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Graphic Design Stack Exchange is a question and answer site for Graphic Design professionals, students, and enthusiasts. The second is that when I import videos from the top bar File, the videos become layers instead of whole videos. Not the answer you're looking for?Browse other questions tagged adobe-photoshop or ask your own question. What type of under the seat bag is practical, and what should be stored in it for the flight?
What is the right way to think about doing lower value work when small talking with an executive?
In a formal paper, should I censor "brainf**k", the name of a programming language? Why does using elimination in a system of first order differential equations produce an incorrect result? Now in terms of the background color, it’s going to be what I base the other elements off of.


Now starting in the center, where the guides intersect, start dragging out your first ellipse. Second, to create the shape from the center, in addition to your Shift key, hold down Option on the Mac, or Alt on Windows.
Perfect, so now that the first shape is complete, we’re going to skip the glows for a second, and focus on the uppermost shape, which will act as a window to the glow. Now on your Options Bar, click on the Shape Picker, and scroll down until you see the Circle Thin Frame shape. If you haven’t loaded in all of the shapes that come with Photoshop yet, click on the icon at the top right of this panel, choose All. So once your shape is chosen, we’re going to want to subtract this shape from the current shape. Once you start creating the shape from the center, make sure to also hold down your Shift key to constrain it to a perfect circle. This time, when I jump into the Layer Styles dialogue, I want to be sure to set the Fill Opacity at 0%. When the Gradient Editor is up, the left color is going to be the main color of the glow, which in this case, will be a nice baby blue: 00a8ff.
Now because of the Blend Mode changes, we’re going to be animating each of these layers individually.
To do this, right–click on the first glow you created (bottom glow) in the Layers Panel, and select the Convert to Smart Object option. To set the duration of the animation, at the far right corner of the Timeline, you’ll find the Work Area end point, which you can drag to the last keyframe that you created. And finally, if you want your animation to loop, rather than just play once, under the Timeline menu at the top right, you can choose to loop the playback.
I’ve done all the steps but at the last stage , my timeline is different from you and I can not open layers in timeline !
Enter Premiere Pro CS6 and its idea that when setting up a job for multicam editing it’s all based around a Multi-Camera Source Sequence.
When it comes time to do a multicam edit in any NLE the first thing you have to do is establish common sync points amongst all your clips. That different looking sequence icon is important (it might be nice if the little clips in the icon were a totally different color) as it behaves very differently when double-clicked or tossed into another timeline. Once that multicam sequence is created a double+click loads the multicam source sequence into the Source monitor instead of opening a timeline like you might expect. How does a multicam clip in the timeline differ from any other clip or nested sequence in the timeline?
The PPro Multicam Monitor is a dedicated window to play the clip and do live camera switching.
There’s a full compliment of keyboard shortcuts that can be used in the Multi-Camera Monitor Panel so be sure and check the keyboard shortcuts if you want to learn those.
The multicam monitor is an all right place to work and functionally it does what it’s supposed to do but it is one more window to open in what can be an already somewhat busy PPro interface. Adding the preview option to the Multicam Monitor is another way to make and monitor the camera switch all in one window.
You can pretty much work with as many angles as you can have video tracks (instead of the limitation of 4 angles from previous versions) so if you have a ton of them viewing the split in an independent, resizable window could be very helpful. Thankfully the Multi-Camera Monitor window can benefit from PPro’s full screen tilde (`) key feature, meaning that at any point in any window in PPro you can hit the tilde key and take that single window full screen. Using the Multicam Monitor isn’t the only way to switch angles in the timeline though. When it comes to audio in a multicam clips PPro offers an Audio Follows Video toggle in the Multi-Camera Monitor window.
Next Up: The best thing about Premiere Pro CS6 multicam and a few things that are missing (one being a biggie). IMHO, the overall best thing about multicam in CS6 comes from the fact that you create this Multi-Camera Source Sequence as the setup before cutting and how that sequence remains the source that the multicam clips in the timeline are always pointing back to.
Opening a multicam sequence in the timeline for editing is a right+click operation as a double click on a multicam sequence will load it into the Source monitor.
There I placed a Timecode effect on the clip on my main camera angle in video track 1 and disabled the other two angles as I only wanted to see the clip with BITC.
Taking this technique one step further, you can do many different kinds of things within a multicam sequence besides just adding effects and color correction.
