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[♪mellow guitar music♪] [DSLR Video Editing for Photographers] [From the Camera to the Timeline - with Jason Levine] Hello, everyone. My name is Jason Levine. In this episode I'm going to talk to you about taking your DSLR video from the Camera to the Timeline. And really what this is all about is if you're a pro photographer shooting with a DSLR and you're starting to work with video or maybe you just want to start using video to create slideshows or to create video portfolios of your work, I'm going to show you how very quickly you can take that video right from the card directly off your DSLR camera, bring it into Premiere Pro, and start cutting it together with images, with music, add text and titles and motion to your images and video, and really create something that looks very cool very, very quickly. And the most important thing is you're going to be able to leverage tools and techniques that you already know from other Adobe applications. So let's get started. I'm here inside of Bridge, and this is where I begin all of my work. Of course, to import my media I'm going to choose Get Photos from Camera. So I'll click on that icon, and you can see that it's going to pull up the Adobe Photo Downloader. Now again, this happens to be media that I shot all on my Canon 7D. This was shot in San Francisco just a few weeks ago, and I've got a mixture of video and images here. So I can choose all the media that I want, choose where I want it to go, and then of course just click Get Photos. I've already done that for you, so let's go ahead and click over to Bridge here, and we can see that we've got all of my images and we can click through them and preview them here. Naturally, you also have the ability to preview your video inside Bridge as well. So now we need to start the process of putting this together inside Premiere. Let's bounce over to Premiere Pro, and you're greeted with this familiar welcome screen. We need to actually create a new project, so let's go ahead and click on New Project, which will bring us to the New Project dialogue. There's lots of things that you can modify in here. You'll see that you can change location of scratch disks, etc. That's kind of the same. It works the same as it does in Photoshop. Let's leave everything at the defaults for now. I seldom change these. All you really need to do is tell it where you want this project to go, and let's give it a name. I'll call this "jaseEDIT-2day" and click OK. Now, you might think you're done, but you're not quite done yet because the next step is choosing the type of sequence you're going to work with. So when we're working with images and video and music, we're placing all of that inside of a sequence inside Premiere Pro, and we need to tell Premiere what are the attributes of that sequence. Well, much like with the multitude of camera raw formats, there are an equal number or at least almost an equal number of video formats and codecs to deal with. The good news for you is you really don't need to know any of those right now. You don't really need to know any of those just to get started either, but we do need to choose a preset just to get started. You'll notice we've made it a little bit easier by having a whole series of presets dedicated to DSLR cameras in all of the popular formats, and those are 480p, 720p, and 1080p. The P refers to progressive, and there's two different types of video. There's progressive and interlaced. The good news is we don't need to spend any time discussing that. We could spend hours talking about that. All of your DSLRs are going to shoot progressive video. That's what you want. That's what we have here. And of course, the frame sizes themselves, 480p is going to refer to 640x480, 720p is 1280, so 1280 pixels by 720 pixels, and this is kind of a standard high definition frame size, and then we have 1080p, which is also referred to as full HD, and that's 1920x1080. So I'm going to pick one of these here. Let's just choose this first 720p one, 720p24 @ 23.976. The 23.976 is referring to the frame rate, so remember again now that we're dealing with video, we've got frame rates to deal with, and there's lots of them. Twenty-four frame, 25, 30, 29.97, 50, 60. Again, doesn't matter. We're going to let Premiere handle that later. Let's just choose something to get started. So I'm going to choose this. We'll give this sequence a name, and we'll just call this "Test Sequence" and click OK, and now we're inside Premiere Pro. So at this point what we need to do is bring our footage in. You've got a couple different ways that you can do this. In Premiere Pro we have something called the Media Browser, and the Media Browser functions somewhat like Bridge. It allows you to navigate through different drives and locations, find the media that you want, preview it, and then begin bringing that media directly into your Premiere Pro project. So you can see here that I've created a folder where I've housed a lot of my content. So if I double click on one of these movies that I created on my Canon 7D, it brings it into the Source Monitor. Now, we haven't brought this into the project yet. That's what's so cool about the Media Browser. It allows you to preview it before you do anything. So I can bring this into the Source. I can click Play. This happens to be some footage that I shot in New Delhi a couple of months ago. So we can play it here, we can scrub through it, we can set in and out points if we want. Again, the ins and outs are going to be the sections of video that you want to use, so I can scrub and I can say, "Okay, let's set an in point here." I'm just hitting the key "I" on my keyboard. You can also use this little icon down here, Set In, Set Out, scrub over, set an out. And then at this point I can actually just hover my mouse over top of the Source Monitor here, And by the way, notice I'm using the familiar Adobe Move tool. Click, drag it into the project panel, and there it is. Okay? Frame size 1280x720, 1.0 refers to the pixel aspect ratio, the frame rate of 59.94, and the sample rate. So here's