2009年10月31日星期六

Fixing, sweetening, and creating soundtracks in Soundbooth

full-blown: possessing or exhibiting all the usual or necessary features or symptoms

Cleaning up noisy audio
1. Open 14-6.prproj.
2. Double-click audio problem.wav (Remember to double-click the icon before the title of the file.) to open it in the Source Monitor.
3. Open audio problems fixed.wav in the Source Monitor, and listen to it. The hum and the cell phone were removed.
4. Drag audio problems.wav to the Audio 1 track on the Timeline.
5. Right-click the audio problems clip on the Timeline and choose Edit in Adobe Soundbbth > Render And Replace from the context menu.
6. Soundbooth displays 2 views of your audio file: the common waveform view showing audio amplitudes and a colorful spectral display view showing audio frequencies.
7. Play the file again to hear the problems, the hum and the cell phone ringing.
I think the hum here is bearable.
8. To remove the 60 Hz hum, click the Effects tab in the left-center panel. Click the Stereo Rack Preset pop-up menu, and choose Fix: Remove 60 Cycle Hum.
9. Play the file again.
I think the difference is slight.
10. To permanently apply this changes, click the Apply to File button at the bottom of the Effects Rack.
11. To remove the cell phone sound, you need to use the spectral display. It is in the spectral display as short horizontal dashes between 2 kHz and 3 kHz.
12. Position CTI over the 1st cell phone ring, and zoom in by pressing = on the keyboard of + on the numeric keypad.
13. Select the Rectangular Marquee tool, and select the cell phone ring. When you are finished, the selection appears as an opaque box around the cell phone ring with a dB adjustment tool floating above it.
14. Adjust the selection to -34 dB. This reduces the frequencies you selected by negative 23dB.
15. Play the clip. It sounds better.
16. Save the changes to the clip by choosing File > Save. Switch back to Premiere, and notice that the audio file on the Timeline has been updated with the changes.
The ring is still there???

http://www.wrigleyvideo.com/videotutorial/tutdes_soundbooth_noisecancel.htm
http://en.wikipedia.org/wiki/Adobe_Soundbooth

http://blog.xuite.net/lynnman/music/16900365

Creating 5.1 surround sound mix

1. Open 14-5.prproj.
2. Drag the music clips to the timeline as shown here. (figure) Note that Sonoma-Left and Sonoma-Right appear on the Timeline twice.
3. In the Audio Mixer, drag each track's 5.1 Panner puck to the proper location. (figure)
4. Set volume levels for tracks 1-5 that are similar to those you set for the stereo mix. For Audio 5 (the bass), adjust the volume using the LFE volume knob (why does the author mention this specifically? The other 4 also have volume knobs.) and place its puck in the center. (We have done this in the previous step.) Set volume levels for tracks 6 and 7 to 0 and -2, respectively.

You can move the clips on Audio 6 and 7 about 1/10 of a second (3 frames) into the Timeline to make it sound like they're coming from the back of the room. To do that, select each clip in turn (We can't do the following without select the clip. Chinese translation seems to omit this.), press the plus sign (+) on the numeric keypad, type 3 on the numeric keypad, and press Enter on the numeric keypad.

You can add a Reverb with a Size parameter a bit higher than what you set for the front channels. You might find that you don't need to have as much reverb for the front channels when you work in 5.1 surround sound.

subwoofer: a loudspeaker responsive only to the lowest acoustic frequencies
http://english-for-chinese.blogspot.com/2009/07/off-topic-language-education-to-solve.html

Recording voice-overs

1. Remove any audio files from the Timeline, and set your CTI at the beginnging.
We might open a new project as well.
2. Make sure your computer's microphone is plugged in to the Mic input on your sound card.
3. Choose Edit > Preferences > Audio Hardware, and ensure that your default device is the hardware to which you have connected your microphone.
4. In the Audio Mixer, click the Enable Track For Recording button (figure).
What is the use of the master track?
5. Click the Record button and it starts blinking. (figure)
6. Move CTI to where you want this narration to begin.
7. Click the Play button in the Audio Mixer, and start your narration.
8. When you finish recording, click the Stop button.

Outputting tracks to submixes

1. Open 14-4.prproj.
2. Right-click an audio track header in the Timeline and choose Add Tracks. Set the Add values for Video Tracks, Audio Tracks, and Audio Submix Tracks to 0, 0 and 2, separately. Set Track Type for Audio Submix Tracks to Stereo. Then click OK.
3. Click the Left track's Track Output Assignment pop-up menu and select Submix 1.
4. Do the same for the Right track.
5. Send the 3 instrument tracks to Submix 2.
6. Apply Reverb to the Submix 1 track by clicking the Show/Hide Effects triangle and adding Reverb as an effect. Click its Solo button (Not to switch off Left and Right Solo button), play the audio.
7. Apply Reverb to the Submix 2 track, click its Solo Track button, switch off the Submix 1 Solo button, play its audio, and set its parameters. (Remember not to switch off Clarinet, Flute, and Bass Solo button. They are interconnected.)

2009年10月30日星期五

Automating changes in audio tracks

tab: close surveillance : watch s on trends>
Off, Read, Latch, Touch, Write. I don't quite understand them.

Working with the Audio Mixer

1. Double-click Music - Sonoma Stereo Mix.wav, and play it in the Source Monitor. This is how your final mix should sound.
2. Open 14-3.prproj.
3. Play the Practice sequence, and note that the instruments are way too loud compared to the choir.
4. Choose Window > Workspace > Audio, and you can see 5 tracks plus the master track.
5. Change the track names by typing a new name in turn: Left, Right, Clarinet, Flute, and Bass.\
6. Play the sequence, and adjust the sliders (under the volume, not under the Left/Right Pan) in the Audio Mixer to create a mix that you think well. For example, set Left, Right, Clarinet, Flute, and Bass to 4, 2, -12, -10, -12, respectively.
7. Watch the master track VU meter as you make your adjustments.
hash mark: A service stripe on the sleeve of an enlisted person's uniform
line up: to put into alignment
8. Adjust each channel's Left/Right Pan by using the knobs at the top of each track. Left: -100, Right: 100, Clarinet: -20, Flute: 20, Bass: 0.
9. Click the Show/Hide Effects and Sends Button.
10. Click the Effect Selection button (in the Effects area, not in Sends area) for the Left track and choose Reverb from the pop-up menu.
11. Isolate that track by clicking its Solo button.
12. Undo your settings by removing the Reverb effect.

