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- #Slip tool premiere pro how to#
- #Slip tool premiere pro manuals#
- #Slip tool premiere pro professional#
Play the clip either by dragging it from the Project window to the SourceMonitor screen or by playing it from the timeline. Select Speed and change the New Rate percentage to ≡00 (negative 100) in the Clip Speed dialog box (see Figure 9.1). Right-click (Windows) or Option-click (Mac) to open the clip menu. Select any clip, either on the timeline or in the Projectwindow.
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To play a clip backwards, follow these steps: Kids diving "out" of a pond, a pitcher"retrieving" his fastball, and a reverse replay of an explosivebuilding demolition. Playing Clips Backwardsįirst, a fun and simple techniqueplaying a clip backwards.
#Slip tool premiere pro how to#
Playing Clips Backward, Changing Speed, and Freezing Framesīy the time you finish this section you'll know how to create a videosequence that incorporates all three of these concepts. Setting timeline markers and making an automated music video Using special transitions, including masks and QuickTime, and stringing together multiple transitions
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Playing clips backward, adjusting their speed, and creating still frames The highlights of this hour include the following:
#Slip tool premiere pro professional#
I'll show you some other ways to manipulate clips, go over some standard professional editing techniques, explain some higher-end transitions, present an automated means to add music, and show you how to make a quick music video. That being the case, this hour will ramp up those fundamental techniques a bit. Not many opportunities for that shot arise.īy now, given enough practice, you may have mastered straightforward Premiere techniques, such as cuts-only editing (including matching edits, wide/tight shots, and avoiding jump cuts) as well as standard transitions, with all their options, and straight-up audio editing and text creation. If all a basketball player practices is a spinning, reverse, wrong-handed flip shot, he'll make no more than a bucket a game. I believe that only after you learn the fundamentals should you start specializing. Sams Teach Yourself Premiere 6.5 in 24 Hours Jeff Sengstack This chapter is from the book I cover all these new features in depth in "Sams Teach Yourself Premiere 6.5 in 24 Hours." For InformIT readers I've selected four chapters that I think give new and experienced users of Premiere some helpful advice. This latest version of Premiere has some exciting new tools: high-end text-creator, professional audio sweetening, a powerful and fast MPEG encoder, and DVD authoring.
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I've tried simply to present them in a logical, easy-to-follow manner that reflects the way most Premiere users approach editing. That said, I haven't skimped on useful nuts-and and-bolts instructions. Rather than simply presenting a collection of disconnected tutorials, I will frequently remind you of the big picture and what you're trying to accomplish. My goal with "Sams Teach Yourself Adobe Premiere 6.5 in 24 Hours" is to help you create high high-quality, professional-looking videos. I think of those books as sort of like instructing budding artists how use a paintbrush by telling them to swab the brush in paint and slather it on a canvas. Both types fail to create lasting impressions, and neither teaches you how to make videos.
#Slip tool premiere pro manuals#
Those books tend to be highly detailed or greatly simplified reference manuals using impenetrable vernacular - or - collections of step-by-step instructions focusing solely on Premiere functions. InformIT presents four chapters from "Sams Teach Yourself Premiere 6.5 in 24 Hours." This book is different from the rest of the dozen or so other Premiere how-to books. I use this when, say, the clip is already synchronized with some other clip(s), but I want to cut to it sooner/later or I want to show an earlier/later part of it.See all Sams Teach Yourself on InformIT Design & Creative Media Tutorials. The film strip stays in place (relative to the sequence), but you're moving the template back and forth. I used this when I'm using a clip that has to occupy a certain place in the sequence (between two other clips, say), but I need to adjust the part of the clip that is showing (to sync it up with some accompanying audio, say). So, the place in the sequence where that clip is show is unchanged, but you're showing an earlier or later part of the clip there. With slip, you're keeping the template in place, but you're moving the film strip back and forth underneath. Normally, when you just move a clip around in the sequence view, it's like you're moving the filmstrip and the template together. When you drop it into a sequence and trim the ends, it's as though you've cut a long rectangle out of a piece of paper and laid it on top, showing only some of the cels. In other words, think of your entire source clip as a film strip laid on the table. I've found it helpful to visualize clips as a strip of film with a masking template laid on top.