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Adobe Premiere
Pro CC
by John Carucci

Treading Red Carpets for a Living

Adobe Premiere Pro CC For Dummies®
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com

Copyright © 2022 by John Wiley & Sons, Inc., Hoboken, New Jersey

Published simultaneously in Canada

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections
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Trademarks: Wiley, For Dummies, the Dummies Man logo, Dummies.com, Making Everything Easier, and related
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permission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc., is not associated
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Library of Congress Control Number: 2022933151

ISBN: 978-1-119-86749-4

ISBN: 978-1-119-86721-0 (ebk); ISBN: 978-1-119-86722-7 (ebk)

Contents at a Glance
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Part 1: Getting Familiar with the Adobe

Premiere Pro Universe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
CHAPTER 1: Perusing the Premiere Pro Landscape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
CHAPTER 2: Understanding the Premiere Pro Workspace. . . . . . . . . . . . . . . . . . . . . . . 21
CHAPTER 3: Adjusting Premiere Pro to Suit Your Needs. . . . . . . . . . . . . . . . . . . . . . . . . 45

Part 2: Gathering Content. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

CHAPTER 4: Sorting Out the Elements of Video Production. . . . . . . . . . . . . . . . . . . . . . 69
CHAPTER 5: Prepping Your Movie Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
CHAPTER 6: Importing Media into a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Part 3: Editing Your Masterpiece. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

CHAPTER 7: Preparing Your Video for Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
CHAPTER 8: Editing in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

CHAPTER 9: Transitioning between Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

CHAPTER 10: Finishing Your Edited Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

CHAPTER 11: Constructing the Video Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

CHAPTER 12: Choosing Cool Effects for Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

CHAPTER 13: Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

CHAPTER 14: Dazzling with Titles and Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Part 4: Finishing Off Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

CHAPTER 15: Finalizing Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
CHAPTER 16: Kicking Out Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

CHAPTER 17: Spanning the Globe with Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Part 5: The Part of Tens. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

CHAPTER 18: Ten Ideas for Making Fantastic Movies. . . . . . . . . . . . . . . . . . . . . . . . . . . 335
CHAPTER 19: Ten Essential Premiere Pro Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

CHAPTER 20: Ten Tips for Making Video Easier to Edit. . . . . . . . . . . . . . . . . . . . . . . . . . 351

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Table of Contents
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About this Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
How this book is organized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Icons Used in the Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Beyond the book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

PART 1: GETTING FAMILIAR WITH THE

ADOBE PREMIERE PRO UNIVERSE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
CHAPTER 1: Perusing the Premiere Pro Landscape. . . . . . . . . . . . . . . . . 7
Understanding What Premiere Pro Can Do . . . . . . . . . . . . . . . . . . . . . . . 8
Dissecting the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Breaking down the interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Ingesting and Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Understanding the panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Getting around the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Having a Panel Discussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Knowing the Project panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Spending some time with the Timeline panel. . . . . . . . . . . . . . . . . . 13
Making the most of the Source and Program Monitors . . . . . . . . . 14
Grasping the Effects and Effect Controls panels. . . . . . . . . . . . . . . . 15
Feeling out the other panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Using the libraries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Tooling Around the Toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

CHAPTER 2: Understanding the Premiere Pro Workspace . . . . . . . 21

Identifying Your Needs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Working with your computer platform . . . . . . . . . . . . . . . . . . . . . . . 22
Are you a Mac?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Or are you a PC? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Naming PC models is a little harder. . . . . . . . . . . . . . . . . . . . . . . . . . 24
The systems are not that far apart. . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Look before you leap on your PC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Understanding Workstation Requirements. . . . . . . . . . . . . . . . . . . . . . . 27
Determining if your computer is right . . . . . . . . . . . . . . . . . . . . . . . . 28
Breaking down the differences between Mac and PC. . . . . . . . . . . 29
Respecting the graphics card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Needing GPU acceleration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Random access memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
More Hard Drive Space, Please. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Solid-state drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Conventional hard drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Table of Contents v
 Not all hard drives are created equal. . . . . . . . . . . . . . . . . . . . . . . . . 32
Scratch disks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Managing other computer components . . . . . . . . . . . . . . . . . . . . . . . . . 33
Keying into keyboard types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Eeek, a mouse!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
USB-C is the new black. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Looking at Capture Gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Smartphone capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Top-of-the-line video cameras. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Broadcast video camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Consumer-level camcorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Digital single-lens reflex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Point-and-shoot video options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Mirrorless camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Going GoPro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Card readers and capture devices . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Audio recorders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Going to the videotape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Defining Users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Neophyte user. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Intermediate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Professional photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Video enthusiast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Social media influencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

CHAPTER 3: Adjusting Premiere Pro to Suit Your Needs. . . . . . . . . . 45

Setting Up Your Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Subscribing and installing software . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Feeling welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Using workspace presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Edit workspace order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Adding a clip description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Customizing and saving your workspace. . . . . . . . . . . . . . . . . . . . . . 49
Moving panels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Saving your workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Hiding workspace presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using a second monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using your iPad as a second monitor. . . . . . . . . . . . . . . . . . . . . . . . . 52
Set up your iPad monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using a broadcast monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Breaking down keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Personalizing keyboard commands. . . . . . . . . . . . . . . . . . . . . . . . . . 55
Single Key shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

vi Adobe Premiere Pro CC For Dummies

 Using a skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Setting your scratch disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Render files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Pointing in the right direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Tweaking Program Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Setting preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Optimizing performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Fine-tuning your setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Customizing the Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Doing the panel dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Sizing the monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
What’s inside counts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Adjusting the timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Modifying the Project panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Freestyling with Freeform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Understanding the Audio Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Audio Clip Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

PART 2: GATHERING CONTENT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

CHAPTER 4: Sorting Out the Elements of Video Production. . . . . . 69
Defining Digitized Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Binary refinery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Digital Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
High Definition is the flavor of the day. . . . . . . . . . . . . . . . . . . . . . . . 71
Fawning over 4K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Vying with VHS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Explaining Digital Video Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Understanding how video works . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Dealing with aspect ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Frame rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Understanding timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Understanding formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Breaking down the best file types. . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Capturing Great Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Controlling the camera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Arranging the scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Understanding shot lingo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Lighting the scene. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Waiting for the sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Communicating through light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
On-camera video lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
The French call it mise-en-scène. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Table of Contents vii

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 CHAPTER 5: Prepping Your Movie Projects. . . . . . . . . . . . . . . . . . . . . . . . . . 85
Starting Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Creating a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Opening an existing project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Tweaking the Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Project settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Title safe margins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Getting those preferences right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Timeline preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Auto Save preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Playback preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Scratching the scratch drive surface. . . . . . . . . . . . . . . . . . . . . . . . . . 92
Making a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Setting each sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Making a custom setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Adjusting the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Increasing the height of the video and audio tracks . . . . . . . . . . . . 97
Fill the screen with a panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

