In addition to the nondestructive nature of the nonlinear editing process, Premiere Elements offers the option to Undo (Ctrl+Z) all the way back to the most recent opening of your project. You can also jump back to certain points in your work by locating these points in the History panel. A Few Key Premiere Elements Terms You Ought to Know. Non-linear editing completely changes the rules, and it changes them in your favor. Instead of building a program in sequence one shot at a time, non-linear systems let you work on any part of a program at any time. Changes that may take hours or even days on a linear system may take nothing more than a few mouse clicks with non-linear.
- Why Is Premiere Pro Considered A Nonlinear Editorial
- Why Is Premiere Pro Considered A Nonlinear Editor Software
Adobe Premiere Pro is one of the go-to editing tools for video, including film, TV, and clips for the web and social media. If you are an Adobe CC subscriber and have seen this tool but haven’t given it a whirl, what are you waiting for?
While Premiere Pro can look a little intimidating at first, functionality is rooted in the same principles as other Adobe products and with a little tinkering, you should figure it out pretty quick (and there’s plenty of documentation and online help available).
So, what is Adobe Premiere Pro and how can you make this most of this video-editing tool? Let’s take a look.
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What Is Premiere Pro?
Video content is a must-have element of all kinds of projects, including website design. Even if you never plan to become a professional video editor, having the ability to perform simple edits can come in handy for any creative professional.
If you are already an Adobe subscriber, the good news is that you already have access to Premiere Pro with a full Creative Cloud plan. You just have to install it and get started.
The best thing about using Premiere Pro is that it works with all the files you are working on for other projects. It reads native Adobe files, including PSD files and AI files so that you can drop logos or other parts of projects right into working video files. (This is probably my favorite feature.)
Here’s how Adobe describes their video editing tool:
Premiere Pro is the leading video editing software for film, TV, and the web. Creative tools, integration with other Adobe apps and services, and the power of Adobe Sensei help you craft footage into polished films and videos in one seamless workflow. And Premiere Rush, our new app, is included with your subscription so you can capture footage and start editing on all your devices, anywhere.
Premiere Pro allows for both video image and audio editing. (Images and sounds even have separate editing tracks to separate and professionally manage the process.)
Premiere Pro allows users to open files and work with any modern video format, including 8K, web files, and even virtual reality. The tool allows you to start with tons of native video formats and save to standard file types for easy replay and viewing. What is a good external hard drive to buy.
The thing to keep in mind is that Premiere Pro is pretty heavy-duty software and does require some computing space on a decently powered machine. If you want to do lighter editing on the go, Premiere Pro standalone plans and Creative Cloud plans include Premiere Rush, a video-editing app that works across devices and allows you to work on files between the app and Premiere Pro on your desktop.
What Can You Do With It?
Adobe Premiere Pro is a versatile tool once you get the hang of it.
You can edit video? Snip clips from larger files to make your complication, add b-roll to an audio track, or create a collage with still images, moving images, text elements, and sound.
Premiere Pro is robust enough that you can create and edit a full-length feature film, but it’s doubtful that most users will need this application.
Common uses include:
- You might use it to convert a video clip to a format and size that will play on a website.
- You might add captions or an intro/outro to a clip before posting it online.
- You can edit out a few seconds of a video and replace them with something else.
- You might adjust color for better viewing.
- You might tweak volume levels or sound quality to clean up scratchy or difficult audio.
Cool Features
One of the cool things about Premiere Pro is that it keeps getting better. As technology changes, so does the software. While Premiere Pro is amazing for simple edits and video compilations, you can have a lot of fun experimenting with tools that help you play in virtual or augmented reality or stretch your creative skills.
Free casino on line. If you aren’t sure where to start Adobe help or using a Premiere Pro template can help you learn how to navigate the software.
Some of the best features of Premiere Pro include:
- Auto Ducking for ambient sounds that helps you mix background noise into a video without overpowering other sounds elements and channels.
- Robust export options for closed captions that allow you to share captions with third-party applications for easier workflows.
- Graphics panel to help you add special elements or text to video content with ease.
