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Brian M. Stoppee
- Veröffentlicht auf Amazon.com
For Premiere Pro (Pr) CS6, Adobe introduced a new user interface (UI) and a variety of new keyboard shortcuts. In essence, it feel like a very new product. Earlier this year we had to go back to a Pr CS5.5 project and had forgotten how much Pr CS6 changed everything in a most wonderful way.
Adobe Press made a big change to "Adobe Premiere Pro CS6 Classroom in a Book" (CIB) from their CS5 edition. The new writing team of Richard Harrington and Maxim Jago came on board. Richard is a prolific writer. We have quite a few of his books and they never disappoint. In all candor, we come across Richard on various internet forums and Facebook assisting others with image-making projects, but we don't know one and other all that well and not enough to alter our opinion of his writing.
To set the stage, we go back to Premier 1.0 as well as having had a traditional video editing suite, in the days of tape. Admittedly, we had not kept up with all the Premier revisions until CS5. The previous edition assisted us in getting up to speed again as did the excellent video/booklet combination "Adobe Premiere Pro CS5 Learn by Video," which Maxim co-authors.
Generally speaking, the CIB series appeals to beginners and to some degree those professionals who wish to see what's new. This CIB has more of a higher end direction than any others we have found, to date. Since Premiere Pro CS6 has many of the biggest names in Hollywood and broadcasting crossing over to it rather than the latest scaled-down version of Final Cut Pro (FCP), this edition of Pr CIB has to be the most thorough book ever written on the subject.
There isn't a CIB on Encore, Adobe's DVD/Blu-ray authoring app. This CIB has a 20-page PDF which introduces some basic Encore learning as a nineteenth chapter in this book, along with two sections of Maxim's latest, "Adobe Premiere Pro CS6 Learn by Video." To carefully explore all 19 chapters, we suggest setting aside 18 to 20 hours. At $35, that's a fabulous deal. From our experience with "Adobe Premiere Pro CS5 Learn by Video," if you'd like another 15 hours of video training, we'd recommend that, as well.
If you're new to Premiere Pro, you'll want to carefully study the first chapter. It's a tour overview. For those of you coming to Pr from FCP or Avid, these are must-know topics. If non-linear video editing is a completely new experience for you, don't struggle through this chapter and feel like you're doomed to never grasp all that Pr has to offer. The subsequent chapters will guide you through all of it. If you are new to all postproduction software apps you might want to start with the CIB on Adobe's Production Premium suite, "Adobe Creative Suite 6 Production Premium Classroom in a Book." Study it first and then come back to this CIB.
The second chapter is a big improvement over the CS5 edition of this CIB. It dives right into setting up a project. If you're a newbie at this, just setting up the project can be a deal breaker. There's a truckload of technical jargon Pr throws at you. To professional editors it's all quite common. However, even some of the most seasoned users of other Adobe apps get lost in it all. This CIB's chapter is a desktop reference guide to all of it.
The organization of the third chapter has been greatly expanded over the CS5 edition to explain more than just importing video. It's directed at importing anything, including Illustrator and Photoshop files. It also guides you through the incoming formats including what is brought over from the new rough cutting app, Adobe Prelude, which we use extensively.
It's worth mentioning that a great chapter was cut from this edition on capturing excellent shots. However, we doubt many of the FCP or Avid professionals would find that of interest, but newbies to video would. It's part of what makes this CIB a bit more upscale. From this point forward, the teaching direction of the CIB begins to take on a very new route than the previous edition and we applaud how it is done.
One of the most important things an editor must do is organize all the asset to go into the video. That can be cumbersome and clumsy or it can be impeccably clear. The fourth chapter guides the reader in making sure it's the latter while making the lessons into a very complete tour of Pr's panels for managing assets.
"The Essentials of Video Editing" is an appropriate name for the fifth chapter which is not a video primer. It's more like an exposition of Pr's fine points. It provides a detailed review of the app's editing tools.
Pr is not an app which you can launch and immediately identify how to begin working with it. Some of it bears resemblances to Adobe's Bridge as far as panels are concerned, but getting the hang of working with clips and markers takes a little more guidance. If you're new to all of this, chapter six is worth taking slowly and absorbing every aspect of the lessons. The same can be said for the seventh chapter on transitions. The reader can just look at the pages and understand the concepts. These chapters serve as a much needed guide.