CHAPTER 6: Importing Media into a Project . . . . . . . . . . . . . . . . . . . . . . 101

Starting Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Ingesting media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Adobe Bridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Transferring from a card reader. . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Editing directly from a card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Capturing tape from a camcorder . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Downloading clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Importing media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Adding music and audio clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Recording ADR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Sound effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Adding a soundtrack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Finding the right music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Grabbing royalty-free music from the web. . . . . . . . . . . . . . . . . . . 110
Prepping still images for the timeline. . . . . . . . . . . . . . . . . . . . . . . . 111
Organizing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Creating bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Color coding your bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Tagging with metadata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Understanding data types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Move it on over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Entering data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Bins versus tags. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

viii Adobe Premiere Pro CC For Dummies

PART 3: EDITING YOUR MASTERPIECE . . . . . . . . . . . . . . . . . . . . . . 117

CHAPTER 7: Preparing Your Video for Editing. . . . . . . . . . . . . . . . . . . . . 119

Getting the Lowdown on Your Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Analyzing clip details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Keeping bins lean and clean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Playing clips smoothly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Altering playback resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Knowing how far can you go. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Changing playback resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Working the In and Out Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Setting In and Out points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
More than a bookmark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Types of markers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Making your mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
The Markers panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Modifying Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Scrubbing through the clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Using keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Using the arrow keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Marking the scrubbed clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Adjusting clip duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Changing speeds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Rate Stretch tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Here’s how to use it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Reversing the action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Understanding Clip/Speed Duration . . . . . . . . . . . . . . . . . . . . . . . . 131
Rippling through the Ripple tools. . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Ripple Edit tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
The Rolling Edit tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

CHAPTER 8: Editing in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Managing Your Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Populating the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Adding clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Backing it up a bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Moving clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Dragging clips into the timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Adding clips through the Program panel. . . . . . . . . . . . . . . . . . . . . 136
Source Patching and Targeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
What you drag isn’t always what you get. . . . . . . . . . . . . . . . . . . . . 138

Table of Contents ix
 Fine Tuning Your Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Trimming clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Handling enough clip frames to trim . . . . . . . . . . . . . . . . . . . . . . . . 140
Naming clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Expanding to see waveforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Freezing frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Choosing Insert Frame Hold Segment. . . . . . . . . . . . . . . . . . . . . . . 143
Advanced Timeline Tricks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
More advanced clip movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Using the Track Select tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Overwrite a clip with an a ­ djacent clip. . . . . . . . . . . . . . . . . . . . . . . . 143
Considering the three-point edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Back-timing edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Trying a four-point edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Making the right choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

CHAPTER 9: Transitioning between Clips. . . . . . . . . . . . . . . . . . . . . . . . . . 149

Choosing Effective Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Perusing the transition palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Why do you need transitions?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Grasping Transition 101. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Setting default transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Apply default transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Controlling transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Using clip handles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Advanced Transition Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Planning for your transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
The one-sided transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Differentiating transitions in the timeline . . . . . . . . . . . . . . . . . . . . 159
Changing and deleting transitions . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Copying and pasting transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Plug in to your transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

CHAPTER 10: Finishing Your Edited Video. . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Exercising Video Correction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Fixing exposure issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Tweaking those tones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Adjusting color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Cropping to fill the frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
What can you do about it?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Correcting Color and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Grasping Lumetri Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Understanding the Lumetri Color Landscape. . . . . . . . . . . . . . . . . 166
Adjusting tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

x Adobe Premiere Pro CC For Dummies

 Making a quick correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Codec limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Using color for style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Matching color in the scene. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Using Video Scopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Accessing the scopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Different scopes for different folks. . . . . . . . . . . . . . . . . . . . . . . . . . 173
Defining the “scope” of terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Exploring Some Advanced Techniques . . . . . . . . . . . . . . . . . . . . . . . . . 175
Making adjustment layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Making an informed decision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Using Comparison view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Removing a color cast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Adding punch to the clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Quickly correct luminance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Color correction with an Adjustment Layer. . . . . . . . . . . . . . . . . . . 179

CHAPTER 11: Constructing the Video Composite. . . . . . . . . . . . . . . . . . 181

Understanding Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Layering clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Adjusting opacity to reveal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Messing with opacity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Using the Opacity and Blend modes . . . . . . . . . . . . . . . . . . . . . . . . 184
Striking the right balance between clips . . . . . . . . . . . . . . . . . . . . . 184
Let’s look at the Blend modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Introducing the Blend modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Applying a Blend mode to an adjustment layer . . . . . . . . . . . . . . . 192
Transform effect and adjustment layers. . . . . . . . . . . . . . . . . . . . . 192
Merging clips in a nest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Working with the nested clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Understanding alpha channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Creating an image mask. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
How keyframes work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Keyframing in action. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Compositing with Special Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Keen on green screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Blue too for chroma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Shooting your very own chroma key . . . . . . . . . . . . . . . . . . . . . . . . 199
Putting your green-screen composite together . . . . . . . . . . . . . . . 201
Fine-tuning your key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Layering video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Making clips side-by-side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Table of Contents xi
 CHAPTER 12: Choosing Cool Effects for Your Movie. . . . . . . . . . . . . . . 207
Understanding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Enhancing the look of your video. . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Improving the scene with Lighting Effects. . . . . . . . . . . . . . . . . . . . 208
Controlling Lighting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Breaking down light types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Scaling video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Cropping video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Making Corrections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Dealing with shaky footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Understanding Warp Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Warp Stabilization settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Blurring video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Using Blur under a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Making video sharper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Creating a mosaic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Removing effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Adding a timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221
Playing with Your Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Flipping video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Changing speeds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Time lapsing your video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Trying Turbulent Displace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

CHAPTER 13: Working with Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Understanding Your Audio Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Sound matters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Defining great sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Adjusting audio levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Mixing audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Get those levels right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Simplifying varying audio levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Beginning with Recording the Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Considerations for capturing audio . . . . . . . . . . . . . . . . . . . . . . . . . 233
Be aware of sound on the scene. . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Working with Audio in Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Linking and unlinking tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Working with separate tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Navigating the Essential Sound Panel . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Using the Essential Sound panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Working with audio tracks in the Essential Sound panel. . . . . . . . 240
Organization is key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

xii Adobe Premiere Pro CC For Dummies

 Assigning audio track roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Delving into the Dialogue presets. . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Looking into the Music option. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Effecting the SFX track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Adjusting Ambience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Making voices sound better. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

CHAPTER 14: Dazzling with Titles and Graphics . . . . . . . . . . . . . . . . . . . 249

