Premiere Pro CS6 Free Download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Open projects faster, scrub through HD and higher resolution footage more The sleek new, customizable interface in Adobe Premiere Pro CS6 puts the focus. Launch Premiere Pro and click New Project in the Start screen or choose File > New > Project from the main menu. In the New Project dialog. Let your creativity flow with these cool Adobe Premiere free effects. Get download links to light leaks, overlays, transition effects.
 
 

Adobe Premiere Pro CS6 Download | TechSpot

 
Oct 23, – This excerpt walks you through how to set up a project in Adobe Premiere Pro CS6, including choosing project settings, rendering and playback. Learn how to adjust project settings and presets for video capturing, rendering, and editing for Adobe Premiere Elements. Ready to start editing video with Adobe Premiere Pro? Follow these steps to create a new project, add videos and graphics, and apply transitions.

Adobe premiere pro cs6 new project settings free download

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Get Premiere Pro CS6: The Workflow – Microsoft Store – Dynamic sequence preset

When you specify auto-save to occur at regular intervals, Premiere Pro auto-saves a project on detecting changes to the project file. The auto-save occurs irrespective of whether you manually save the changes to the project or not.

Earlier, Premiere Pro would not execute auto-save if you manually saved within the interval setting. If the system goes idle for a period beyond the interval setting, Premiere Pro forces an auto-save.

To let Premiere Pro auto-save your projects directly to your Creative Cloud-based storage, select this preference. When Premiere Pro auto-saves a project, a directory named “auto-save” is created in your Creative Cloud online storage.

All the backed-up projects are stored in the “auto-save” directory. You can access your backed-up projects from the Files tab of your Creative Cloud desktop application. Or you can access the files from your Creative Cloud account on the Web. When this setting is enabled, Auto Save creates an archived copy of your current projects, but also saves the current working project.

This setting is off by default. When an auto save occurs, Premiere Pro creates a new backup project file and adds it to the auto-save folder as an emergency project backup.

This file is always the latest saved version of that project. Here are some of the characteristics of the emergency back project file:. Controls how Premiere Pro transfers video and audio directly from a deck or camera. None of the other project settings options affect capturing. The contents of this panel depend on the editing mode.

More capture formats and options appear if you install other software, such as software included with a capture card certified to be compatible with Premiere Pro.

It is because the assets are captured and recorded directly to the P2 card as digital files by the camera. In the Control Surface panel of the Preferences dialog, you can configure your hardware control device. The Edit, Add, and Remove buttons let you add, edit, or remove control surfaces in your configuration.

Under Device Class, click Add to select the device. Or you can add both. For more information on using control surface controls with Premiere Pro, see Control surface support. You can set the following preferences for working with the Essential Graphics panel.

All changes take effect the next time you create a text layer. If you need Ligature support, select Ligatures. If you want support for Hindi numerals, select Hindi Digits. You can also choose if you want the text to flow left to right or right to left. You can define a custom replacement font in the Graphics tab. This font is set as the default font when the fonts in a Motion Graphics Template cannot be synced.

In the Label Colors section, you can change the default colors and color names. You can label assets with these colors and color names in the Project panels.

In the Label Defaults section, you can change the default colors assigned to bins, sequences, and different types of media. Specifies whether Premiere Pro shows the original timecode imported clips, or assigns new timecode to them, starting at Specifies whether Premiere Pro assigns a 0, or a 1 to the first frame of an imported clip, or assigns a number by timecode conversion.

To specify whether you want to Scale to frame size or Set to frame size , set this media preference. To specify where you want Premiere Pro to save clip marker, set this option. If you select this option, clip markers are saved with the media file. If you turn off this option, clip markers are saved in the Premiere Pro project file. To link clip metadata to XMP metadata, so that changing one changes the other, select this check box.

To detect and automatically import embedded closed caption data in an embedded closed caption file, select this check box. Deselect this check box to not import embedded captions, which helps save time while importing. If you want Premiere Pro to automatically switch to displaying the proxy video in the timeline after a proxy job is complete, select this option.

If you want to allow duplicate media while importing a project, select this option. Deselect this option if you don’t want multiple copies while importing.