Editing keyframes by using the clip effect menu

1. Delete the MultibandCompressor effect.
2. Open the clip effect menu by clicking Channel Volume.
3. Select Left.
4. Drag the yellow line, which now represents the left channel volume, up or down (right or left)to change the left channel's volume.
5. Click the Show keyframes button on the left side of the audio track, and then set it to Show clip Volume. This causes the track to display the clip's volume, rather than the track's volume.
6. Ctrl-click the yellow line to add a couple of keyframes, and adjust them by dragging them left or right along the graph line or dragging them up or down.
Changing parameters in the Timeline is tedious. Why?

Looking at one more VST plug-in

How to put the Effect Controls panel in a floating window?

2009年10月28日星期三

Trying stereo and 5.1 surround sound effects

http://download.techsmith.com/camtasiastudio/newsletter/essential-guide/camtasiastudio6-definitiveguide-chapt10.pdf

http://www.widow.nl/index.php?option=com_content&task=view&id=31&Itemid=100

1. Open 14-2.prproj.

2. Drag Music Stereo.wav to the Audio 2 track. (Sorry! It cannot make sound in Audio 1 track.)
3. We cannot drag any mono audio effect to the Music Stereo clip.
4. Drag Effects > Audio Effects > Stereo > Balance to the Music Stereo clip.
5. Drag the Balance slider in the Effect Controls panel left and right while we play this clip.
This clip was mixed with the guitar panned all the way left and the honky-tonk piano panned hard right. If you move the slider all the way to either end, you will hear only one instrument.
The guitar sound might come from the left or right speaker, so might the piano sound. It depends how we connect speakers to the amplifier and how we place them on the counter.
6. Add 2 keyframes, and have the audio pan from left to right and in reverse.
7. Play the clip.
The sound moves from left to right and, in this case, makes the guitar fade into the piano.
8. Delete Balance and apply Fill Right.
Fill Right (fill from the right)only plays the piano in both left and right channels and discards the guitar. Fill Left (fill from the left)only plays the guitar in both channels and discards the piano.
9. Drag Music 5.1.wav to the sequence, and Premiere adds a 5.1 audio track to accommodate this new audio clip type.
10. Mute the Audio track containing the Music Stereo clip by clicking the speaker button on the left side of the track label.
Not mute both Audio tracks, but only mute the Audio track containing the Music Stereo clip by clicking the speaker button on the the left side of that track label. There is a small error in Chinese translation.
11. Drag Audio Effects > 5.1 > Channel Volume to the Music 5.1 clip.
12. Play the clip and drag the sliders for each channel to experiment with this effect.
Should I use 6 speakers to experiment with it?

formant
Drifting away from us the old Russian satellite becomes smaller and smaller. We PAN with it as we SEE it's on a collision course with something huge.
pan: to rotate (as a motion-picture camera) so as to keep an object in the picture or secure a panoramic effect
honky-tonk:  country music that has a heavy beat and lyrics dealing usually with vice or misfortune
hard:  close in time or space example: hard right
equalizer:  an electronic device (as in a sound-reproducing system) used to adjust response to different audio frequencies What does it look like?
fit the bill:  be suitable

Sweetening sound with audio effects

1. Open 14-1.prproj
2. Drag Ad Coiches Mono.wav to the Audio 1 track
3. Open the Audio Effects > Mono folder in the Effect panel.
4. Drag Bass to the Ad Cilches clip > open the Effect Controls panel > click the disclosure triangle of Bass and that of Boost to expand the parameters.
5. Play the clip, and then move the Bass Boost slider left and right. This increases or decreases bass.
Going left decreases bass and going right increases bass.
6. Delete Bass from the Effect Controls panel and add Delay.
Consult Help for more audio effects.
7. Play the clip and move the sliders to experiment with the effect.
8. Delete Delay and add PitchShifter to the Effect Controls panel.
You can tell an audio effect has presets by the tiny triangle next to what would normally be the Reset button and addition of a rectangular Reset button.
This sentence might tell the slight difference of interface between video effect and audio effect.
9. Try some of the presets, and note their values below the knobs in the Effect Controls panel.
10. Use the Individual Parameters sliders, and add keyframes at the beginning and end of a few phrases( a short musical thought typically two to four measures long closing with a cadence).
Use wildly different Pitch settings from -12 to +12 semitone steps (2 steps equals a second in musical parlance -- from C to D, for example), and switch Formant Preserve on and off.
11. Delete Ad Cliches from the sequence and replace it with Music Mono.wav.
12. Drag Treble to that clip and increase its parameter.
This guitar clip lends itself to a tremble boost.
13. Delete Treble, drag Reverb to the Effect Controls panel, and open Reverb's Custom Setup.
14. Play the clip, and drag the 3 white handles in the display to change the character of the reverb.

2009年10月27日星期二

Sweetening Your Sound and Mixing Audio

The Internet has allowed large retailers to pool their purchasing scale and leverage scale benefits to become more efficient in procurement.

http://tw.knowledge.yahoo.com/question/question?qid=1607072103026
pitch:  the property of a sound and especially a musical tone that is determined by the frequency of the waves producing it : highness or lowness of sound
reverb:  short for reverberation.  an electronically produced echo effect in recorded music; also : a device for producing reverb
sibilant:  having, containing, or producing the sound of or a sound resembling that of the s or thesh in sash

2009年10月26日星期一

Adding an L-cut

I have to review from the beginning of this lesson.

Adding J-cuts and L-cuts

1. Open 13-2.prproj and play the Complete sequence. This is how our J-cut and L-cut will look and sound. Two new words sound bite and cutaway must be known here.
http://en.wikipedia.org/wiki/Cutaway_(filmmaking)
http://en.wikipedia.org/wiki/Soundbite
2. Open 12-3 Working sequence. (It should be 13-3???)
3. Right-click the 2nd clip and choose Unlink.
4. Deselect the clip.
5. Shift-click both of those unlinked clips to select them.
6. Rigth-click one of them --> choose Link
7. Alt-click the audio of the 2nd clip to unlink it and select it.
8. Drag the unlinked audio portion of the 2nd clip straight down to the Audio 2 track and deselect it.
9. Use the Rolling Edit tool to move to the right about 1 second the edit that is between the 1st and 2nd video clips.
10. Apply a fade-out using the Constant Power transition on the 1st audio clip.
11. Play that J-cut.