Understanding Titles and Motion Graphics. . . . . . . . . . . . . . . . . . . . . . 250
Using the Text Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Navigating the Essential Graphics panel . . . . . . . . . . . . . . . . . . . . . 250
Browsing the templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Using Text to Speech. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Creating a transcript. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Creating Captions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Understanding Create Captions Controls . . . . . . . . . . . . . . . . . . . . 254
Editing text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Editing Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Searching for a graphic is easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
The Browse section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
The Edit section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Putting words on the screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Breaking down text adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Replacing fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Create graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Adjusting graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Making a text layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Creating titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Adding static titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Title Safe and Action Safe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Making a graphic title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Smartening up your movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Crediting your movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Arranging your opening movie credits. . . . . . . . . . . . . . . . . . . . . . . 264
Closing credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Adding credits to your movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Making your own rolling credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Identifying a subject with a lower third . . . . . . . . . . . . . . . . . . . . . . 270
Tweaking fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Making a (simple) motion title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Table of Contents xiii

 PART 4: FINISHING OFF YOUR PROJECT . . . . . . . . . . . . . . . . . . . . 275

CHAPTER 15: Finalizing Your Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Being Your Own QC Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Watching and studying. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Assuring clip continuity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Matching audio levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Checking graphics and titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Previewing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Casting a critical eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Having gap insurance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Watching on an external monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Viewing the meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Listening on speakers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Being a good listener . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Hearing with your eyes closed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Fine-Tuning Video for Export. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Pre-export process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Being efficient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Bumping up the preview quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Avoiding crashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Checking the timeline closely. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Dividing the export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Relinking media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Grabbing freeze frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Here’s how to make a freeze frame . . . . . . . . . . . . . . . . . . . . . . . . . 291
Exporting a JPEG sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

CHAPTER 16: Kicking Out Your Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Exporting Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Familiarizing yourself with the Export panel. . . . . . . . . . . . . . . . . . 297
Choosing a format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Introducing the presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Understand the top video file extensions . . . . . . . . . . . . . . . . . . . . 298
Popular file formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Checking the Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
The lower section of the Export panel. . . . . . . . . . . . . . . . . . . . . . . 300
Bitrate Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Checking the right boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Knowing the difference between file containers and codecs. . . . 302
Setting output names for delivery . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Choosing the Right File Format for Your Needs. . . . . . . . . . . . . . . . . . 304
Exporting uncompressed video as a master file. . . . . . . . . . . . . . . 304
Pre-export checklist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

xiv Adobe Premiere Pro CC For Dummies

 Exporting a portion of the movie . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Pointing the file to a folder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Saving settings for future exports. . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Converting outside Premiere Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

CHAPTER 17: Spanning the Globe with Your Movie. . . . . . . . . . . . . . . 309

Showing Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
On your computer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Watching on a smartphone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Tablet viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Projecting on a screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Playing on a home theater. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Cast a movie on your iPhone or iPad. . . . . . . . . . . . . . . . . . . . . . . . 313
A warning about intellectual property. . . . . . . . . . . . . . . . . . . . . . . 313
Using the World’s Largest Screening Room. . . . . . . . . . . . . . . . . . . . . . 314
Uploading your movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314
Sharing videos on YouTube. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Sharing video on Vimeo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Using Social Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Showing your movie on Facebook . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Instagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Twitter video is meant to be short . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Twitter video upload requirements . . . . . . . . . . . . . . . . . . . . . . . . . 324
TikTok . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Sharing your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
WeTransfer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
iCloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
iCloud Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Dropbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Hightail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Google Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Going Old School. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Burning to DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
DVD creation software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Export to tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Color bars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Adding a good leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

PART 5: THE PART OF TENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

CHAPTER 18: Ten Ideas for Making Fantastic Movies. . . . . . . . . . . . . 335

Making Your Own Brady Bunch Opening (Or Something Like It) . . . . 336
Exploiting Montage Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Showing Restraint While Using Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . 338

Table of Contents xv
 Transforming Your Movie to Film Noir. . . . . . . . . . . . . . . . . . . . . . . . . . 339
Making Still Images Move (The Ken Burns Effect). . . . . . . . . . . . . . . . . 340
Adding a voiceover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Producing Your Own News Segment. . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Using Transitions to Help Tell the Story. . . . . . . . . . . . . . . . . . . . . . . . . 342
Applying a Filter Over Your Movie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Having Fun by Reversing Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

CHAPTER 19: Ten Essential Premiere Pro Plug-Ins. . . . . . . . . . . . . . . . . 345

Knocking Out Your Movie with the Cine Punch Bundle. . . . . . . . . . . . 346
Roll with Motion Array Premiere Pro Transitions. . . . . . . . . . . . . . . . . 346
Making Your Still Photo “Pop” Using Photo Montage 2. . . . . . . . . . . . 347
Producing the Look of Film Stock with Film Convert Nitrate . . . . . . . 347
Emulating Star Wars Opening Titles with the Free Star Titler . . . . . . . 347
Sweetening Up Audio with Accusonus ERA 5 Bundle. . . . . . . . . . . . . .348
Prettying Up Your Subject’s Skin Tones with Make Up Artist 3. . . . . . 348
Adding Pizazz between Shots with Andy’s Swish Transitions. . . . . . . 348
Making Seamless Time-Lapse and Slow-Motion Video
with Flicker Free. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Simulating Beams of Light Coming through Portals
with Light Rays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

CHAPTER 20: Ten Tips for Making Video Easier to Edit . . . . . . . . . . . 351
Shooting Movies “Horizontally” with Your Smartphone . . . . . . . . . . . 352
Producing Better Video to Edit by Keeping It Steady. . . . . . . . . . . . . . 353
Shooting to Edit for Quicker Turnaround . . . . . . . . . . . . . . . . . . . . . . . 354
Taking Advantage of Natural Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Handling Each Shot for Your Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Seeing True Video Quality with a Calibrated Monitor . . . . . . . . . . . . . 358
Adding Drives for Scratch Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Ditching the Pinhole for a Microphone . . . . . . . . . . . . . . . . . . . . . . . . . 359
Using an Audio Recorder for Great Sound . . . . . . . . . . . . . . . . . . . . . . 360
Converting Master Files into the Right Format. . . . . . . . . . . . . . . . . . . 360

INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

xvi Adobe Premiere Pro CC For Dummies

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Introduction
N
onlinear editing programs like Adobe Premiere Pro CC have changed the
game when it comes to making movies so much that it’s easy to take it for
granted. Anyone with an Adobe Creative Cloud subscription and a dream
can make a movie and show it to an audience that spans the globe. But it wasn’t
always like that. Not that long ago, making a movie depended on a tabletop full
of editing equipment with a severe lack of forgiveness. There was no undo in this
world. Actually, there was its own version — it was called the do-it-over.

As for editing costs, the passion of putting a movie together in the last millennium
could make you broke faster than an online gambling site. Unless you were fortu-
nate to be working in the industry, and had access to state-of-the-art equipment,
chances are you were making quality sacrifices. So, without a suitcase filled with
cash, putting the finishing touches on your movie project was as far off as a walk-
in membership to a snooty country club. Even if you could afford the most basic
equipment, the disparity between the consumer and professional level was far
beyond a professional-quality movie. Instead of providing the look of a Hollywood
movie, the end-result would be of significantly lesser quality.