You can see how this works with the number of angles in a Multi-Camera Source Sequence being the number of angles in a multicam clip in the timeline. In this example this Multi-Camera Source Sequence has only 3 active angle but the timeline has 8 video tracks. Looking at that multicam clip in the timeline you can see it has 8 angles available for switching even though there is only media on the first 3 video tracks. If I was to remove those 5 empty video tracks from the Multi-Camera Source Sequence then they wouldn’t be available in the edit timeline anymore either. For me and the way I edit multicam the single biggest missing features in Premiere Pro’s multicam is the ability to quickly and easily step through the different angles in the timeline via a keyboard shortcut.
I really, really, really hope the Premiere Pro engineers will add this functionality in a future update to PPro as it is so close. I have to say that after I finally used multicam in PPro CS6 I really like the way it works even with a few missing features. For overall ease of setup and changing angle attributes once a multicam sequence is set up then Premiere Pro CS6 deserves the grade of A. Scott Simmons was born in rural West Tennessee and didn’t really realize that movies and tv had to be made by actual people until he went to college. ABOUTProVideo Coalition brings together the film industry’s best writers, bloggers and video experts under one URL. This award-winning site provides comprehensive information on both production and post-production in multi-distribution film, online, mobile, and broadcast environments. NewsletterSign up for the ProVideo Coalition weekly e-newsletter and get the most popular articles, blogs, and reviews right to your inbox. The basic reason is that MXF is a self-container format; it is not a good editing format for NLE system including Adobe Premiere Pro. This MXF converter for Mac can easily convert Canon MXF files to Premiere Pro from C300 as well as C500, XF305, XF100, XF300? without quality loss. STEP 1: You need to download, install and run the smart Canon MXF Converter Mac and transfer your C300 MXF recordings to the program for converting. Tip: If you want to set some parameters for the output profile, you could click the ?Settings? button to set the output bitrate, encode, frame rate, resolution, sample rate, channels, etc.
Once the conversion completes, you can click ?Open? to find the .mpg videos which can be directly imported to Premiere Pro. Because it has attracted low-quality or spam answers that had to be removed, posting an answer now requires 10 reputation on this site. Not the answer you're looking for?Browse other questions tagged adobe-photoshop cs6 animation or ask your own question.
I posted a preview of this effect a few days back, and you guys started to demand a tutorial, so let’s get to it! I’m starting with an 800 x 600 pixel document, which should be large enough for a simple button like this.
In your Tools Bar on the left, grab the Ellipse Tool, and make sure that it’s going to create a Shape, and not a Path on your Options Bar. As long as these two keys are held down, you’ll have a perfect circle, being created in the center of your document.
We’re going to do this using a custom shape to cut out a hole in the shape that we just duplicated.
This will hide the contents of the shape, but allow us to see any Layer Styles that we may apply, like  Gradient Overlay.
Closing the Gradient Editor, you can scale the gradient down to around 75%, and move it to it’s final location.
Once you’re back in the Gradient Editor, start by setting the right stop back at 100% opacity, and then change the color of the right stop to a dark blue, 00193e. If we were to merge both as a Smart Object, the Blend Modes would get lost, leaving us with a pretty ugly result.


You’ll notice, if you had changed the Blend Mode on any of the glows, converting to a Smart Object disregards the change, but you can simply change the overall Blend Mode back to Color Dodge to fix that issue. To open your Timeline, you can either double click on the tab at the bottom of your workspace, or find it under the Window menu at the top. This will list all of your layers, and reflect the currently selected layer from your Layers Panel. When that layer is selected, you’ll want to expand the layer in the Timeline, to reveal the different elements that can be animated.
You’ll want to click on the stopwatch icon beside Transform to create the first keyframe. Scrub over a bit further than the last time, enter free-transform mode, enter 180 in the degrees field again, and accept the transformation. Once your animation is complete, you can either render it out as a video with the Render option at the bottom of your Timeline, or you can save it as a Gif for use on the web.
Im doing everything as you said in the tutorial, but when i create a ellipse 1 layer and apply gradient overlay as you shown, i end up with the white line outside of the circle.
I think that may be true for a lot of editors when it comes to a lot of features of Premiere Pro in general. Final Cut Pro X, for example, is a real joy when it comes to multicam setup as its innovative Angle Editor is simple and powerful.
I really like this approach as this multicam sequence gives the editor a place to always go back to and get an overview of exactly what they have in a multicam clip. This can be done in any number of ways but in a perfect world all angles would have jam synced timecode but that’s a rarity these days.
That’s fine because what you most likely want to do at this point is edit that sequence into the timeline and go to work. There’s a play button in the Multi-Camera Monitor so to engage in live switching you have to initiate playback from there. I would prefer to have the option to see and switch the multicam split right in the Source monitor.