2009年10月25日星期日

Adjusting audio gain

http://library.creativecow.net/video-tutorials/adobepremierepro
http://www.sounderpro.com.tw/Reviw/SR.html
1. Continuing with the open project, click the Music Stereo.wav clip to select it.
2. Right-click the clip --> choose Audio Gain
There are 4 options: Set Gain to, Adjust Gain by, Normalize Max Peak to, Normalize All Peaks to. What are they?
3. Set the Normalize Max Peak to option to 1dB and click OK.
The waveform on the Timeline will expand to show the increased gain.???I didn't see it.
4. Play the Timeline and notice that the master audio meter plays between -6 and 1 dB.
5. In the Sequence menu choose Normalize Master Track
headroom: vertical space in which to stand, sit, or move
http://audioart.audionet.com.tw/131/梁過131%20.htm
6. Set the value to -3 and click OK.
7. Play the Timeline and notice that the levels on the master audio meter have been reduced by 3 dB.

Adjusting audio in the Effect Controls panel

1. Select the Music Stereo clip on the Audio 1 track and open the Effect Controls panel.
2. Add several keyframes and change the volume level on each one. Play the clip to hear the level adjustments. Click the box next to Bypass and notice the level adjustments you made are not used.
3. Marquee-select all the keyframes in the Effect Controls Timeline and press Delete.
4. Drag Audio Transitions > Crossfade > Constant Power to the beginning of the clip on the Timeline.
5. Click the transition rectangle on the clip to select it, and view its parameters in the Effect Constrols panel.
6. Change the duration to 3 seconds.
7. Drag the interview1.mov clip to the Timeline just after the Music Stereo clip.
8. Trim the end Music Stereo.wav back by 1 second. Then trim the beginning of interview1.mov to about 4;12.
Trim Music Stereo.wav in the Timeline by using Razor Tool and trim the interview1.mov in the Source Monitor by setting In and Out points. Since 2 clips are separated, we have to drag them together.
This gives them both tails for a smooth transition.???
9. Drag Constant Power to that edit point and listen to how that works.
10. Replace Constant Power with Constant Gain and listen to it.
How do I retrieve my video tracks when I lose them?

2009年10月24日星期六

Adjusting audio volume

1. Choose Window > Workspace > Reset Current Workspace
2. Delete the audio clips in the Timeline.
3. Right-click an audio track header --> select Delete Tracks --> select Delete Audio Tracks --> click OK.
4. Drag Music Stereo.wav from the Project panel to the Audio 1 track.
5. Expand the track view by clicking the Collapse-Expand Track triangle.
6. Click the Show Keyframes button --> choose Show Clip Keyframes
7. Try to drag the yellow line between the left and right channels up and down.
8. Ctrl-click the volume level graph in 4 places evenly spaced along the yellow line.
9. Drag the 1st and last keyframes all the way to the left and right, respectively, to place those keyframes on the 1st and last frames of the clip.
10. Drag the 2nd and 3rd keyframes left and right, respectively, to about 2 seconds from the beginning and 2 seconds from the end.
11. Drag the start and end keyframes all the way to the bottom ot the clip view to create a fade-up and a fade-out.
12. Play the beginning and end of the clip to see how this works.
13. Right-click the 2nd and 3rd keyframes, and choose Ease In and Ease Out, respectively.

Examining audio characteristics

1. Open 13-1.prproj.
2. Double-click Mono.wav to open it in the Source Monitor.
3. Play the audio.
4. Scrub the audio by click-dragging the pointer across the waveform in the Source Monitor.
5. Observe the waveform by dragging the vertical zoom bar. (figure)
6. Open the Source Monitor panel menu --> choose Show Audio Time Units
7. Drag the left handle of the viewing area bar to the right until the difference between numbered markers is 1000 samples.
8. Type 1:0 in the current-time display and press Enter.
9. Press the left arrow key once and note that the sample preceding 1:0 is 0:47999.
10. Drag the right or left handle of the viewing area bar to the left and right to take a closer look at the audio peaks and valleys.
11. Double-click Music Stereo.wav and take a look at it in the Source Montor.
12. Choose Edit > Preferences > Audio and make sure 5.1 Mixdown Type is set to Front+Rear+LFE
13. Double-click Music 11 5.1. wav and take a look at it in the Source Monitor.
bass boost: (electronics) A circuit that emphasizes the lower audio frequencies, generally by attenuating higher audio frequencies.
14. Click Music 11 5.1 in the Project panel to select it --> choose Clip>Audio Options>Breakout To Mono
15. Drag Music 11 5.1 to the Timeline
16. Expand the view of the newly added Audio 2 track by clicking its Collapse-Expand Track triangle to open its waveform view. Drag the boundary between Video 1 and Audio 1 up the screen, and then drag the bottom of Audio 2 down.
17. Click the menu of open clips in the Source Monitor --> select Mono.wav
18. Drag Mono.wav from the Project panel to the Timeline.
The Drag Audio Only icon might be hidden in the Duration display of the Source Monitor. Drag the right edge of the Source Monitor to the right, and you can find it.

2009年10月23日星期五

Chap. 13 Acquiring and Editing Audio

1. Audio typically takes a subordiante position to video, but it shouldn't.
2. Your first goal is to acquire high-quality audio from the very beginning.
3. Premiere gives video producers and audiophiles all they need to add first-rate aural quality to their productions.
4. p.238
questions

Changing the length of multiple stills simultaneously

1. Open 12-7.prproj.
2. Press the backslash key (\) to zoom the Timeline
3. Marquee-select (??) all the images
4. Right-click any of the selected images --> choose Speed/Duration --> change Duration to 10 seconds and click OK
Only the last images expand to 10 seconds.
Try to change Duration to 10 frames and see the difference.
5. Press Ctrl+Z
6. Select all the images clips again
7. Right-click any of the selected images --> choose Speed/Duration --> change Duration to 10 seconds and select the Ripple Edit, Shifting Trailing Clips --> click OK
All clips expand to 10 seconds.