Nowadays, that glass ceiling has been broken and all that should matter is how
well you shot and edited your movie. Nonlinear applications like Premiere Pro CC
are leading the way by allowing average Joes access to professional-style editing
tools. Video content creators have access to the tools to create a real movie — be it
long, short, really short (looking at you TikTok) or anything in between.

Premiere Pro CC puts the creative power at anyone’s fingertips. Not even Nos-
tradamus could have imagined the power in the hands of the average user, who
was long on passion and short on accessibility, to now make a movie with limited
resources and deliver to a potentially wide global audience.

About this Book

I’m making no allusions that this book is the oracle to understanding everything
about Premiere Pro. To adequately cover every feature, function, and technique, in
addition to tips, workarounds, and other tricks, I would need far more than a few
hundred pages. Rather, this singular Adobe Premiere Pro CC For Dummies serves as a
reliable resource to familiarize you with the software and get you editing quickly.

So, what exactly does that mean? It means you get the dollar tour of the workspace
with the basics of setting up your project, importing various types of content, and

Introduction 1
 making magic in the Timeline — otherwise known as the place to arrange your
movie assets. This is what’s important when dipping your toe into Premiere Pro.

If you’re not sure how important editing is to the filmmaker, just check out some
classic films like the shower scene from Alfred Hitchcock’s Psycho, or the Odessa
Steps scene from Sergei Eisenstein’s seminal 1925 film, Battleship Potemkin. Brian
DePalma paid homage to that classic scene in the 1987 film, The Untouchables.

Versatility is the name of the game with Premiere Pro. Much like the special way
you take your latte at a particular coffee chain, Premiere Pro is quite versatile.
Plus, making a movie with it won’t get your name spelled wrong on the cup.
So, whether you’re capturing a documentary with your new Sony F7 professional
camcorder system, using your Canon 5D (of any mark you choose), a consumer-
level camcorder, or more than likely, your smart phone, you can easily ingest that
footage and begin making a movie after a quick perusal this handy guide.

How this book is organized

Reading this book should make you feel like living in the no commitment zone.
That means you will not have to read it cover to cover; instead, you’ll consume the
information that you need and apply it with hands-on ease.

Premiere Pro CC For Dummies is divided into five parts, each detailing an aspect of
preparing, editing, and delivering your movie. Depending on your level of under-
standing and your needs, you may prefer a particular area over another. Feel free
to read it start to finish if that’s your thing. But chances are you want to spend
more time editing. So also feel free to jump around.

PART I: Getting Familiar with the Adobe Premiere

Pro Universe
Think of this set of chapters as the appetizer to the big meal — you know, if the
big meal were a pro-quality movie. Complex in what it can do, yet easy to learn,
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PART II: Gathering Content

With features and functions that transform old school linear video editing from
the suite to a nonlinear powerhouse on your laptop or desktop computer, the
following chapters explain fundamental techniques for bringing content from a

