multi-Camera Performance 411 Using the Template Project 443
Cut with Proxies, link to High-Res 412 Guidelines for Template Projects 444
File Metadata and Proxies 413 Share your Templates on PremierePro.net 444
Quasi-Proxy Editing 413 Sample Project: The Evening News 444
Random Multi-Camera Editing Tips 414 Pre-Render Complex Stuff 446
Multi-Camera can be cut on all Tracks 414 Custom Preferences 446
There is no “right” Way to cut Multi-Camera 417
Custom Sequence Presets 448
Multi-Camera Gotchas 418
Use a High-Quality Preview Codec 448
Match to Timecode – Poor Man’s Multi-Camera 418
Ready-Made Audio Routing 448
Working with multiple Projects  419 Custom Frame Sizes 449
Multiple Media Browsers 419 Getting rid of Sequence Presets 449
Open in Source Monitor 419
Speed up your Preview Renders 450
Open in Timeline 419
Invoke Smart Rendering to Speed up Your Exports 450
Disable writing Clip Markers to XMP 419
Smart Rendering even with Non-Matching Material 451
Customizing Premiere Pro 421 Dig Deeper 451
Custom Audio Mapping Presets 451
Customization is all about Speed  421
Custom Audio Channel Mapping Presets 452
Prepare to be amazed  421
Custom Source Channel Assignment Presets 453
Sync Settings 421
Custom Title templates 454
Custom Workspaces and UI Tweaks 422
Kill the Default Title Templates 454
Use Clever Names for Workspaces 423
Customized Title Templates 455
Hidden Secrets in Panel Menus 423
Kill the Default Title Styles 456
Get Rid of the Button Row 424
Icon View vs List View 424 Custom Title styles 456
Make a Favorite Effects Bin 425 Custom Style Libraries 457
Create Custom Presets in existing Effect Presets Bin 426 Custom Characters in Title Styles 457
Populate the Media Browser Favorites List 426 About the Textures Folder 458
Custom Metadata Columns in Media Browser 427 Custom Default Still and Roll Templates 458
Zoom your UI 427 Custom Effect Presets 459
Custom Label Colors and Label Names 429 Custom Multiple-Effects Presets 460
Custom Label Keyboard Shortcuts 430 Custom Keyframe Behavior Presets 461
Custom Track Heights 430 Custom Presets for the Master Track  463
Customize the Track Headers 434 Now Share the Presets with Friends 463
Customize Metadata 434 Download Jarle’s Presets 463
File Metadata vs Clip Metadata 435 Custom Keyboard Shortcuts 464
File Metadata can cause slow Back-Ups 435 It’s the Grave Accent Key folks, not the Tilde Key 464
Metadata Preferences 435 Change Multi-Key Shortcuts to Single-Key Shortcuts 464
Link Clip Data to XMP Metadata 436 Custom Transition Shortcuts 465
Custom Metadata Fields and Schemas 436 Candidates for Replacement 466
Manage Metadata Sets 437 Searching for Shortcuts 467
Useful Shortcuts you may not know (Windows) 467

The Cool Stuff in Premiere Pro 9

 Some New Shortcuts I’ve made (Windows) 468 Sample Panel: Pond5 503
A Shortcut for Find in Timeline 468 Sample Panel, MediaSilo’s Edit Companion 504
Print a Spreadsheet of the Keyboard Shortcuts 469 Add-Ons504
Print a PDF of the Default Keyboard Shortcuts 470 Create your own Panels and Add-ons 505
Sharing the Custom Keyboard Shortcuts 470 Even I can do it! 505
NRKs Custom Shortcuts 470 Now combine Techniques 505
Custom Transition Presets 471 That’s it 506
Copy your favorite Transitions from a Sequence 471
Custom Transitions using Adjustment Layers 471
S-Curves on Your Cross Dissolves 472 Integration with other Adobe Software  507
Camera Flash Transition  472
Premiere as your Editing Hub  507
The oh, so popular Glow and Blur Transition 474
Swish Pan Transition 476 Dynamic Link  507
Jarred Cuts 479 Dynamic Link Workflow 508
Logos as Wipes 480 Make a Copy before Dynamic Linking  509
Logo Reveals 481 Dynamic Link Undo 509
Organic Wipes with Gradient Wipe 482 Copy/paste can save your Bacon 510
Now Explore the Possibilities 486 Live After Effects Text Templates 510
Control any After Effects Parameter from Premiere(!) 511
Custom Export Settings 487
Render and Replace 512
Avoid Long Lists and Minimize Errors 487
Project Link 512
Quality Controlled Exports Company Wide 487
Color Spaces and Adobe Dynamic Link  513
Better Quality H.264 Exports 488
Dynamic Link Gotchas 514
Export Your Preset 488
Don’t overestimate your System 515
Import Presets 488
Transfer Your Files to YouTube while you sleep 489 OK, so what can we use After Effects for? 515
Add Effects to the Exported Video 489 Animation that requires Motion Blur 515
Closed Captions Export 489 Noise Reduction 516
Custom Metadata Export 490 Warp Stabilizer VFX 518
RotoBrush521
Custom Monitor Overlays 491
Advanced Text Animation 523
Custom icons 492
3D Camera 525
How to create Custom Icons 493
Timewarp526
Custom Premiere Icons on a Mac OS System 493
Ray traced 3D Shapes 526
Custom Premiere Project Icons on a Windows System 493
3D Camera Tracking 527
Custom Premiere Icons in Windows Quick Launch 494
Explore After Effects further on your own 529
Extreme Customization with XML 494
Direct Link to SpeedGrade 529
Get Rid of the Factory Presets 494
SpeedGrade Interface 530
Re-Import Presets you want to keep 495
SpeedGrade Features not found in Premiere 531
Keep the Lens Distortion Removal Presets 495
Direct Link Limitations 532
Ditch the Lumetri Presets too 495
Save Looks for use in Premiere 532
Need to Idiot-Proof a Preset? 495
Shot Matcher 533
Custom Intrinsic Effects? 496
Matching the Colors of an Image 534
Custom Editing Modes 496
Legalizing534
Custom Preview Codecs 497
Photoshop Magic 535
Using the Custom Preview Codecs 499
Make PSD Files from Premiere Pro 535
Custom Meta Data Drop-Down List 499
Edit Original in Photoshop 535
Fool Proof the Exports Presets Company Wide 501
Gotcha with layered PSD files 535
The Console 502
Import Camera RAW Footage 536
Custom Panels and Add-ons 503 Video Clip Fixes with Photoshop 537

