Adobe Premiere 5.0 Classroom in a Book

Adobe Premiere 5.0 Classroom in a Book

5.0 1
by Adobe Creative Team

Includes training material from Adobe’s software training experts and tested in Adobe’s own classrooms. Teaches Adobe Premiere X in short, accessible lessons at a pace you can control. Time-tested as the foremost book available on Adobe Premiere.  See more details below


Includes training material from Adobe’s software training experts and tested in Adobe’s own classrooms. Teaches Adobe Premiere X in short, accessible lessons at a pace you can control. Time-tested as the foremost book available on Adobe Premiere.

Editorial Reviews

Library Journal
Both of these Adobe books are excellent self-paced training guides; they would also make excellent in-class texts for anyone teaching these tools. Less well-known than Photoshop, Premier allows the manipulation and editing of multimedia, including video, animation, and static graphics. The CD-ROMs include all examples and lesson files, but you will need your own copies of the programs actually to use the lessons. The Photoshop book includes coverage of Adobe's new product for web graphics, ImageReady, and given Photoshop's broad popularity, it belongs in most collections. Premier is for larger collections.
An instructive text on how to edit digital video or film. Lessons are aimed at self-paced learners with each lesson containing step-by-step instructions for creating a specific project. Topics covered include: digital video editing; basic editing; transitions; audio; additional editing techniques; creating a title; superimposing; motion; and subclips and virtual clips. Annotation c. by Book News, Inc., Portland, Or.

Product Details

Adobe Press
Publication date:
Classroom in a Book Series
Edition description:
Product dimensions:
7.41(w) x 9.20(h) x 0.91(d)

Read an Excerpt

Lesson 2: Digital Video Editing

This lesson describes Premiere's role in video production and introduces a variety of key concepts:

    Measuring video time.
  • Measuring frame size and resolution.
  • Compressing video data.
  • Capturing -video.
  • Superimposing and transparency.
  • Using audio in a video.
  • Creating final video.

How Premiere fits into video production

Making video involves working through three general phases:

  • Pre-production involves writing the script, visualizing scenes by sketching them on a storyboard, and creating a production schedule for shooting the scenes.
  • Production involves shooting the scenes.
  • Post-production involves editing the best scenes into the final video program, correcting and enhancing video and audio where necessary. Editing includes a first draft, or rough cut, where you can get a general idea of the possibilities you have with the clips available to you. As you continue editing, you refine the video program through successive iterations until you decide that it's finished. At that point you have built the final cut. Premiere is designed for efficient editing, correcting, and enhancing of clips, making it a valuable tool for post-production.

The rest of this chapter describes fundamental concepts that affect video editing and other post-production tasks in Premiere. All of the concepts in this section and the specific Premiere features that support them are described in more detail in the Adobe Premiere 5.0 User Guide.

If any stage of your project involves outside vendors, such as video post-production facilities, consult with them before starting the project. They can help you determine what settings to use at various stages of a project and avoid time-consuming, costly mistakes. For example, if you're creating video for broadcast, you should know whether you are creating video for the NTSC (National Television Standards Committee) standard used primarily in North America and Japan, the PAL (Phase Alternate Line) standard used primarily in Europe, Asia, and southern Africa, or the SECAM (Sequential Couleur Avec Memoire) standard used primarily in France, the Middle East, and North Africa.

Measuring video time

In the natural world, we experience time as a continuous flow of events. However, working with video requires precise synchronization, so it's necessary to measure time using numbers. Familiar time divisions-hours, minutes, and seconds-are not precise enough for video editing, because a single second might contain several events. This section describes how Premiere and video professionals measure time, using standard methods which count fractions of a second in frames.

How the timebase and frame rates affect each other

You determine how time is divided in your project by specifying the project timebase. For example, a timebase of 30 means that each second is divided into 30 units. The exact time at which an edit occurs depends on the timebase you specify, because an edit can only occur at a time division, and using a different timebase causes the time divisions to fall in different places.

The time divisions in a source clip are determined by the sourceframe rate. For example, when you shoot source clips using a video camera with a frame rate of 30 frames per second, the camera records the scene every 1/30th of a second. Note that whatever was happening between those 1/30th of a second intervals is not recorded, so a higher frame rate provides higher time resolution.

You determine how often Premiere generates frames from your project by specifying the projectframe rate. For example, a frame rate of 30 frames per second means that Premiere will create 30 frames from each second of your project.

For smooth and consistent playback, the timebase, the source frame rate, and the project frame rate should be identical. In general, use 24 fps (frames per second) for editing motion-picture film, 25 fps for editing PAL and SECAM video, 29.97 fps for editing NTSC video, and 30 fps for other video types. (NTSC was originally designed for a blackand-white picture at 30 fps, but signal modifications made in the mid-20th century to accommodate color pictures altered the standard NTSC frame rate to 29.97 fps.)

Sometimes the time systems don't match. For example, you might be asked to create a video intended for CD-ROM distribution that must combine motion-picture source clips captured at 24 fps with video source clips captured at 30 fps, using a timebase of 30 for a final CD-ROM frame rate of 15 fps. When any of these values don't match, it is mathematically necessary for some frames to be repeated or omitted; the effect may be distracting or imperceptible depending on the differences between the timebase and frame rates you used in your project....

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Adobe Premiere 5.0 Classroom in a Book 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
I used this book to get ACE certified in Premiere. This book is everything you need to learn about Premiere. If you want something to help you learn the basics, or if you want to perfect your skills for certification, this book is the one.