2 Adobe Premiere Pro CC For Dummies

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taking the walk, had had to say, "Philippa, go walk with Solvei
Krogstad and Margaret Campbell."
Fräulein Hauser blew her whistle and they started off. At first they
walked along the road that wound up the mountain past the school,
passing chalets and farms and an occasional villa. Madame
Perceval led the way, with two of the new girls. Fräulein Hauser
brought up the rear with Erna and Jackie. Flip straggled along with
Gloria and Sally and Esmée Bodet, not particularly wanting to walk
with them, wanting even less to walk alone. After a while Madame
Perceval turned off the road and they plunged into the shade of the
forest and now Flip was able to pull aside and walk by herself
without feeling conspicuous. Her feet were almost noiseless as she
walked over a deep layer of fallen pine needles and moist leaves
and she noticed that even Gloria and her group were walking more
quietly. Gloria saw Flip and beckoned, but Flip no longer felt any
need to straggle along beside anyone, and continued quite happily to
walk by herself, Philippa alone with the forest.
Here the trees were taller and of greater girth than the trees in the
woods behind the school and the sun came through them in delicate
arrows, piercing the dark iris of Jackie's left eye, bringing out the
ruddy lights in Madame Perceval's hair, striking the gold of the
braces on Erna's teeth. Then at last they emerged beyond the forest
and came out into pasture land. Now, as they climbed, the trees
would be below them; when they were high enough the trees would
seem like a girdle about the mountains. The rough grass was broken
here and there by rocks and the girls would climb onto them and
leap off, laughing and shouting. Sometimes they passed cows or
goats; constantly Flip could hear the faint ringing of the animal's
bells.
Fräulein Hauser blew her whistle. "We will stop here for lunch," she
announced.
They sprawled about on the largest rocks, opening their lunches.
They had bread and cheese, an apple and an orange, some sweet
biscuits, and a little twist of paper containing salt and pepper for the
hard-boiled egg in the bottom of the bag. Madame Perceval carried a
canteen of coffee and a flask of brandy in case of emergency, and
they each had a canteen filled with fresh water from the school.
Flip sprawled on a small rock near Madame Perceval, who was
laughing and joking with a group of girls. She smiled warmly at Flip
and tried to draw her into the conversation, but Flip sat there shyly,
afraid that if she spoke she would say the wrong thing and someone
would laugh at her. One of the girls was missing salt and pepper
from her package, and Flip offered hers. At the careless "Thanks,
Pill," Madame Perceval looked at Flip intently, not missing the quick
flush that always came to her face at the use of the nick-name.
After they had finished eating they started to climb again. Now the
way became rockier and steeper, and Flip and several of the less
athletic girls were panting and ready to flop down on the turf long
before they reached the flat plateau of the Col. Flip's throat was dry
and aching and her heart thumped painfully against her ribs.
But when they finally reached the summit, she realized that the climb
was more than worth it. She dropped on to a patch of rust colored
grass; the sky was incredibly blue above her and the Dent de Jaman
rose out of the Col like a white castle, like the home of the Snow
Queen in Andersen's fairy tale. A small wind blew across her hot
cheeks and the ache in her knee dwindled and the sunlight made the
old, rusty grass seem almost golden. She closed her eyes and the
sunlight flickered over her eyelids and the grass pricked through her
uniform into her skin and she rolled over and laid her cheek against
a flat grey rock and somewhere, far off, she heard a bird singing.
Although it was not anywhere near tea-time according to the school
clock, they had eaten lunch shortly after eleven and Madame
Perceval and Fräulein Hauser started handing around packets of
marmalade sandwiches. At the sound of the whistle Flip rose and
straggled over to the girls surrounding the teachers. She stood on
the outskirts, still looking about her at the sky and the mountains and
the snow, and feeling that wonderful surge of happiness at the
beauty that always banished any loneliness or misery she might be
feeling.
Somehow a miscount had been made in the school kitchen when the
tea was packed and Solvei and Jackie, and of course Flip, the last
one on the outskirts, found themselves without anything to eat for
tea. A small chalet stood across the ridge and Madame Perceval
said, "I know Monsieur and Madame Rasmée. They're used to
serving meals to amateur mountain climbers and I know they could
take care of these girls. Suppose I take them over."
"It seems the only thing to do," Fräulein Hauser agreed.
So Flip found herself walking across the rough ground with Madame
Perceval, Solvei, and Jackie, her pleasure in this unusual adventure
marred by her awareness of the longing glances Jackie cast at Erna,
and Solvei at her best friend, Maggie Campbell.
Madame Perceval said a few words to the pleasant woman who met
them at the chalet and in a few minutes the girls found themselves
sitting at a small table in front of an open fire. They stripped off their
blazers.
"All right girls," Madame Perceval said. "Have a good tea and come
back as soon as you've finished."
"Oh, yes, Madame." They smiled at her radiantly as she left them.
Only Madame Perceval would have allowed them to enjoy this
special treat unchaperoned.
"I wish Percy taught skiing instead of Hauser," sighed Jackie. "She's
much better."
Solvei nodded. "Once, last winter when Hauser had 'flu, Percy took
skiing and it was wonderful."
"She's always one of the judges at the ski meet," Jackie continued,
"and then there's Hauser, and the skiing teacher from one of the
other schools, and two professional skiers. It's wonderful fun, Pill.
There aren't any classes, like today, and we all go up to Gstaad for
the meet and have lunch up there and there are medals and a cup
and it's all simply magnifique."
Flip thought of the skis Eunice had given her and somehow she felt
that she might be good at skiing. And she was happy, too, because
suddenly Jackie and Solvei seemed to be talking to her, not at her
and around her, and she opened her mouth to tell them about the
skis Eunice had given her, skis that had belonged to Eunice but
which she had discarded; Eunice did not really care for skiing.
Because she doesn't look her best in ski clothes, Flip thought
unkindly. "My skis—" she started to say to Solvei and Jackie when
suddenly she closed her mouth and she felt the blood drain from her
face and then flood it, because there, coming in at the door, was a
tall stooped man, and with him, slender and dark, was Paul.
 CHAPTER THREE
The Escape from the Dungeon
PAUL saw her almost at once and quickly shook his head, and Flip
heaved a sigh of relief. Thank goodness, oh, thank goodness, Jackie
and Solvei had their backs to the door and had seen neither Paul nor
his signal.
But Jackie said, "What's the matter, Pill? You look as though you'd
seen a ghost."
Flip pretended to choke and said, "I just swallowed the wrong way.
May I have the butter, please, Solvei?"
2
On Thursday Flip received one of the proprietary letters from
Eunice that always upset her. Luckily she was assigned to Madame
Perceval's table that day, and this special stroke of luck cheered her
a little, for Madame Perceval's tact and humor seemed to act like a
magnet drawing everyone into a warm circle of friendliness and
sympathy. Erna was with her again and said as they sat down after
grace, "We seem to stick together like glue, don't we, Pill?"
Flip nodded and grinned, because Erna's tone had been friendly.
During dinner they began discussing their parents. Esmée Bodet's
father was a lawyer. Erna's father was a surgeon and had done
operations on the battlefields. Polly Huber, an American girl from
Alabama who had been at the school for three years, had a father
who was a newspaper man, and Maggie Campbell's father taught
Greek at the University of Edinburgh.
"And your father's a painter, isn't he, Pill?" Erna asked.
"Yes."
"Well, our house needs painting. Do you think he'd do it cheap for us
since I know you?"
All the girls laughed loudly except Flip, who colored angrily and
looked down at her plate with a sulky expression.
After dinner when everybody stood up, Madame Perceval said
quietly to Flip, "Please wait, Philippa." And all the girls exchanged