- Rulers and guides that work like other Adobe tools to help you keep everything aligned in just the right manner on the canvas.
- Snappy mask tracking for HD, 4K, and super high-res formats.
3 Premiere Pro Templates to Try
Because of the standard nature of Premiere Pro within the industry, there’s no shortage of templates available to help you better learn to use the tool or get projects off the ground quickly.
40 Animated Titles
Start engaging users right away with a great intro title. This template includes 40 animated options that you can add right to your video in Premiere Pro.
The Inspiration Photo Slideshow
Packed with image and video transitions and editable layers. All you have to do it pop your content in place of the dummy content and then you have a video slideshow.
Social Media Motion Graphics Templates
This motion graphics template pack includes everything you need to get video files ready for social media.
How Do You Get It?
Adobe Premiere Pro comes with full Creative Cloud plans. If you are working with multiple Adobe tools already, you are likely already subscribed to this version and Premiere Pro is ready to download from your account.
If you aren’t using Creative Cloud, Premiere Pro is a downloadable software tool that comes with a use license.
You can also purchase a Premiere Pro subscription (also includes Rush) from Adobe a la carte. This option also includes 100GB of cloud storage, Adobe Fonts, and Adobe Portfolio.
There are also licensing options for students and teachers at discounted rates. (Check with Adobe for details.)
Premiere Pro also comes with Adobe cloud business licenses. Prices are based on a monthly subscription and vary by plan type.
Conclusion
Now is the time to start learning to edit and manipulate video if you haven’t already. Adobe Premiere Pro is the go-to tool for it.
And for designers and creatives already working with Adobe tools, the learning curve won’t be as steep thanks to a tool that will feel comfortable and work with your existing Adobe files.
Why Is Premiere Pro Considered A Nonlinear Editorial
Premiere Pro Templates
Our feature covers what Premiere Pro templates are and how to use them, along with collections of our favorite Premiere Pro templates for all manner of different uses and scenarios.
Over my career I’ve cut client jobs with well over a dozen different linear and nonlinear editing systems and/or brands. I’ve been involved with Adobe Premiere/Premiere Pro as a user on and off since Premiere 5.5 (yes kids – before, Pro, CS, and CC). But I seriously jumped into regular use at the start of the Creative Cloud era, thanks to many of my clients’ shift away from Final Cut Pro. Some seriously gave FCPX a go, yet could never warm up to it. Others bailed right away. In any case, the market I work in and the nature of my clients dictate a fluency in Premiere Pro. While I routinely bounce between Final Cut Pro X, Media Composer, DaVinci Resolve, and Premiere Pro, the latter is my main axe at the day job.
Before I proceed, let me stop and acknowledge those readers who are now screaming, “But Premiere always crashes!” I certainly don’t want to belittle anyone’s bad experiences with an app; however in my experience, Premiere Pro has been just as stable as the others. All software crashes on occasion and usually at the most inopportune time. Nevertheless, I currently manage about a dozen Mac workstations between home and work, which are exposed to our regular pool of freelance editors. Over the course of the past three to four years, Premiere Pro (as well as the other Creative Cloud applications) has performed solidly for us across a wide range of commercial, corporate, and entertainment projects. Realistically, if our experiences were as bad as many others proclaim, we would certainly have shifted to some other editing software!
Run microsoft word. Stability questions aside, why do so many professional editors prefer Adobe Premiere Pro given the choices available? The Final Cut Pro X fans will point to Premiere’s similarities with Final Cut Pro 7, thus providing a comfort zone. The less benevolent FCPX fanboys like to think these editors are set in their ways and resistant to change. Yet many Premiere Pro users have gone through several software or system changes in their careers and are no strangers to a learning curve. Some have even worked with Final Cut Pro X, but find Premiere Pro to be a better fit. Whatever the reason, the following is a short list (in no order of importance) of why Premiere Pro becomes such a good option for many editors, given the available alternatives.