another image. This happens to be a TIFF. Again, I can look at it here and I can simply click, drag, and now I've brought that image into my project. So that's one way to do it. You've also got the standard File Import, right? So we can file import here, navigate to a folder, go ahead and choose an image or choose some video, click Open and it brings that in as well. So there we just brought in a JPG, and you can see the frame size of that. Okay? Or--even cooler, even easier--how about we just use Bridge? How about if we just drag and drop the media? So I bounced over to Bridge. I'm going to take this same piece of video that we were looking at before, and I can click and drag this into the project panel. And when I release, you'll see Premiere Pro bounces down below, and there's the footage. There it is. We can see the frame size 1280x720, 59.94. We can even preview that right here. We can preview that directly. There it is with audio. Okay? Again, you might not do that so often, but you can. And now the footage is in the project. Let's go back over to Bridge and let's bring in some more. Maybe I'll grab this piece of video right here, drag, drop, release, take a look at this one. This one happens to be 1920x1080. So again, we've got a multitude of different frame sizes. And now we're ready to start cutting this stuff together. Here's the coolest thing: I can take a piece of video, so let's start with that image of the street lamp, and I can take this and I can drag it down onto this New Item icon right here. So I'm going to take my native Canon 7D video, drop it onto this icon, and when I do that, Premiere Pro will automatically build a sequence for me with all of the correct attributes in the proper frame size, the proper frame rate, correct pixel aspect ratio, and this indicates this is the icon for sequence, and you'll see that it took the name of the file itself. If I go down to my sequence here, I can also hit the backslash key. You can also just click and drag this portion bar here, and you can use the plus and minus keys to zoom and such. The point is, now we've got our footage inside of the sequence here. I can hit the space bar, and we're playing it. It's that simple, literally, from the Camera to the Timeline working with these native files. We didn't transcode. Many of you may have tried this in other software and what you had to do was after you actually imported the footage to a disk, you then had to convert it before you could do anything. We're pulling it right off the Camera directly into the Timeline. So let's go ahead and mix a couple of other things in this same Timeline. I've got this JPG here. If I double click on it, I can bring it into my Source Monitor just to take a quick look at it. Or I can simply click and drag it down into my Timeline like this. We can even have it overlap the video like so. Now, here's something to consider. When I actually place the playhead--and by the way, this is known as the playhead or the play cursor or the CTI, the current time indicator-- we're missing a whole bunch of that image, right? It's also a bit grainy. Why is that? Well, because remember, our sequence is 1280x720, so we want the image to fit the size of the video. But if we just right click or control click and choose Scale to Frame Size, what's going to happen is we're going to see black bars because it's not an even scale. So that's not what we want. What we're going to be able to do in another part of this series is not only zoom and rescale it to fit the video frame size, but we're also going to be able to use controls like position, rotation, opacity, scaling--as mentioned--to kind of move around in this image to create that Ken Burns type effect integrated with the video. So we'll just leave it like this for now. We'll rescale this appropriately so you don't see any of those black bars. Lastly, let's just grab one more piece of video. Maybe we'll grab the 1920 video, drag that over top here. Okay? There it is. This one too, same issue. If we look at it here, you can see we're missing a whole bunch of that video because this is 1920 inside of a 1280 frame. So let's right click and choose Scale to Frame Size. So now we can see there it is. We're good to go. We can wind back, we can hit Play, and now we're playing our video, segues to our image here, and segues into our 1920x1080 video. You'll notice that looks a little jagged, but when I stop playback, it looks nice and sharp. And that's because we have something called independent playback and pause resolutions. What these do, actually, it allows you to scale down the viewable resolution so that basically you'll have smoother playback no matter what kind of system you're working on. To keep things really smooth and fluid, I typically will edit at one-quarter res or one-half res. But you'll notice that the Paused Resolution I have set to Full. It's a really fluid way to work, a really nice way to work, and again, it allows you to edit HD on a laptop without any additional hardware in real time very, very quickly. So now that we've got all these pieces together again, you saw how we can play them back. Lastly, if we wanted to grab something like a piece of music, I could just go File Import here where I've got some audio files, Open, and I can take that, drag it down into Track 2 here-- and again, you can resize all of these however you need-- wind back, hit Play [music playing] [wind blowing]. Okay, and we've got some music now, we've got also the nice windy audio from my camera, and we've got all the images playing together. So that's the easiest way to do it, truly, from the Camera to the Timeline. Stay tuned to the next episode where I'm actually going to show you some of the more intricate--or not even intricate-- just some of the additional things that you can do with regard to editing, trimming, cutting, adding transitions, fade to black and such, and really starting to build the story, tell the story. So stay tuned for the next one. We'll see you next time. [♪mellow guitar music♪] [Want to learn more?] [http://www.adobe.com/premiere] [http://bit.ly/TryCS5_Ev] [♪♪]