glances, because that was the tone Madame used when she was
not pleased and intended to say so. Flip stood nervously behind her
chair and looked down at the table with the empty dessert dishes
and the crumbs scattered about and at Madame Perceval's coffee
cup with a small amount of dark liquid left in the bottom.
"Philippa," Madame said gravely when they had the dining room to
themselves except for the maids who were clearing away, "I haven't
seen you a great deal with the other girls but several of the teachers
have told me that you are always off somewhere sulking and that
your attitude is unfriendly in the extreme."
"I don't mean to sulk," Flip said. "I didn't know I sulked. And I don't
mean to be unfriendly. I don't, truly, Madame." If I had been thinking
of Paul instead of Eunice I wouldn't have behaved the way I did, she
thought.
"When Erna suggested that your father paint her house she was
making a joke and you took it seriously and looked hurt and
wounded."
"I know," Flip said. "It was stupid of me."
"But you always do it, don't you?"
"Yes," Flip admitted. "I guess I do, most of the time."
"I know you're not happy here, Philippa, but when you make it so
easy for the girls to tease you, you can't blame them for taking
advantage of it. Girls can be very cruel, especially when they get the
idea that someone is 'different'."
"But I am different," Flip said desperately.
"Why?"
"I'm so clumsy and I'm the tallest girl in the class. I'm as tall as lots of
the seniors. And I fall over things and I'm not good at athletics, and I
wasn't blitzed or underground or anything during the war."
Now Madame Perceval sounded really severe. "I didn't expect to
hear you talk quite so foolishly, Philippa. You are tall, yes, but you
can turn that into an advantage later on. And perhaps right now
you're a little awkward, but you'll outgrow that. Incidentally, have you
forgotten that Maggie Campbell's sister, Liz, has a brace on her leg?
and she's one of the most popular girls in her class. And as for being
blitzed or underground, remember that the girls who are in the
difficult and defensive position are the German girls. They've had a
hard time of it here, some of them. It wasn't easy for Erna, for
instance."
"Yes," Flip persisted stubbornly, "but they were all in it and I wasn't in
it at all."
"Neither were the other Americans," Madame said sharply. "I'm
beginning to realize what the other teachers meant."
Flip looked as though Madame Perceval had struck her. She
pleaded, "Please don't hate me because I've been the—the way I've
been. Please. I'll try not to be. I'll try to be different. I do try. I just
don't seem to know how. But I'll try harder. And I know it's all my own
fault. Truly."
"Very well," Madame Perceval said. "Go on back to the Common
Room now until time for Study Hall."
"Yes, Madame." Flip started to leave but when she got to the dining
room she turned and said desperately, "Madame, thank you for
telling me. I—I guess I needed to be told how awful I am."
For the first time Madame Perceval smiled at her, but all she said
was, "All right, Philippa. Run along." And she gave her a little spank.
3
Flip spent the rest of the week waiting for Saturday and sighed with
relief when Paul was at his usual place by the shutter when she
reached the chateau. Ariel ran dashing to meet her, jumping up and
down and barking. I feel as though I'd come home, Flip thought as
she waved at Paul.
"Hello, Flip!" Paul called. "Down, Ariel! Down! Come here this
instant, sir!"
Ariel went bounding back to Paul who held him by the collar and Flip
thought again how much he looked like the page in the tapestry.
"Hello," she said, her heart leaping with pleasure because Paul was
so obviously glad to see her. She had dug Eunice's discarded gift of
Chanel No. 5 out of her bottom drawer and put a little behind her
ears, and had brushed her hair until it shone.
"Come on," Paul urged. "I want to show you something." He went
into the chateau and Flip and Ariel followed. They went across the
empty hall and up the wide stairs, then down a broad corridor and up
more stairs, and it seemed that every time Paul led her down a dim
passage there was another flight of stairs at the end. At last he
opened a door and started up a very steep, circular iron stairway.
Openings were cut in the thick stones of the walls and through them
Flip could see the sky, very blue, and puffs of snowy clouds. The
stairs were white with bird droppings and Flip could hear the birds
just above their heads. A swallow sat on the stones of one of the
openings and watched them. Ariel laboriously climbed up three
steps, then sat down to wait, a patient expression on his ferocious
bulldog's countenance. Flip followed Paul on up. At the top of the
stairs was a small platform and more openings looking out over the
country on all four sides. The birds flew in and out, scolding
excitedly. Flip rushed to one of the windows and there was the valley
of the Rhône spread out before her, Montreux and Territet, Vevey
and Lausanne, lying in a pool of violet shadows, and the lake like
melted silver and across the lake the mountains rising proudly into
the sky, with the snow descending further and further down their
strong flanks in ever-lengthening streaks.
"Like it?" Paul asked.
"Oh—yes!" Flip breathed. "Oh, Paul—"
"This is my place," Paul said. "I never thought I'd bring anyone here.
But I knew you'd feel about it the way I do."
Paul leaned back against the cold stones of the turret wall, his
scarlet sweater bright against the grey stone. "Still worrying about
that Eunice?"
"I can't help it," Flip said.
"School any better?"
"No."
"Still hate it?"
"Yes."
"Well, I don't blame you. It must be very unpleasant living in an
institution."
"I don't think it's the school," Flip told him with unwilling honesty. "I
think it's just me. Lots of the girls love it."
Paul shook his head. "I don't think I'd ever like a place where I
couldn't leave when I chose."
"I'd like it better," Flip said with difficulty, "if anybody liked me. But
nobody does." She leaned her elbows on one of the ledges and
stared out over the valley towards the Dents du Midi so that she
would not have to look at Paul.
"Why don't they like you?" Paul asked.
"I don't know."
"But I like you."
Flip did not insult him by saying "do you really?" Instead she asked,
"Why do you like me, Paul?"
Paul considered. "I knew right away that I liked you so I never
bothered to think why. I just—well, I like the way you look. Your eyes
are nice. I like the way you see things. And I like the way you move
your hands. You could be a surgeon if you wanted to. But you want
to be an artist."
"Yes," Flip said, blushing at his words. "I want to paint and paint.
Everything in the world. Mostly people, though.
"Paul—" she asked, hesitantly.
"What?"
"It doesn't make you like me any less because—"
"Because what?"
"Because the girls at school don't like me...."
Paul looked at her severely. "You can't think much of me if you think
I'd stop liking you just because a few silly girls in school haven't any
sense. If they don't like you, it's because they don't know you. That's
all."
"It's funny," Flip said, "how you can know someone for years and
years and never know them and how you can know someone else all
at once in no time at all. I'll never know Eunice. I'll always feel funny
with her. But the very first day I saw you I felt as though I knew you,
and when I'm with you I can talk.... I'd better go now. It's getting
awfully late. See how dark the towns are getting down by the lake."
"Can you come back tomorrow?" Paul asked.
"Yes. I know they'll catch me sooner or later and then it'll be awful,
but I'll come till they catch me."
"They wouldn't give you permission to see me if you asked?"
"Oh, no! Nobody except seniors are allowed to see boys—except
brothers."
"Well—I'll think of something." Paul sounded so convincing that Flip
almost believed he really would be able to work out a plan. "Come
on," he said. "Ariel and I'll walk as far as the woods with you but I
think it would be dangerous if I went any further. We mustn't run any
risk of being seen together."
As she followed Paul down from the tower Flip felt so happy over
their friendship that she almost wanted to cry, it was so wonderful.
She said good-bye to Paul at the edge of the woods and was nearly
back at school when something terrible almost happened. She had
cleared the ring of trees and was scurrying across the lawn, when
Martha Downs and Kaatje van Leyden came around the corner of
the building. Flip saw them and started to hurry towards the side