When you select this option, Premiere Pro hides the master clips when dragging in a sequence from another project. The preference allows users to opt whether Premiere automatically refreshes as they grow, and if so, how frequently. This preference allows you to edit with these files in your project immediately.

You can move video clips around in the timeline by clicking and dragging them up, down, left or right. You can shorten clips by clicking on the edge of a clip and dragging it in.

When you hover your cursor over the clip, a red arrow will appear. Click and drag inward to shorten the clip to the desired length. You can also lengthen a clip by clicking on the edge and dragging it out to the right. If you have a clip with both video and audio tracks, and you want to change one track without affecting the other such as deleting the audio track , you can unlink them. To separate audio from video, click the Linked Selection button, which has an image of a mouse cursor over two bars.

You now can move the video and audio track clips independently of each other. For example, holding Alt will let you click and only select one audio track from a linked pair. The Snap icon looks like a U-shaped magnet, and should be highlighted blue if it is on, and white when it is turned off. You can also click S on your keyboard to turn it on and off.

The razor tools is ideal for editing longer clips, like interview segments. You can bring the entire clip into the timeline and use the razor tool to make cuts to the clip. For a shortcut, you can also press C on your keyboard. Your cursor will change to a small razor icon while you are using this tool. Click on the video clip at the point where you want to cut it. Or cut the clip multiple times to create a segment in the middle that you can remove. You can make shorter selections from video clips while they are displayed in the Source pane to simplify editing before you bring clips into the timeline.

You can select only the best parts of the clip to bring into the timeline, so you can edit out any unnecessary footage. In the Project pane, double click on the clip you want to edit to display it in the Source pane. You can also scrub through a clip by clicking on the blue playhead just under the clip and dragging it to the right or left.

You will see a highlighted blue area in the scrubber bar below the clip showing the selected area. The in and out points can be adjusted by clicking and dragging on either edge of the blue section of the scrub bar. If you want to put a new clip at a point in the timeline where it will overlap with an existing clip, you have two options:. You can do Overwrite or Insert edits by moving a new clip to the same track in the Timeline as the existing clip or by putting the new clip on a new video track above the existing clip.

If you do an Insert edit on a new track, it will still split the original clip on the track below. When you drag a clip to the timeline, Premiere will automatically overwrite the overlapping portion of the existing clip with the new clip. This will be indicated by an arrow pointing down. That will split the existing clip on the Timeline and move the rest of the clip further to the right on the timeline to make room for the new clip.

This is indicated by an arrow pointing to the right. In the Project pane, click to highlight the video clip you want to insert into the timeline. If you use the keyboard shortcuts or the buttons, Premiere Pro will place the clip where your playhead the vertical blue line is located in your timeline.

You can control where clips go when you add them from the source monitor, or when you copy and paste them. The rows with blue highlighted letters, to the left side of the Timeline pane, control where video clips are placed. The far left side refers to what is in your source window.

The below image is saying I have a clip loaded that has one video track and two audio tracks, and that if I drag it into the timeline, it would be placed on video track V1 and audio tracks A1 and A2.

You can move these targets around to change where clips will be placed. In the below image you can see that the source targeting has been moved to video track V3 and audio tracks A3 and A4. When clips are added from the source window, this is where they will be placed. This is called Track Targeting. So if you copy a clip, by default it will paste into video track V1, but you could change that by clicking the highlighted video and audio tracks to turn targeting on or off.

By default, clips will paste into the innermost targeted track. So right now, if I copied and pasted a clip, it would appear in video track V3 and audio tracks A3 and A4. By default, Premiere Pro provides three tracks of video and six tracks of audio in the timeline. You can create additional tracks by dragging clips above or below the outermost tracks.

You can also create additional tracks in the horizontal menu at the top of the screen. A new window will appear called Add Tracks. Enter the number of video and audio tracks you would like to add, and choose where they will be placed. Click OK to add the tracks. If you have multiple tracks of video, whatever video is on the top track in the timeline will be shown when the sequence is played, and any other video clips underneath will not be seen.

If you have multiple audio tracks then all the audio will play simultaneously no matter which is above or below the others on the timeline. To hide the video from a particular track in the timeline:. You can set markers on clips in the Source, Timeline or Program panes to help keep track of clips when editing video and audio. The marker creates a snap-point on a clip or the timeline that the playhead will lock onto.