Responsive interface – I find the Premiere Pro user interface to be the most responsive application of any of the NLEs. I’m not talking about media handling, but rather the time between clicking on something or commanding a function and having that action occur. For example, in my Final Cut Pro X experience – which is an otherwise fast application – it feels slower for this type of response time. When I click to select a clip in the timeline, it takes a fraction of a second to respond. The same action is nearly instant in Premiere Pro. List of dice games. The reason seems to be that FCPX is constantly writing each action to the Library in a “constant save” mode. I have seen such differences across multiple Macs and hard drive types over the eight years since its introduction with very little improvement. Not a deal-breaker, but meanwhile, Premiere Pro has continued to become more responsive in the same period.
Customizable user interface – Users first exposed to Premiere Pro’s interface may feel it’s very complex. The truth is that you can completely customize the look, style, and complexity of the interface by re-arranging the stacked, tabbed, or floating panels. Make it as minimalistic or complex as you need and save these as workspaces. It’s not just the ability to show/hide panels, but unlike other NLEs, it’s the complete control over their size and location.
Media Browser – Premiere Pro includes a built in Media Browser panel that enables the immediate review and import of clips external to your project. It’s not just a view of folders in a clip name or thumbnail format to be imported. Media Browser offers the same scrubbing capabilities as for clips in a bin. Furthermore, the editor can directly edit clips to the timeline from the Media Browser, which then automatically also imports that clip into the project in a one-step process. You could start with a completely blank project (no imported media clips) and work directly between the Media Browser and the timeline if you wanted to.
Why Is Premiere Pro Considered A Nonlinear Editor Software
Bins Adobe cc premiere 2019. – Editors rely on bins for the organization of raw media. It’s the first level of project organization. FCPX went deep down this hole with Events and Keywords. Premiere Pro uses a more traditional approach and features three primary modes – list, thumbnail, and freeform. List and thumbnail are obvious, but what needs to be reiterated is that the thumbnail view enables Adobe’s hover scrubbing. While not as fluid as FCPX’s skimming, it’s a quick way to see what a clip contains. But more importantly, the thumbnails are completely resizable. If you want to see a few very large thumbnails in the bin, simply crank up the slider. The newest is a freeform view – something Avid editors know well. This removes the grid arrangement of the bin view and allows the editor to rearrange the position of clips within the panel for that bin. This is how many editors like to work, because it gives them visual cues about how material is organized, much like a storyboard.
Versatile media and project locations – Since Premiere Pro treats all of your external storage as available media locations (without the need for a structured MediaFiles folder or Library file), this gives the editor a better handle on controlling where media should be located. Of course, this puts the responsibility for proper media management on the user, without the application playing nanny. The big plus is that projects can be organized within a siloed folder structure on your hard drive. One main folder for each job, with subfolders for associated video clips, graphics, audio, and Premiere Pro project files. Once you are done, simply archive the job folder and everything is there. Or… If a completely different organizational structure better fits your needs – no sweat. Premiere Pro makes it just as easy.
Multiple open sequences/timelines – One big feature that brings editors to Premiere Pro instead of Media Composer or Final Cut Pro X is the ability work with multiple, open sequences in the timeline panel and easily edit between them. Thanks to the UI structure of Premiere Pro, editors can also have multiple stacked timeline panels open in their workspace – the so-called “pancake timeline” mode. Open a “KEM roll” (selects sequence) in one panel and your working sequence in another. Then edit between the two timeline panels without ever needing to go back-and-forth between bins and the timeline.
Multiple open projects/collaboration – Premiere Pro’s collaboration capabilities (working with multiple editors on one job) are not as robust as with Avid Media Composer. That being said, Premiere’s structure does enable a level of versatility not possible in the Avid environment – so it’s a trade-off. With Premiere project locking, the first editor to open a project has read/write control, while additional editors to open one of those open projects can access the files in a read-only mode. Clips and sequences can be pulled (copied/imported) from a read-only project into your own active project. The two will then be independent of each other. This is further enhanced by the fact that Premiere offers standard “save as” computer functions. If Editor #1 wants to offload part of the work to Editor #2, simply saving the project as a new file permits Editor #2 to work in their own active version of the project with complete read/write control.