Changing the speed of multiple clips simultaneously

1. Continue with 12-6.prproj and undo any speed changes.
2. Select all 3 video clips.
3. Right-click the clips --> choose Speed/Duration --> change Speed to 50% and click OK.
All 3 video clips play at 50% speed, but only the last clip expanded.
4. Press Ctrl+Z
5. Select all 3 video clips again.
6. Right-click the clips --> choose Speed/Duration --> change Speed to 50% and select the Ripple Edit, Shifting Trailing Clips --> click OK.
All 3 clips expand and play at 50% speed.

http://www.adobe.com/education/pdf/cib/prempro/prempro_cib_11.pdf
http://www.scribd.com/doc/5471953/Adobe-After-Effects-CS3-Professional-User-Guide
http://www.scribd.com/doc/7868547/Using-Adobe-After-Effects-CS4
http://www.photobus.co.uk/print/premierePro_tutorial.pdf

Recognizing Timeline downstream effects of changing time

1. Open 12-6.prproj.
2. Right-click the chase in fog clip --> choose Speed/Duration --> change the speed to 50% --> click OK
The back part of the clip is trimmed.
3. Press Ctrl+Z
4. Right-click the chase in fog clip --> choose Speed/Duration --> change the speed to 50% and select the Ripple Edit, Shifting Trailing Clips--> click OK
The 1st clip is complete.
The 2nd line 視訊短 should be 視訊軌。
Toggle Sync Lock ??? There is only one track in this sequence.

Using time remapping with reverse motion

1. Open 12-5.prproj.
2. Select the practice sequence.
3. Ctrl+click-drag the right half of the 1st speed keyframe to the right until you reach timecode 00.
4. Play the clip.
5. To make the reverse part of the clip move in slow motion, drag the yellow line to -50% for that section of the clip.
6. Drag the right half of the 1st keyframe to the right to make the transition from forward motion to reverse motion gradual.

Applying time remapping with speed transitions

1. Open 12-4.prproj.
2. Select the practice sequence.
3. Drag the right half of the 1st speed keyframe to the right to create a speed transition.
4. Drag the right half of the 2nd speed keyframe to the right to create a speed transition as well.
5. Play the clip.

Enabling variable time change with time remapping

1. Open 12-3.prproj
2. Open the practice sequence.
3. Adjust the height of the Video 1 track
4. Right-click the clip --> choose Show Clip Keyframes > Time Remapping > Speed
5. Move CTI to the point where the man enters the frame
6. Ctrl-click the yellow line to add a speed keyframe at this point.
7. Add another speed keyframe at 07;10, just as the car enters the frame.
8. Drag the yellow line between the 1st and 2nd keyframes down to 18%.
9. Play the clip.

2009年10月22日星期四

Changing speed with the Rate Stretch tool

1. Open 12-2.prproj
2. Select the Rate Stretch tool in the Tools panel
3. Move the Rate Stretch tool over the right edge of the 1st clip and drag it until it meets the 2nd clip
4. Move the Rate Stretch tool over the right edge of the 2nd clip and drag it until it meets the 3rd clip
5. Play the Timeline

Speeding up a clip

1. Reopen 12-1.prproj
2. Right-click the clip and choose Speed/Duration
3. Type 300% for Speed (Please note that the lock icon should be locked) and then click OK.
4. Play the clip.

Chap. 12 Changing Time

Using slow-motion and reverse-motion techniques
1. Open 12-1 prproj. p.224
2. Right-click the chase in fog clip --> choose Speed/Duration
3. Change Speed to 50% and click OK
4. Play the clip
5. Press Ctrl+Z
6. Right-click the clip --> choose Speed/Duration
7. Click the link icon (figure)
8. Click OK and then play the clip
9. Right-click the clip --> choose Speed/Duration
10. Leave Speed at 50% --> select Reverse Speed --> click OK
11. Play the clip
In step 8, the back part of the clip is trimmed. This time the front part of it is trimmed.

Get a glint with Basic 3D

1. Delete Transform and Drop Shadow filters from the writers 3 clip
2. Select Effects > Perspective > Basic 3D and drag it to the Effect Controls panel
3. Expand the Basic 3D and select the Show Specular Highlight option
4. Render and play the sequence

2009年10月21日星期三

Using Transform

1. Open Lesson 11-4 prproj --> open the Practice sequence
2. Select the writers 3 clip and view the effects in Drop Shadow and Transform
3. Play the sequence and find the shadow rotates with the PIP, which is unrealistic
4. Drag Drop Shadow below Transformation and play the sequence again.
This create a more realistic effect.
Try to learn more Transformation motion effects.

Adding a drop shadow

1. Choose Video Effects > Perspective > Drop Shadow --> drop it onto the top clip
2. Expand Drop Shadow disclosure triangle --> Change Direction to 320 degree, increase Distance to 30, change Opacity to 75%, and set Softness to 30
3. Right-click Drop Shadow --> choose Copy
4. Select the clip in Video 2 --> right-click in a blank area of the Effect Controls panel --> choose paste
Repeat this for the other PIP clips
5. Play this sequence

Saving Presets for Other Projects

Enchancing motion with shadows and beveled edges

1. Open 5 PIP
2. Drag CTI past the 1-second point to display the 5 PIPs.
3. Choose Presets > Bevel Edges --> drag Bevel Edges Thin to the top clip
4. Zoom Promgram Monitor to 100% to get a better look at this effect
5. Effect Controls > Bevel Edges > Increase Edge Thickness slightly, change Light Angel to 140 degree, and increase Light Intensity to 0.40
6. Select Bevel Edges
7. Select Effect Controls menu > Save Preset --> type Lesson 11 Bevel Edges --> press OK
8. Drag Lesson 11 Bevel Edges from the Presets bin to each clip in the Video 2-5 tracks
9. Maximize the Program Monitor and play the sequence to see PIPs with beveled-edge look