Michael shows you the basics of locating and auditioning source material, editing clips and then fine-tuning them in the timeline. This is followed by an introduction to Premiere’s basic transitions and video effects. This course serves as an introduction to Adobe Premiere Pro. Workspace Overview 3. Creating a New Project 4.

Matching Sequence Settings to Clip Settings 5. Playing Source Media 6. Marking Clip In and Out Points 7. Basic Editing 8. Select this option to use still images efficiently in projects. For example, you can use an image that has a duration of 2 seconds in a fps project.

Deselect this option if projects encounter playback problems when displaying still images. Legal Notices Online Privacy Policy. User Guide Cancel. About project settings and presets. Dynamic sequence preset. Select presets and change settings. Select a project preset.

Start Adobe Premiere Elements. Select the preset that matches the format and standard of the footage you want to edit. Click OK. Provide a name and location for your project, and click OK. Change settings for an existing project. You cannot change the Editing mode and the format of Preview files after you create a project. Check your project settings. General settings. Change the alignment to Center at Cut if you haven’t already done that.

In the center, you should see a small gray line indicating the physical end of the clip; the section beyond that is the static frame area repeated frames. Place your cursor over this line, so that it shows as a yellow bracket with a left or right facing arrow. With the mouse button held down, drag the tail end of the clip to the right until it reaches the end of the transition. Note that this will move the edit point of this clip a corresponding amount on the Timeline.

If you are transitioning between two subclips, you may have to repeat steps 7 and 8 on both tracks in the Cross Dissolve Effects panel. You can add transitions to multiple clips on the Timeline by dragging a selection around the clips, and then from the drop-down menu, click on Sequence Apply Default Transitions to Selection. This task saw the introduction of transitions—a video effect often used and abused by many amateur video makers.

Hopefully, through this section, you have learned how to master transitions without letting them master you. The default transition can be changed to include any of the many and often for good reasons unused transitions. Browse through the transitions until you find one you like or at least one you can stomach , then right-click on it and select Set Selected as Default Transition.

You’ve now completed the first project in this book and learned some useful organizational skills, the importance of which cannot be understated. The more you organize yourself before you even think about launching Premiere Pro CS6, the less time you’ll need to spend on housekeeping the project.

And less time spent worrying over where that vital image, music, or video file has hidden itself on your hard drive translates to more time being spent on creativity. This project also showed you the simple yet powerful technique of taming those huge video files by dividing them into manageable subclips, and you learned how to automate a whole bunch of clips onto the Timeline, automatically aligning themselves to the beat of your chosen music.

You also learned how to correct troublesome keyboard shortcuts on non-U. You finished by adding some transitions to the project and hopefully learnt that when it comes to transitions—less is most definitely more! Keyframing and the trim tool also made brief appearances in this project. Don’t worry, we’ll go into these tools in more depth in later projects. Overall, you should have found this project to be an easygoing introduction into some of the more complex functions that Premiere Pro CS6 has to offer.

That’s a deliberate attempt to ease you into the more advanced workflows that you will begin to discover in the coming projects. It’s a common saying that films are never finished, they’re just abandoned. This points to the fact that whenever a group of creative people get together, they will always want to adjust, trim, and optimize the project in one way or another, often to the point where it’s no longer watchable.

Films generally only make it to release because of real-life problems like unavoidable deadlines! That being said, this project is just the start of what’s possible, and it’s time now to take the Gung Ho challenge:.

Go back over your montage and ask yourself if all of the cuts are really hitting the beat. If not, zoom right in on the Timeline and make macro adjustments to the timing. Look again at the transitions. Do they need to be longer, shorter, or there at all? If you have placed movement on your image files using the Effects Motion control, alter the keyframing, Ease In and Ease Out controls, to see what effect they have, and try some of the other interpolation settings.

Last of all, save this project in a safe place as some of the techniques you will learn in later projects, such as Nested Sequences , Motion Titles , and Export Options can and should be added and used with this. Paul Ekert started getting interested in video editing during the mid 90s when various exciting but crude video editing devices came to market. He soon moved away from this somewhat unreliable technology and transferred to MiroMotion capture cards Miro were later bought by Pinnacle , which took the radical approach of downloading video from a camera to a PC’s hard drive.