door, but Martha called her. Flip was awed by both of them at the
best of times—Martha, the beautiful and popular Head Girl of the
school, and Kaatje, the equally popular and formidable Games
Captain and Head Monitor; and Flip knew that this was anything but
the best of times. She felt as though her guilt were sticking all over
her like molasses.
"Where are you off to in such a hurry?" Martha asked.
"Nowhere," Flip answered. "I just went for a walk."
"All by yourself?"
"Yes."
"Couldn't you find anyone to go with you?"
"I wanted to be by myself," Flip said.
"That's all right," Kaatje interposed kindly. "We all like to be by
ourselves once in a while. She wasn't breaking any rules."
Flip was sure that they would ask her where she had been, but
Martha said instead, "You're Philippa Hunter, aren't you?"
Flip nodded.
"I'm glad we bumped into you," Martha told her. "I've been meaning
to look you up. I had a letter a few days ago from a friend of my
mother's, Mrs. Jackman."
"Oh," Flip said.
"And she asked me to keep an eye on you."
"Oh," Flip said again. Why did Eunice have to pursue her even at
school?
"She said she was a very dear friend of your father's, and that it was
through her you had come here."
That's right, Flip thought. It's all because of Eunice.
But she knew she couldn't really blame Eunice and anyhow, now
that there was Paul, being miserable while she was actually at the
school didn't matter so much any more.
"Everything all right?" Martha asked. "You're all settled and
everything?"
"Yes, thank you."
"Anything I can do for you?"
"No, thank you."
"Well, if you ever want me for anything, just come along and give a
bang on my study door."
"I will. Thank you very much," Flip said, knowing that she wouldn't.
And she went back into the Common Room and sat at the big billiard
table, a legacy from the days when the school had been a hotel, and
tried to write a letter to her father. But she could not concentrate.
Images of Eunice kept crowding themselves into her mind. Eunice.
Eunice and her father. Once Eunice had even said to her something
about her father being young and probably marrying again—but not
Eunice! Please, not anybody, but especially please, not Eunice!
4
The next morning when she woke up, Flip's throat was raw and her
head was hot and when she opened her mouth to speak her voice
came out in a hoarse croak.
"You'd better report to the nurse," Erna told her.
Flip shook her head violently. "I'm all right. Just getting a cold."
"Sounds as though you'd got one, ducky," Gloria said.
"Oh, well, it's nothing," Flip creaked in a voice like a rusty hinge.
Nothing, she thought, nothing must keep her from going up to the
chateau to see Paul.
Fortunately it was Sunday and breakfast was unsupervised; she
might have escaped detection if it hadn't been for Madame Perceval.
Madame Perceval was planning an art exhibit and, after chapel, she
came into the Common Room and walked over to the corner where
Flip sat, reading Anna Karenina.
"Philippa," she said as Flip scrambled clumsily to her feet.
"Yes, Madame?"
"I want to use two of your paintings in my exhibit and you haven't
signed either of them. Come up to the Studio with me and do it now."
"Yes, Madame," Flip croaked.
"What on earth is the matter with your voice, child?"
"Oh, nothing, Madame, really. I'm just a little hoarse."
"After you've finished signing your pictures you'd better report to
Mlle. Duvoisine."
Mlle. Duvoisine was the school nurse and since she was a special
friend of Miss Tulip's, Flip rather distrusted her. "Oh, no, Madame,
I'm all right, truly. Please, I promise you."
"We'll leave that up to Mlle. Duvoisine. Come along, please,
Philippa."
As they walked along the corridor and started up the stairs Madame
Perceval said in her pleasant voice, "You've been trying hard,
Philippa. Keep it up."
Flip bowed her head and muttered something unintelligible, blushing
with pleasure that her efforts had been noticed.
After she had signed her pictures, writing hunter carefully in one
corner the way her father did, Madame Perceval walked back to the
infirmary with her. Mlle. Duvoisine was sitting at the infirmary desk,
knitting a heather-colored sweater, and she looked up and dropped a
stitch as they approached.
Madame Perceval smiled. "Pick up your stitch," she said. "We can
wait."
Mlle. Duvoisine picked up her stitch, rolled up the knitting, put it in a
drawer, and said, "There. Now what can I do for you, Madame
Perceval?"
Madame Perceval pushed Flip forward. "This child sounds like a frog
with a cold and I thought you'd better have a look at her."
"Open your mouth," Mlle. Duvoisine said to Flip. She peered down
her throat, said "hm," and pulled her thermometer out of her pocket,
popping it in Flip's mouth.
Madame Perceval sat on the desk, opened the drawer and pulled
out the sweater. "A work of art," she sighed. "My knitting always
looks as though a cat had nested in it."
"My skiing looks as though I had my skis on backwards," Mlle.
Duvoisine said. "Radio says snow tonight. What do you think?"
"Smells like it, and it's about time we had some. Fräulein Hauser's
been opening the window in the faculty room every ten minutes to
sniff the air, and freezing the rest of us to death."
Mlle. Duvoisine drew the thermometer out of Flip's mouth and looked
at it. "Well, it's barely ninety-nine, but with that throat and voice I
think you'd better come to the infirmary over night, Philippa. You
won't be missing any classes. If your temperature's normal tomorrow
I'll let you up."
"Oh, please!" Flip begged, dismay flooding her face. "Please don't
make me go to bed, please! I feel wonderful, just wonderful, really!"
Her voice cracked and almost disappeared.
"I knew the infirmary was referred to as the Dungeon," Mlle.
Duvoisine said, "but I didn't think it was considered as terrible as all
that. Go get your night things and your toothbrush, Philippa."
"But I'm not sick," Flip protested hoarsely.
Mlle. Duvoisine looked at Madame Perceval and raised her
eyebrows. "I don't want any more nonsense," she said briskly. "Go
get your things and be back here in ten minutes."
Flip opened her mouth to speak again, but Madame Perceval said
quietly, "Philippa," and she turned and ran miserably down the
corridor.
"Really!" she heard Mlle. Duvoisine exclaim. "Now what's the matter
with the child?"
Oh, dear, Flip thought. Now Madame will think I'm sulking again and
Paul will think I've broken my word.
And she gathered up her pajamas and toothbrush and trailed
miserably back to the infirmary.
5
When she was in bed with the hot water bottle Mlle. Duvoisine had
brought her as a peace offering, she could think of nothing but way
after impossible way to let Paul know why she couldn't come to the
chateau that afternoon.
"You look as though you had something on your mind, Philippa."
Mlle. Duvoisine said when she brought in the lunch tray.
"I have," Flip answered in the strange raucous voice that issued in so
unwelcome a manner from her throat. "Please, couldn't I get up,
Mlle. Duvoisine? I'm not sick, truly, and I do so hate being in bed."
"What is this nonsense?" Mlle. Duvoisine asked sharply. "You can
hear what you sound like yourself. I know you aren't ill, but I have
you in bed so that you won't be, and so that you won't give your
germs to anyone else. If you dislike me so intensely that you can't
bear to be around me, just get well as quickly as you can."
"Oh, no, Mlle. Duvoisine, it isn't that!" Flip protested. "It isn't anything
to do with you. I just promised someone I'd do something this
afternoon, and I don't know what they'll think if I don't keep my word."
"I can give anyone a message for you, explaining that you're in the
infirmary," Mlle. Duvoisine said, and her voice was kind.
"I'm afraid you couldn't, to this person," Flip answered mournfully.
"Thank you ever so much anyhow, Mlle. Duvoisine, and I'm sorry to
be such a bother."
"All right, Philippa." Mlle. Duvoisine put the lunch tray down and left.
When she brought in Flip's tea she said, "Since you're the only victim
in my dungeon at present, Philippa, I think I'll run down to the Faculty
Room for an hour. If you want me for anything all you need do is
press that button. It's connected with the Faculty Room as well as
my desk and Miss Tulip or I will come right away."
"Thank you very much," Flip said. "I'm sure I won't need anything."
"I've filled your hot water bottle for you," Mademoiselle said kindly,
and stopped at the window screwing in the top. "It's just beginning to
snow. Now Fräulein Hauser and Madame Perceval and all the skiers
will be happy. Sure you don't mind my leaving you?"