Understanding some of the more advanced editing techniques of Pr is not simple if you have not been around them in other non-linear editing apps. This book's use of graphics makes all of that clear and simple to understand in this CIB's eighth chapter.
At about halfway through the book, so far we have been just mastering the tools and techniques of Pr. The fun begins with chapter nine when you get to learn how to put some things into motion. There's a sense that you've finally begun to up your game when you can begin to see some very professional applications of your new Premiere Pro knowledge being made.
Great dSLR (digital single lens reflex) cameras which do 1080 HD movies are very inexpensive from Canon, Nikon, and Sony. Some are less than $1,000. Shooting one event with multiple cameras is within the reach of many. Consider the scenario of covering a wedding from 2, 3, or 4 camera angles. That's great but what do you do in keeping all of that in sync when you edit it all together? Adobe's Pr team came up with an excellent means of doing that, for CS5. It's a bit of a departure from how you've been working in Pr. Chapter ten manages to squeeze those concepts into just 14 pages.
At this point, discovering how audio is handled in Pr is essential in the learning process. Chapters eleven and twelve are the most comprehensive look at how Pr handles this. In all candor, we do very little in Pr with audio. We do that in Audition (Au), an app Adobe included in the Production Premium and Master Collection suites for the not very popular CS5.5. So, most people are just discovering Au with CS6 through those two suites plus Creative Cloud. Both of this CIB's chapters mention a bit of Au but leave the majority of that to the CIB about Au, which we're still studying and will have a review on in a few days.
Initially, we thought it was a bit odd to teach video effects, in Chapter 13, after the audio chapters. Once we dove into it we realized that the authors were taking a refreshing approach. Most think of creating things in After Effects (AE) and introducing them to Pr. This chapter includes how to start in Pr, shoot it over to AE, and bring it back to Pr. This readjusted some thinking on our own workflow.
Unless you have been around video production in the days of tape all of what happens with scopes may seem like something which belongs on movies about working on a submarine. Adobe has faithfully moved those devices into a digital environment. Chapter 14 is essential in your learning to utilize those tools. It provides a very thorough explanation of their purpose and use which should allow you to dramatically improve the color of your finished projects. But, the chapter goes beyond there. We learned a few new tricks about color removal and replacement which we have not seen elsewhere. The chapter just touches on SpeedGrade (Sg), Adobe's newly acquired app for "grading" color and exposure or creating visual themes. We respect the authors not giving into the temptation to delve deeply into Sg and doing an incomplete job.
The term "compositing" conjures up something to a Photoshop (Ps) user and something a bit different to the Premiere Pro user. If you're coming from putting together a group of people in Ps, who have never met, it may take you a few pages to understand why that's applicable to Pr. If you have been itching to do some green screen projects, chapter 15 is going to get your head in gear on some cool things you to do in Pr. We're glad to see that a page has been added about the Roto Brush tool in After Effects. It helps the reader to understand what's available if you must work with existing footage which you wish had been shot on a green screen.
Chapter 16 is quite impressive. It starts with titling basics and assumes you have no background in any of the other Adobe apps which use type. If you do, don't breeze through the first few pages of this chapter. Type in Pr is very different than in Illustrator, InDesign, or Photoshop, sometimes to the point of aggravation. It appears to work similarly to the way old broadcasting equipment did so Pr's titling might feel right at home to some long-term video pros. Just as you feel this chapter may be a bit too basic for you, page 408 changes your mind. If you've ever wanted to make text roll, like the credits in a movie, or crawl as broadcasters do at the bottom of a screen, you'll be excited to work through these lessons. To take it further, the authors have added a few pages on even cooler things you can do with text using AE.
It may also seem a bit strange to hold off a discussion of managing projects until the second to the last chapter of the book. Don't skip this one. It's preparing you for the final chapter which guides you through the exporting options. These tasks perplex some of the most dedicated Adobe app professionals. Even some of the best informed Adobe managers have admitted to getting lost during presentations of a few of these apps.
Overall, this is our favorite book on Premiere Pro, ever. We give it a solid five stars. It's an impressively organized, written, and designed set of chapters and lessons.