I’ve kind of gotten tired of explaining to everyone that complains about Premiere Pro not having Motion Blur that Premiere actually does have native Motion Blur. You just need to make two settings in the Transform effect, and you...
Here you can download the «Handheld Camera» presets I made for the movie Deadpool. These are real camera shake presets, made from actual shots with a real camera – not some digitally created wiggle....
The Cool Stuff in Premiere Pro is now available as downloadable e-book (watermarked PDF). It covers advanced editing techniques in Premiere Pro, and goes into much greater detail than any existing book on Premiere. This...
Learn how the Multi-Camera feature in Premiere works much better for syncing dual system sound than the old Merge Clips feature. Separately recorded audio can be automatically synced to your video using Audio, Time...
Here are two simple Camera Point-of-View templates. Both of them free! Use the DSLR one (made by me) to simulate the viewfinder of a DSLR camera. Use the other one (generously contributed by Immanuel Heims) to simulate a Video Camera viewfinder.
Audio Editing is what most people struggle a lot with in Premiere Pro, especially if coming from other NLEs like FCP, Vegas or Avid. Premiere Pro CC handles audio in very different ways from all of these. Once you understand the logic behind the audio handling in Premiere, you’ll see that it’s very powerful and deep. You’ll get a full overview of the complete audio chain in Premiere Pro CC!
In this chapter you’ll learn everything about how to decide what channels from a source to import and what channels to put on the timeline. You’ll learn how to make Premiere treat Stereo clips as Dual Mono (like FCP and Avid does), and understand the difference between Mono, Standard, 5.1, Adaptive and Multichannel clips and tracks. You’ll also learn how to make Multichannel timelines where you can route audio tracks to whatever outputs you need – and how to treat a 5.1 mix. Need to export 32 audio channels? You’ll learn how.