"Oh, no, Mademoiselle!"
This was the opportunity Flip had not dared hope for. When Mlle.
Duvoisine had left she sprang out of bed and got her clothes out of
the closet. She dressed without giving herself time to think. If Mlle.
Duvoisine were going to be gone an hour she would have just time, if
she ran, to get to the chateau, tell Paul what had happened, and get
back to the infirmary. That is, as long as she wasn't caught. But she
knew that she must not let herself even think about being caught.
Desperately she shoved her pillows under the covers so that they
looked like someone asleep, peered out the door, saw that the way
down the corridor was clear, and pelted for the back stairs. The girls
were strictly forbidden to use the back stairs which afforded a means
of entrance and exit that could not be detected by the teacher on
duty at the desk in the lounge, but Flip was too desperate to care.
When she got out the small back door she looked around wildly, and
ran for the woods like one pursued. Thank heaven everyone was at
tea. When she got in sight of the chateau she was winded, her knee
ached, and her hair was flecked with the first falling flakes of snow.
She did not see Paul and her heart sank.
"Paul!" Flip cried, her throat dry, her voice coming out in an
ineffectual squeak. "Paul!"
There was no answer. She tried to call again but this time her voice
seemed to have left her completely and only her lips shaped the
syllables of Paul's name. Then she heard the familiar baying bark
and Ariel came bounding out of the chateau to meet her, jumping up
at her and knocking her down in his pleasure. She scrambled to her
feet, hugging him on the way up, and then she saw Paul come
running around a corner of the chateau.
"What happened to you, Flip!" he cried. "I thought you weren't
coming."
"So did I," Flip croaked, "and I can't stay."
"What's the matter with your voice?"
"I have a cold, they've got me in the infirmary, I managed to escape
but I've got to rush back or I'll be caught, I'll come next Saturday
unless something awful happens to keep me away." The words
came out in one hoarse gasp.
"Flip, you idiot!" Paul cried. "What do you mean by coming here."
"But I said I'd come!" Flip panted. "I've got to get back."
"Not until you rest and get your breath back," Paul commanded.
"You'll make yourself really ill."
"But, Paul," Flip wailed, "I've got to get back. If Mlle. Duvoisine finds
out I've gone I'll be expelled!" Tears rushed to her eyes.
Paul took her hand and shook his head. "Flip, Flip," he said. "Don't
you realize what a little idiot you were to make this dangerous trip
just to tell me you couldn't come? You should know that I understand
you well enough to know that if you didn't come you'd have a reason.
You should never have gotten out of bed and come all this way
through the snow. But—" and suddenly his eyes were warm with
affection. "It was just like you to do it. Now, go back and take care of
yourself."
"I will—good-bye." And she turned back down the mountain.
Flip ran. Going down the mountain was quicker, though not much
easier, than coming up had been. Several times she slipped on the
wet pine needles and almost fell. The snow was coming more thickly
now, and a cloud had folded itself about the school, so that its
outlines were lost in grey fuzziness. As she slipped in the small side
door she heard someone coming down the back stairs. It was
Fräulein Hauser, on her way to the ski room to wax her skis. Flip
pressed into the shadows, until Fräulein Hauser passed on down the
damp corridor and then Flip suddenly wilted against the wall. But
every moment that she was away from the infirmary was dangerous;
there was no time for her to lean there limply and catch her breath;
so she gave herself a shake and hurried up the stairs. She opened
the door at the third floor and peered out. The corridor was empty.
She held her breath and ran for the infirmary, and opened the door a
crack. Mlle. Duvoisine's desk was unoccupied. She made a mad
dash for her room, threw off her clothes, dumped them onto the floor
of the closet, and scrambled into bed, pushing the pillows out of her
way.
She was safe.
She lay in bed, her heart knocking against her chest. Through the
window she could see the snow coming down in great soft white
petals. The snow clouds in which the school lay obscured
everything. She could not see the Dents du Midi or the lake or even
the big elm trees that girdled the school. Everything was a soft grey
filled with the gently dropping snow.
She was still a little shaky when Mlle. Duvoisine came in. "All right,
Philippa?"
"Yes, thank you, Mlle. Duvoisine." She hoped the hoarseness would
account for the breathlessness of her voice.
Mlle. Duvoisine took her pulse. "Good heavens, child, your pulse is
racing," she exclaimed, and took Flip's temperature. But the
thermometer registered only ninety-nine. Mlle. Duvoisine put her
hand on Flip's forehead and Flip was terrified that the nurse would
feel her wet hair, but all she said was, "Have you been asleep? Have
you too many covers? You seem to be perspiring."
"I'm very comfortable," Flip told her. "The hot water bottle's lovely. I
hope you had a pleasant tea, Mademoiselle."
"Yes. Thanks. Everybody's very pleased about the snow though
Madame Perceval says it's going to stop soon and there won't be
enough for skiing."
"In Connecticut where I was born," Flip said, trying to sound casual
so that Mlle. Duvoisine would think she had just been lying in the bed
all afternoon, "people talk about the first snowfly. I think that's
beautiful, don't you? Snowfly."
"Yes, beautiful," Mlle. Duvoisine said. "Think you can eat your
supper?"
"Oh, yes," Flip cried hoarsely. "I'm famished." And she was.
6
Mlle. Dragonet made it a practice to visit the girls in the infirmary,
and she came to see Flip that evening, sitting in her erect, stiff
manner in the chair Mlle. Duvoisine had drawn up for her. It was the
first time Flip had spoken to the principal since the first day of school,
and she was very nervous. Mlle. Dragonet held herself aloof from the
girls, delegating many duties that would ordinarily have been hers to
Madame Perceval, and the bravest of them regarded her with
timidity. She conducted a class in seventeenth century French
literature for the seniors; she held Morning Exercises in the
Assembly Hall; and once a week she presided over a faculty table in
the dining room. The little visits to the infirmary were more dreaded
than anticipated by the girls, and Flip had forgotten all about the
prospect in the other excitements of the day until Mlle. Duvoisine
announced Mlle. Dragonet's arrival.
"I'm sorry to hear you aren't well, Philippa," the principal said
formally.
"Oh, I'm fine, really, thank you, Mlle. Dragonet," Flip croaked.
"Mlle. Duvoisine tells me you haven't much fever."
"Oh, no, Mlle. Dragonet." Flip looked at the principal and realized
with a start that she bore a faint family resemblance to her niece.
The thin, aristocratic nose was very like Madame Perceval's, and
there was a similarity in the shape of the mouth, though Madame
Perceval's had a sweetness that Mlle. Dragonet's lacked. But there
was the same flash of humor in the eyes, which were the same gold-
flecked grey.
As though reading her thoughts, Mlle. Dragonet said, "Madame
Perceval tells me your work in her Art classes is very promising."
"Oh," Flip breathed.
"Your scholastic record is in general quite satisfactory."
"Oh," Flip said again.
"I hope you are enjoying school?"
Flip knew that Mlle. Dragonet wanted her to say "yes," so she
answered, "Oh, yes, thank you."
"You are enjoying the other girls?"
"Oh, yes, thank you."
"Sometimes the Americans find our European girls are younger for
their years, less sophisticated."
"Oh," Flip said. "I hadn't noticed."
"You have friends you enjoy?"
Flip hesitated; then she thought of Paul, and answered, "Oh, yes,
thank you."
Mlle. Dragonet rose, and Flip, with sudden insight, realized that the
principal, though so calm and fluent when speaking to a group of
girls, was almost as shy as she herself was when confronted with an
individual, and these infirmary visits cost her a real effort.
Mlle. Dragonet ran her fingers in a tired fashion over her grey hair. "It
has been a long day," she said to Flip, "and now the snow has
started and the girls will be happy and we will have numerous
sprained ankles from over-enthusiastic skiers. But as long as the
girls are happy perhaps that is all right. If anything should ever
trouble you, remember you have only to come to me."
"Thank you very much, Mlle. Dragonet," Flip said. "I'll remember."