Creating pictures-in-picture

1. Open 11-3.prproj --> open Finished to see how PIP works
2. Open Practice --> play and see it
3. Effects panel > Presets > PIPs > 25% PIPs > 25% UL
The 1st word LLL on line 3 of page 11-14 should be LL.
4. Drag PiP 25% LR Spin In to Video 2
Drag PiP 25% UL Spin In to Video 3
Drag PiP 25% UR Spin In to Video 4
Drag PiP 25% LL Spin In to Video 5
Drag PiP 25% LL Spin In to Video 6
We can't see the effects until the last step because the top track Video 6 covers all the clips below it.
5. Double-click the clip in Video 6 --> Effect Controls > Video Effects > Motion > Position
6. Change Position parameters to 360, 240
7. Play the clip

The mouse scroll wheel can move the timeline.
Pressing ~ can maximize the timeline and activate it.
Ctrl + Tab
Tab

2009年10月20日星期二

Working with keyframe interpolation

1. Continue with Adding rotation etc.
2. Select the 2nd keyframes of Position, Scale, and Rotationl at one time
3. Right-click any of the 2nd keyframes --> Choose Ease In from the Temporal Interpolation
4. Select the 3rd set of keyframes --> Choose Ease Out
5. Expand the Position, Scale, and Rotation parameters to see their graphs. (figure)
6. Play the clip.
I found the change was very subtle.

2009年10月19日星期一

Change the Clip Size

1. Open 11-2 prprol --> Open Finished
2. Play the clip
3. Open Practice
4. Place CTI at the beginning --> Position's Toggle animation --> move crosshair to position 0,0
5. Click the Scale button (= Scale's Toggle animation ??) -->; Set Scale to 0,0
6. Drag CTI about 1/3 of the way --> Reset
7. Drag CTI about 2/3 of the way --> Reset again or Position's/Scale's Add/Remove Keyframe (with figure)
8. Move CTI to the end --> Ser Position to 720.0 and 480.0 (Chinese translation should be 右下角)
9. Set Scale to 0,0
10. Play the clip

2009年10月18日星期日

Adding rotation and changing the anchor position

1.With Timeline active, press Page Up or Home -> click Rotation's Toggle animation

2. Click Position's or Scale's Go to Next Keyframe
3. Drag the bounding box clockwise 2 full circles or set Rotation to 2x0.0
4. Move CTI to the 3rd keyframe --> click the Rotation Add/Remove Keyframe
5. Move CTI to the end
6. Drag the Rotation circle counterclockwise two times
7. Play the clip
Question: I can't see the difference between this effect and the effect in the Finished.
After I have saved this effect as presets (choosing Scale, Anchor to In Point, Anchor to Out Point separately), I can't see any difference among them. Even I can't see this effect when I drag it to clips in the timeline.
There are 2 parameters on the right side of Rotation. What's the defference?

2009年10月16日星期五

Task

http://www.scribd.com/doc/7868643/Using-Adobe-Premiere-Pro-CS4
1. Open Lesson 11-2.prproj, and open the Finished sequence.
2. Play this clip to view the animation.
This is how the Motion effects will look by the end of this exercise.
3. Open the Practice sequence to start with the same clip but with no effects.
4. Place the current-time indicator at the beginning of the clip, expand the Motion effect, click the Position's "Toggle Animation" button to activate keyframeing, and move the center of the clip to the upper-left corner (position 0,0).
Place the CTI at the beginning of the clip, click the Position Toggle Animation stopwatch to switch on keyframes, and move the center of the clip to the upper-left corner (position 0,0).
5. Expand the Scale parameter, click the Scale button, and drag the slider to 0.
That sets the size to 0 for the beginning of the clip.
Click the Scale Toggle Animation stopwatch and drag the slider to zero.
That sets the size to zero for the beginning of the clip.
6. Drag the current-time indicator about a third of the way into the clip and click the Reset button. That creates two keyframes that use Motion’s default settings: the clip at full size and centered in the screen.
Drag the CTI about a third of the way into the clip and press Reset. That creates two
keyframes using Motion’s default settings: the clip at full size and centered in the screen.
7. Drag the current-time indicator about two thirds of the way into the clip and click the Add/Remove Keyframes button for Position and for Scale. (figure)

This clip will remain centered and at full screen for the time between the two keyframes. You could also have clicked Reset again to use those default parameters and achieve the same effect.

Drag the CTI about two-thirds of the way into the clip and click the Add/Remove
Keyframes button for both Position and Scale (you could also have clicked Reset again).
Doing that causes the clip to remain centered and at full screen for the time between the
two keyframes.
8. Press Page Down and the left arrow key with the Timeline active to move the current-time indicator to the end of the clip, and change the Position parameters to 720, 480 (lower-right corner).

Move the CTI to the end (Page Down, then left arrow) and change the Position
parameters to 720, 480 (lower-right corner).
9. In the Program Monitor, drag a bounding box corner handle to shrink the clip all the way down to the center crosshairs. That sets Scale back to 0.
10. Play this clip.

2009年10月15日星期四

Changing clip size and adding rotation

http://www.adobe.com/education/pdf/production_studio/DV_module_10.pdf

Simply sliding a clip around only begins to exploit Motion effect’s possibilities. What
makes the Motion effect so useful is the capability to shrink or expand the clip and to
spin it.
For example, you can start a clip full-screen (or zoom in even farther) and then shrink
it to reveal another clip. You can spin a clip onto the screen starting as a small dot and
then spin it off the screen, having it grow as it moves away. And you can layer multiple
clips, creating several pictures-in-a-picture.
Before you dive into this task, look at Motion’s six keyframeable options:

• Position—The screen location of the clip’s anchor point (its center unless you change

the anchor point).
• Scale (Scale Height with Uniform Scale unchecked)—The relative size of the clip.

The slider has a range from 0% to 100%, but you can use the numerical representation
to increase the clip size to 600% of its original size.
Note: The percentage refers to clip border perimeter, not clip area. So 50% is equal to 25%
in terms of area and 25% is equal to 6.25% in area.
• Scale Width—You need to uncheck Uniform Scale to make Scale Width active.
Doing so enables you to change the clip width and height independently.
• Rotation—You worked with this in Lesson 9-3. You can input degrees or number
of rotations. For example 450° or 1 x 90. A positive number is clockwise and a negative
number is counterclockwise. The maximum number of rotations allowed in either
direction is 90, meaning that you can apply up to 180° full rotations to a clip.
• Anchor Point—The center of the rotation, as opposed to the center of the clip. You
can set the clip to rotate around any point in the screen including one of its corners or
around a point outside the clip like a ball at the end of a rope.
• Anti-flicker Filter—This feature is useful for images that contain high-frequency
detail such as fine lines, hard edges, parallel lines (moiré problems), or rotation. Those
characteristics can cause flickering during motion. The default setting (0.00) adds no
blurring and has no effect on flicker. 1.00 adds some blurring, which eliminates flicker.
moire: a watered mohair

Eliminate flicker

Thin lines and sharp edges in images sometimes flicker when shown on interlaced displays, such as many TV screens. The Anti-flicker Filter control in the Motion effect can reduce or eliminate this flicker. As you increase its strength, more flicker is eliminated, but the image also becomes softer. You may need to set it relatively high for images with lots of sharp edges and high contrast.