10 Foreword
 Spreadsheets to Lower Thirds 537 What is Maximum Render Quality? 575
Median Magic - making a Clean Plate in Photoshop 543 Steve on Maximum Render Quality 575
More Photoshop Magic to come 546 Composite in Linear Color 576
Illustrator Vector Graphic Fixes 546 To sum up all this Max Quality and Bit-Depth Stuff 576
Extracting Vector Graphics from PDF Files 546 Frame Blending 577
Resize Vector Graphics 548 Effects Settings 577
Isolate Elements to treat them separately 549 FTP Export Settings 578
Join Elements in Vector Files 550 Dear Adobe: There is no PAL or NTSC in HD 578
Trace Images into Vectors 550 Export and filter XMP Metadata 578
Make Vector Patterns  551 Smart Rendering 579
Unlimited Scaling of Vector Graphics 552 Smart Rendering in a Cuts-only Sequence 579
Integration with Audition 552 Smart Rendering Long-GOP 579
Auto-update Titles with InDesign 553 Smart Rendering a Sequence with Effects 579
Smart Rendering with Preview Renders 579
Ingest with Adobe Prelude 553
Criteria for effective Smart Rendering  580
Adobe Story Workflow 556
Supported Codecs and Formats for Smart Rendering580
Adobe Anywhere 558
Export to Intermediate and Archive File Formats 581
Phew - that’s it! 558 Widely used Visually Lossless Codecs 581
DNxHD  582
Export 559
ProRes582
CPU does the Encoding  559
GoPro Cineform 582
One GPU = fast Exports. Two GPUS = even faster 559
Uncompressed DPX 583
What happens on what Processor during Export? 559
Visually Lossless MPEG-2 584
Hide Banner on Warp Stabilizer 560
AVC Intra and XAVC 584
Preflight Checklist 560 Grass Valley HQX Codec 585
The Basics 560
Multi-Channel Audio output 585
Close Gaps 560
Digital Cinema Package Export 585
Check for Duplicate Frames 561
Conforming 25p to 24p in Premiere 587
Letterboxing561
Conforming 23.976p to 24p in Premiere 589
Reduce Noise and Grain 562
DCP Subtitlling Tools 589
Broadcast Safe Video Levels 563
Checking your DCP 590
European DPP Delivery Standards 563
Golden Rules for good H.264 Compressions 590
Legalization is a Waste of useful Gamut 563
Few Touches 591
Motion Graphics can cause illegal Levels 564
How low can you go? 591
Beware of the Sharpen Effect 564
Half the Frame Size can be better 591
Strategies to make the Program Broadcast Safe 564
VBR beats CBR, especially at low Bitrates 591
Brute Force Methods for Broadcast Safe 564
Ban Non-Square Pixels and Interlacing 592
Manual Methods for Broadcast Safe 565
Audio matters – a lot 592
How the Video Limiter works 567
H.264 for the rest of us 592
Forget Set-up 569
H.264 Profiles  592
Broadcast Safe Audio Levels 569
H.264 Levels  593
True Peak Level 570
Need more Control over the H.264 Export? 593
AS-11 Compliant Delivery 570
Export to Vimeo, YouTube etc. 594
Understanding the Premiere Pro Export Dialog 571
Publish to your YouTube Channel automatically 594
Make sure you see the Output, not the Source 571
4k H.264 596
Use Preview Files for Export – or not? 572
Alternatives to H.264 596
Render at Maximum Bit Depth 573
H.265 - HEVC 596
Steve on Maximum Bit Depth 574
WebM597

The Cool Stuff in Premiere Pro 11

 Ogg Vorbis and Ogg Theora 597 Set your End Action 605
Still image export 597 Name the DVD 605
Beware of Non-Square Pixels 598 Add Subtitles 606
Forget about DPI 598 Check the DVD with the Flowchart 606
Export to tape 599 Preview the DVD 607
ADD DVD-ROM Content 607
Making dailies 599
Build a DVD Folder 608
Common Export Gotcha’s 600
Save DVD Image and burn DVD 608
Wrong Frame Rate 600
No Guarantees for Playback 608
Pillar Boxes and Letter Boxes 600
DDP Image output 609
Error Compiling Movie 600
Dual Layer DVDs 609
Use and share your Export Presets 601
Encore Video Tutorials 609
Shiny Disc Export 602
Add Chapter Markers 603 Afterword 611
Export to DVD Formats 603 Now what? 611
In Encore CS6 604
Make a DVD Menu 605

12 Foreword