Mixed frame rates and sizes – Premiere Pro projects can freely mix media and timelines with different sizes, aspect ratios and frame rates. It’s not the only NLE to do that, but some applications still start by having the project file based on a specific sequence format. Everything in the project must conform or be modified to those settings. Both solutions are viable, but Premiere’s open approach is more versatile for editors working in the hodgepodge that is today’s media landscape.
Audio mixing – While all NLEs offer decent audio mixing capabilities, Premiere Pro offers more refined mixing functions, including track automation, submaster tracks, proper loudness measurement, and AU, VST, and VST3 plug-in support. FCPX attempts to offer a trackless mixing model using audio roles, but the mixing routine breaks done pretty quickly when you get to a complex scenario, often requiring multiple levels of compound clips (nested sequences). None of that is needed in Premiere Pro. In addition, Creative Cloud subscribers also have access to Adobe Audition, a full-fledged DAW application. Premiere Pro sequences can be sent directly to Audition for more advanced mixing, plus additional Audition-specific tools, like Loudness Match and Music Remix. Adobe markets these as powered by Adobe Sensei (Adobe’s banded artificial intelligence). Loudness Match analyzes an audio clip and intelligently rises the gain of the quieter sections. Traditional loudness controls raise or lower the entire clip by a fixed amount. Music Remix doesn’t actually remix a track. Instead, it automatically edits a track based on a target length. Set a desired duration and Audition will determine the correct music edit points to get close to that target. You can use the default or set it to favor shorter sections, which will result in more edit points.
Interoperability – Most professional editors do not work within a single software ecosystem. You often have to work with After Effects and Photoshop files. Needless to say, Premiere Pro features excellent interoperability with the other Adobe applications, whether or not you use the Dynamic Link function. In addition, there’s the outside world. You may send out to a Pro Tools mixer for a final mix. Or a Resolve colorist for grading. Built-in list/file export formats make this easy without the requirement for third-party applications to facilitate such roundtrips.
Built-in tools that enhance editing – This could be a rather long list, but I’ll limit myself to a few functions. The first one I use a lot is the Replace command. This appears to be the best and easiest to use of all the apps. I can easily replace clips on the timeline from the source clips loaded into the viewer or directly from any clip in a bin. No drag-and-drop required. The second very useful operation is built-in masking and tracking for nearly every video filter and color correction layer. This is right at your fingertips in the Effects Control panel without requiring any extra steps or added plug-ins. Need more? Bounce out to After Effects with its more advanced tools, including the bundled Mocha tracker.
Proxy workflow – Premiere Pro includes a built-in Proxy workflow, which permits low-res edit proxies to be created externally and attached, or created within the application itself. In addition, working with proxies in not an all-or-nothing feature. You can toggle between proxies and high-res master clips, but you can also work with a mixture of proxies and high-res files. In other words, not all of your clips have to be transcoded into proxies to gain the benefit of a proxy workflow. Premiere takes care of tracking the various clip sizes and making sure that the correct size is displayed. It also calculates the size shift between proxy frame sizes and larger high-res frame sizes to keep the toggle between these two seamless.
Relinking – Lastly,Premiere Pro can work with media on any of the available attached drives; therefore, it’s got to be able to quickly relink these files if you move locations. I tend to work in a siloed folder structure, where everything I need for a project is contained within a job folder and its subfolders. These folders are often moved to other drives (for instance, if I need to travel with a project) or archived to an external drive and later restored. It’s critical that a project easily find and relink to the correct media files. Generally, as long as files stay in the same relative folder paths – in relation to the location of the project files on the drive – then Premiere can easily find all the necessary offline media files once a project is moved from its original location. This is true whether you move to a different drive with a different volume name or whether you move the entire job folder up or down a level within the drive’s folder hierarchy. Media relinking is either automatic or worst case, requires one dialogue box for the editor to point Premiere to the new path for the first file. From there, Premiere Pro will locate all of the other files. I find this process to be the fastest and least onerous relink operation of all the NLEs.
©2019 Oliver Peters