Select a clip in a Timeline panel, and click the Effect Controls tab.
Click the triangle next to the Motion heading to open the Motion controls.
Click the triangle next to the Anti-flicker Filter heading.
Drag the Anti-flicker Filter slider to the right to increase the strength of the filter.
Press the spacebar to preview the clip. Increase the filter strength if flicker is still visible, or decrease it if the image is too soft.
You can change the intensity of the Anti-flicker Filter over the duration of a clip by setting Anti-flicker Filter keyframes at different values.

2009年10月14日星期三

Examining Motion characteristics p.11-3

1. Drag the Current Time Indicator (CTI) on the Time Line anywhere in the clip so you can see the video in the Program Monitor.

2. Click inside the Program Monitor screen.
That puts a bounding box with a crosshair and handles around the clip (as shown in the next figure) and activates the Motion Effect in the Effect Controls panel .

(activation and bounding box figure)

3. Click anywhere in the clip bounding box in the Program Monitor, drag this clip around and note how the Position values in the Effect Controls panel change.

4. Drag the clip so its center is directly over the upper left corner of the screen and note the Position values in the Effect Controls panel are 0, 0 (or close to that depending on where you placed the center of the clip).
The lower right corner of the screen is 720, 480, the standard NTSC DV screen size.

Note

Premiere Pro uses something like an upside-down X/Y axis for screen location . That coordinate system is based on a methodology used in Windows for so long that to change it now would create numerous programming headaches. The upper left corner of the screen is 0, 0. X and Y values to the left and above that point respectively are negative. X and Y values to the right and below that point respectively are positive.

5. Drag the clip completely off the screen to the left as shown in the next figure.
(figure)

6. Fine-tune that adjustment by changing the Position values in the Effect Controls panel to around -360, 240. Since 360 is half of 720, this puts the right edge of the clip at the left edge of the screen frame.

7. Put the CTI at the beginning of the clip (press Page Up or Home). Click the Position's Toggle Animation stopwatch to apply a Position key frame there.

8. Drag the CTI to the center of the clip. Change the clip’s Position to around 360, 240 (the center of the screen). Changing the Position parameters adds a key frame there.

9. Put the CTI at the end of the clip (press Page Down, then the left arrow key).

10. Change the clip’s position by typing the values of 360, -240 next to the Position of the Effect Controls Panel.
That puts the clip completely above the screen and adds a key frame.

11. Play the clip.

It moves smoothly on-screen, then slides off the top. You have created a path (if you don't see the path, click on Motion in the Effect Controls panel to switch on its display). Make note of a few things (highlighted in different colors in the next figure):

· It's a curved path. Adobe Premiere Pro automatically uses Bezier curves for motion.

· The little dots describe both the path and velocity. Dots close together represent a slower speed, dots more spread out represent a faster speed.

· The little four-point stars are key frames.

(figure)

12. Drag the center key frame in the Program Monitor (the four-point star/square) down and to the left.
Notice that the dots get closer together to the left of the key frame and farther apart to the right.
( figure)

13. Play the clip and note that it moves slowly until the first key frame then speeds up.

Note

By moving the center key frame you changed its location and thereby the distance the clip traveled between it and its adjacent key frames. But you did not change the time between key frames. So the clip moves faster between key frames that are farther apart and slower for those nearer to each other.

14. Drag the center key frame again, this time down and to the right (use the next figure as a reference).
That creates a parabola with evenly spaced dots on both sides, meaning the velocity will be the same on both arms of the parabola.
(figure)

15. Drag the center key frame in the Effect Controls timeline first to the left, and then most of the way to the right.

16. Play this clip and note how much slower it goes at the beginning and how much faster at the end.
It should behave the same way it did when you open the Lesson 11 project

Note
Now you are changing the time between key frames but not changing their physical location in the screen. The little path/velocity dots in the Program Monitor will spread out or slide closer together but the key frames will not change locations..

2009年10月11日星期日

Examining Motion effect characteristics p4_09

cs 3 http://www.adobe.com/education/instruction/teach/digitalvideo/dvcg_cs3_p4_student_guides_a4.pdf#22
http://www.scribd.com/doc/16658315/Adobe-Premiere-Elements-Help
http://www.tebyan.net/index.aspx?PID=31171&PageSize=10&PARENTID=1964&LANGUAGE=3&PageIndex=1
http://www.kougarmedia.com/resources/DV_guide.pdf
http://www.lynda.com/home/DisplayCourseN.aspx?lpk2=702
How to set and adjust Motion effect Position values and keyframes
To examine some Motion settings, follow these steps:

1. Drag the current-time indicator anywhere in the clip so you can see the video in the Program Monitor.

2.Click the image in the Program Monitor.
That puts a bounding box with a crosshair and handles around the clip (shown here) and activates the Motion effect in the Effect Controls panel. Clicking Motion or its Transform button in the Effect Controls panel will also activate the clip bounding box in the Program Monitor.
The box includes a centered anchor-point cross hair and handles. The Motion effect is now activated (highlighted—white letters on a gray background) in the Effect Controls panel. Clicking “Motion” (or its transform buttom) in the Effect Controls panel is the other way to activate the effect.

3. Click anywhere in the clip bounding box in the Program Monitor, drag this clip around, and note how the Position values in the Effect Controls panel change.

4. Drag the clip so its center is directly over the upper left corner of the screen and note the Position values in the Effect Controls panel are 0, 0 (or close to that depending on exactly where you placed the center of the clip). The lower right corner is 720, 480, the standard NTSC DV screen size.