The default software for these cards was Adobe Premiere. In the late 90s, he started working for a computer supplier, who specialized in building bespoke systems for non-linear editing, predominantly using Adobe Premiere with various hardware combinations supplied by Pinnacle and Matrox.

He left this firm to work in the QA department of Pinnacle, one of the leading suppliers of non-linear editing hardware, who were eventually bought by Avid.

In , he left to pursue a career as a freelance writer. Since that time, he has written five books on video editing, one based on Premiere Pro CS3 and another on Premiere Elements 7 special effects based book.

During this time, he wrote, filmed, directed, and edited several short films, some of which can be seen on his website. In all, he has over two decades experience in using non-linear editing programs, in particular, Adobe Premiere.

He is interested in most things that come under the heading of geeky. He is never really content to look at something and be impressed with what it does; he always needs to lift the hood, look underneath, and work out exactly how everything works. Of late, he has become fascinated with low-cost animation products such as iClone, and low-cost special effects tools such as HitFilm.

He also maintains a long running interest in PC hardware and is always fascinated with various cameras; usually the ones just out of his price range. Find him at trade fairs drooling over them! He is also a writer of plays, films scripts, novels, short stories, non-fiction books, and the odd poem. Examples of all these can be found on his website, www. During the last few years, he has felt privileged to live a life where he can create and write, and he values the sometimes painful months he spent creating Ordinary Monsters, his first published novel now available for the Kindle.

He believes that all writing involves equal amounts of pleasure and pain, just like life. The trick is to enjoy and embrace them both. About this book Adobe Premiere Pro has become synonymous with video editing, in the same way Photoshop has become a byword for image manipulation.

Publication date: February Publisher Packt. Pages ISBN Chapter 1. Creating a Movie Montage — the Easy Way. Mission Briefing. Why Is It Awesome? Your Hotshot Objectives. Streamlining Premiere Pro CS6 — organizing your media and the interface Music markers matter placing beat markers on the Timeline Subclips tame video clips Final preparation the selection and rejection of your clips Creating a running order Fine-tuning the edit Correct aspect ratios Finishing touches.

Mission Checklist. Note For an example of music used in a counterintuitive way, take a look at the following aerobatic video edited in November by the author of this book, at tinyurl. Note For more information on designated hard drives and the necessity of creating the copies of assets in a separate folder, specifically, when working with Premiere Pro CS6, please see Preface , Basic Video Editing Tips in this book.

Streamlining Premiere Pro. Prepare for Lift Off. Engage Thrusters. Tip While you have the previous window open, you should also click the General tab, and check if the Mercury Playback settings are correct for your computer. Note When you created your own custom workspace, it will have been assigned a keyboard shortcut.

Note By saving this layout as separate Premiere Pro CS6 projects file, it will be available to you whenever you want to create a new montage. Objective Complete – Mini Debriefing. Classified Intel. Music markers matter. Tip Expanding the audio track will allow you to see the dips and rises of the music you have selected, creating a handy visual cue for placing your markers.

Tip You can also enter the change directly using numerical values for the markers. Tip Audio 1 and Audio 2 tracks are used for the audio content of Video 1 and Video 2 tracks. Subclips tame video clips. In the search field, type sub.

Tip Pressing the L key during playback will play your clip back at a faster rate. Note There is no hard-and-fast rule for montage clip duration, but typically subclips are around 5 to 10 seconds long, depending on content. Tip Avoid naming your subclips Clip A or Clip 1A , as this can lead to confusion when you come to place them on the Timeline.

Final preparation. Creating a running order. Tip If you want an image file or a subclip to appear more than once in your montage, right-click on it and select Duplicate from the context menu fifth down on the list. Fine-tuning the edit. Tip When syncing clips to the beat markers, it’s likely that you will want to trim a clip towards the next marker rather than trimming the next clip away from a marker. Tip When you’ve finished with the Rate Stretch tool, don’t forget to return the mouse pointer to the Selection tool by pressing V on the keyboard.

Tip The previous instruction will only work if you have added the relevant keyboard shortcut as detailed in the Subclips tame video clips, Prepare for Lift Off section.