Note: Adobe Premiere Pro uses something like an upside-down X/Y axis for screen location, which is based on a system used in Windows for so long that to change it now would create numerous programming headaches. The upper left corner is 0, 0. X and Y values to the left and above that point respectively are negative. X and Y values to the right and below that point respectively are positive.

5. Drag the clip completely off the screen to the left (Figure x as follows suppled later).

6. Fine-tune that adjustment by changing the Position values in the Effect Controls panel to -360, 240.Since 360 is half of 720, this puts the right edge of the clip at the left edge of the screen frame.

7. Put the CTI at the beginning of the clip (Clip Page Up or Home) and apply a Position keyframe there by clicking Position’s Toggle Animation stopwatch.

8. In the timeline panel, drag the CTI to the center of the clip. Fine-tune that location placement by setting the Position values to 360, 240. (Measured by the center cross hair of the clip frame)
Changing the parameters adds a keyframe there.

9. Put the CTI at the end of the clip (press Page Down, then the left arrow key).

10. Change the Position values to 360, -240.
That puts the clip completely above the screen and adds a keyframe.

11. Play the clip.

It moves smoothly on-screen, then slides off the top. You have created a path (if you don’t see

the path, click on Motion to switch on its display). Make note of a few things:

• It’s a curved path. Adobe Premiere Pro automatically uses Bezier curves for motion.

• The little dots describe both the path and velocity. Dots close together represent a slower speed, dots more spread out represent a faster speed. (figure supplied later)

>> The little four-point star representes a keyframe.

12. Drag the center keyframe in the Program Monitor down and to the left. Notice that the dots get closer together to the left of the keyframe and farther apart to the right. ( figure supplied later)

13. Play the clip and note that it moves slowly until the middle keyframe and then speeds up.

14. Drag the center keyframe in the Program Monitor down and to the right again. (figure needed)
This time it builds a parebola with dots spread evenly at two sides

Note: By moving the keyframes, you changed their spatial locations and thereby the distance the clip traveled between keyframes. But you did not change the time between keyframes, so the clip moves faster between clips that are farther apart and slower for those closer to each other.

The clip bounding box must appear in the screen, or you cannot click it and make it appear. The other way is to click Motion's transform button.
While the CTI is not in the clip (the point where the clip ends or you click Page Down to put CTI to the end), you cannot make bounding box appear.

Click Animation button and agree to delete will delete all keyframes. If you want to delete one keyframe, just select and then delete it.

Chap.11 Putting clips in motion

DV_module_10CS2 deleted

http://www.adobe.com/education/

1. Open 11-1.prproj

2. Switch to the Effects workspace: Window > Workspace > Effects

3. Click the Program Monitor, View Zoom Level drop-down list, and change the Program Monitor zoom level to 25%.

This is to help you see and work with the Motion effect’s bounding box.

4. Expand the Program Monitor frame (if necessary) so there are no scroll bars in the screen. Your Program Monitor should look like the previous figure (omitted here).

5. Play the clip.

Click inside the Program Monitor screen. That puts a bounding box with a crosshair and handles around the clip and activates the Motion Effect in the Effect Controls panel. Clicking on Motion or its Transform button in the Effect Controls panel will also activate the clip, bounding box in the Program Monitor.

6. Twirl down the Motion disclosure triangle in the Effect Controls panel to view its parameters.

Click anywhere in the clip bounding box in the Program Monitor, drag this clip around, and note how the Position values in the Effect Controls panel change.

Drag the clip so its center is directly over the upper left corner of the screen and note the Position values in the Effect Controls panel are 0, 0 (or close to that depending on exactly where you placed the center of the clip).

The lower right corner is 720, 480, the standard NTSC DV screen size.

Note: Adobe Premiere Pro uses an upside-down X/Y axis for screen location, which is based on a system used in Windows for so long that to change it now would create numerous programming headaches. The upper left corner is 0, 0. X and Y values to the left and above that point respectively are negative. X and Y values to the right and below that point respectively are positive.

Fine-tune that adjustment by changing the Position values in the Effect Controls panel to -360, 240.Since 360 is half of 720, this puts the right edge of the clip at the left edge of the screen frame. Put the CTI at the beginning of the clip and apply a Position keyframe there by clicking Position’s Toggle Animation stopwatch.

Drag the CTI to the center of the clip and center the clip in the Program Monitor. Fine-tune that location placement by setting the Position values to 360, 240. Changing the parameters adds a keyframe there.

Put the CTI at the end of the clip (press Page Down, then the left arrow key).

Change the Position values to 360, -240. That puts the clip completely above the screen and adds a keyframe.

Play the clip.

It moves smoothly on-screen, then slides off the top. You have created a path (if you don’t see

the path, click on Motion to switch on its display). Make note of a few things:

• It’s a curved path. Adobe Premiere Pro automatically uses Bezier curves for motion.

• The little dots describe both the path and velocity. Dots close together represent a slower speed, dots more spread out represent a faster speed.

The figure will be supplied later.

Drag the center keyframe in the Program Monitor down and to the left. Notice that the dots get closer together to the left of the keyframe and farther apart to the right.

The figure will be supplied later.

(Continued)

2009年10月10日星期六

Build your own preset

1. Open 10-5 prproj

2. Drag Video Effects/Perspective/Basic 3D to the title "The Office"

3. Set Parameter Time Varying: Toggle animation of Swivel at the beginning of the title/ Swivel -25

Swivel: Controls horizontal rotation (rotation around a vertical axis). You can rotate past 90° to see the back side of the image, which is the mirror image of the front.

4. Add Keyframe at the end of it

5. Swivel 25

6. Drag Video Effects/Generate/Lens Flare to the title

7. Flare Center: 20 192 at the beginnign

8. Add Keyframe/ Flare Center 700 192 at the end

9. Drag Gaussian Blur to the title

10. Edit Parameter: Blurness 300

11. Add Keyframe at 01:00 and set Blurness 0

12. Add Keyframe at the end and set Blurness 700

Finished ???

13. Play the clip

14. Select the above 3 effects

15. Save preset

2009年10月9日星期五

lighting effects

p. 10-19, line 15 ???

25 lighting effects in total

http://help.adobe.com/en_US/PremierePro/4.0/WS493B17FF-74BB-45b1-ADAD-EC1F8D67148D.html

http://digitalproducer.digitalmedianet.com/articles/viewarticle.jsp?id=65838

1. New/ Open 10-4 prproj

2. Apply Filter: Video Effects> Adjust>Lighting Effects (drag it to Video 1 track)

3. Use the eyedropper or Color Picker to determine which color to leave.

4. Edit Parameter: Major Radius & Minor Radius 24, Intensity 50, Focus 10

5. Toggle the effect on and off (Click Lighting Effects, and you'll see a circle with a radius in it. You can adjust it to change parameters in light 1). Play the clip.

6. Remove Filter (In the 3rd line from the bottom, 移隊 should be 移除)

7. Apply Filter: Video Effects> Color Correction> Leave Color (drag it to Video 1 track)

8. Use the eyedropper or Color Picker to determine which color to leave.

9. Amount to Decolor 100%

10. Tolerance 35%

The flexibility of the color-matching operation. 0% decolors all pixels except those that exactly match Color To Leave. 100% causes no color change.

11. Play the clip.

2009年10月8日星期四

About interpolation

Linear

Bezier

Continuous Bezier

Auto Bezier

Hold

Ease In

Ease Out

keyboard shortcuts

mouth wheel can be used to ???

zoom controls: zoom out (alt + scroll mouth wheel)

http://help.adobe.com/en_US/PremierePro/4.0/WS07289E80-3EDC-46ea-ADCF-F5641BB20A80a.html

http://help.adobe.com/en_US/PremierePro/4.0/WS1c9bc5c2e465a58a91cf0b1038518aef7-7c23a.html

http://forums.adobe.com/message/2239369

http://creativemac.digitalmedianet.com/articles/viewarticle.jsp?id=25293-2

Adding keyframe interpolation and velocity

1. New/Open 10-3 prproj

2. Set Parameter Time Varying/ Toggle Animation (1st Keyframe 00:00)

3. Add 2nd Keyframe 04:00

4. Add 3rd Keyframe 08:00

5. Add 4th Keyframe 12:00

6. Edit Parameter/ 2nd Keyframe/ Rotation 2x

7. Move Keyframes/ 3rd Keyframe/ Rotation -1x

8. Edit Parameter/ 4th Keyframe/ Rotation -2x

9. Move Control Point: right click 1st Keyframe/ Ease out

10. Set Bezier Interpolation Mode at 2nd Keyframe

11. Set Auto Bezier Interpolation Mode at 3rd Keyframe

12. Move Control Point: right click 4th Keyframe/ Ease in

13. Edit Parameter: 2nd Keyframe/ Rotation 2*17, -2*-0/ Velocity 2*189, -2*-189

14. Edit Parameter: 3rd Keyframe/ Rotation 2*5, -2*-0/ Velocity 2*310, -2*-310

(p.10-19, line 1-3) ???

Value and velocity at keyframes remain unchanged while I move the CTL back and forth. Is it caused by slow rendering?

http://help.adobe.com/en_US/PremierePro/4.0/WS1c9bc5c2e465a58a91cf0b1038518aef7-7e4ba.html

http://help.adobe.com/en_US/PremierePro/4.0/WS6FF01229-5860-446e-B729-AE913453F7E3a.html

http://help.adobe.com/en_US/PremierePro/4.0/WS1c9bc5c2e465a58a91cf0b1038518aef7-7e57a.html

(Toggle automatic range rescaling

cs2 deleted

cs4 student guides: deleted

http://tv.adobe.com/show/digital-video/

http://www.adobe.com/education/resources/k12/instructional/premierepro.html

2009年10月7日星期三

Adding keyframing effects

1. Apply Filter: Video Effects > Stylize/ Replicate

2. Set Parameter Time Varying/ Toggle Animation button 00:00 (Keyframe 1)

3. Add Keyframe 01:00 (Keyframe 2)

4. Edit Parameter/ Count 4

5. Add Keyframe 03:00 (Keyframe 3)

6. Edit Parameter 16:02/ Count 10 (Keyframe 4) p.10-11，行2有誤，16*16 應為 10*10。

7. Edit Parameter 01:00/ Count 2 (Keyframe 2)

8. Move Keyframes 03:00/ Count 16 (Keyframe 3)

9. Overlay/ Title: The Writers

10. Trim

11. Edit Title (The Writers) or Set property ？

12. Apply Filter/ Video Effects > Distort > Magnify

13. Set Parameter Time Varying 00:00

14. Edit Parameter/ Center 10, 240

15. Add Keyframe 08:00/ Center 740, 240

16. Play this clip

As rendering is slow, video effects cannot be seen soon. I regret not to have bought a better computer.

p. 10-12

10-2.prproj with Gaussian Blur, Lens Flare, and Basic 3D.

Two notes here are to be scrutinized. The following is one of them:

Order counts

Clip-based (nonfixed) video effects work from bottom to top in the Effect Controls panel, with the most recently applied effect appearing at the bottom of the effect list. For example, if you apply the Tint effect and then apply Black & White, the clip will appear as grayscale. Black & White trumps Tint because it appears below Tint in the Effect Controls panel list. If you apply Black & White first and then apply Tint, the clip will have the color you select in the Tint effect. Opacity and Motion, which are fixed effects, are always the final two effects applied -- even when, in this case, you used a Motion preset and applied it first. If you want Motion 3D. You can drag effects up and down within the Effect Controls panel to change their order.

Effect Order Counts (cs3)

Standard (non-Fixed) Video Effects work from bottom to top in the Effect Controls

panel with the newest applied effect appearing at the bottom of the effect list. For

example, if you apply the Tint effect and then apply Black & White, the clip will display

as grayscale. Black & White trumps Tint because it appears below Tint in the Effect

Controls panel effect list. If you apply Black & White first and then apply Tint, the clip

will have the color you select in the Tint effect. Opacity and Motion, which are Fixed

effects, are always the final two effects applied. If you want Motion to be applied in a

different order, then use a clip-based motion effect like Camera View or Basic 3D. You

can drag effects up and down within the Effect Controls panel to change their order.

http://www.adobe.com/education/instruction/teach/digitalvideo/dvcg_cs3_p4_student_guides_a4.pdf

Effect Order Counts