Once you have a multicam clip on the timeline a right + click will reveal a new submenu option where you can change an angle as well. This will be familiar if you’re coming from other NLEs because most offer something similar. With this method of creating the multicam sequence first you can open that multicam multicam sequence at any time, actually adjust anything in the multicam sequence and have those changes be reflected and ripple throughout an entire edit.
That was the last step of this edit but instead of color correcting right on the main edit timeline I was able to open the Multi-Camera Source Sequence of each of the three interviews and color correct (it was an important task since one of the three angles was 5D vs.
I had never edited multicam in versions of PPro prior to CS6 but while the setup did involve creating a sequence with synced multicam angles the setup seemed more cumbersome that CS6. It seems like a no-brainer that this would be possible by a keyboard shortcut but I can't find one. This function basically replaces all group clips (as Avid calls them) or multiclips (as FCP7 calls them) with a normal, single clip in the timeline.
After getting degrees in both Television Production and Graphic Design he was in one of the early graduating classes at the Watkins Film School in Nashville, Tennessee. PVC is owned by Moviola, headquartered in the heart of Hollywood and dedicated to the film industry since 1919. To help Canon C300 owners get rid of this trouble, I will show you the easiest and quickest way to convert Canon C300 MXF files to MPEG-2 for Premiere Pro.
Once you’re here hop into the Gradient Overlay section, and click on the gradient bar to bring up the Gradient Editor.
One that will act as a reflection on the back shape, and a stronger glow that will appear in the window. This can be done by clicking the stop that’s above the gradient bar, and then decreasing the Opacity to 0%.
If you place your cursor overtop of your document, you can click and drag that gradient anywhere you want. Instead, we’re going to convert each glow to a Smart Object, which will allow us to animate transformations. While I had used Premiere Pro on sort of a semi-regular basis since CS4, CS6 has become a regular tool. Final Cut Pro 7’s multicam worked but was a total kluge when it came to adding new angles or slipping sync within a group even though it, in theory, had those capabilities. Like other NLEs PPro offers a choice for exactly how to establish sync between multiple clips. You can edit a Multicamera Source Sequence from the Source monitor just like any other clip.
I suppose one advantage of the stand alone multicam monitor is that it can be moved and resized independent of any window so that is nice.
When you do that in the Multi-Camera Monitor it makes the camera switching focus front and center and that’s a good way to work. When that option is enabled switching angles in the Multi-Camera Monitor will switch both the audio and the video.
It was a significant enough edit that I wanted to use multicam but the problem I ran into was that once I had created the multicam clips there was no way to see source timecode on the original clips once the multicam clip was in the edit. Once I had the edit in my main timeline I was able to open the Multi-Camera Source Sequence back up, disable the timecode effect on V1, turn the other angles back on and begin the multicam switch part of the edit. You can also add footage to an existing angle as I had to do when part of one of the 5D interview angles was missing (the camera op had stopped and started the camera during the interview).
Sure you can right + click on a clip to access all the angles via a submenu but that’s wildly inefficient to do over and over and over. This can be very important if you’re sending out AAFs or XMLs to another finishing system as multicam-type clips might cause some problems on conform. Once the color is set, Option+Delete or Alt+Backspace will fill your background with the foreground color.
The first problem can be solved by holding down your Shift key while dragging out your shape. Any time you see one of those in an NLE chances are you can do a live multicam switching of angles and Premiere Pro is no exception.
Note that the Multi-Camera Monitor has to be docked into a panel with other windows for the full screen tilde to work. I rarely ever use this as I always use one audio track from the main camera or an external audio recorder. I had already edited half the interview so it was as simple as opening the multicam sequence for that interview and adding and syncing the last piece of the 5D angle.
The FCPX Angle Editor works better overall (as does multicam in general in FCPX) as there’s some dedicated tools for monitoring angles, checking sync and rearranging of angles. While most of his classmates in film school wanted to be directors, Scott saw real career opportunities in post production and took a job as an assistant editor after completing film school. Though Adobe Premiere Pro especially the CS6, CC7 provide native support for Canon MXF, with no transcoding, smooth importing, strong metadata support, real-time editing, and flexible delivery options, something frustrating to its users is that when loading Canon C300 MXF files to Premier Pro, some error messages like missing codec, looped audio, etc occurred from time to time.
This will constrain it to a perfect circle or rectangle, depending on which tool you have active. It works well, is quite powerful when it comes to setup and adjustment of multicam angles but it's missing a couple of important features that some of its competitors have. I hope Adobe engineers will remedy this in the future because it’s often very important to see source timecode on multicam angles. So instead of having to apply the correction to each individual shot over and over I had to apply each correction once. In 1999, Scott took the leap into freelancing and in 2007 accepted a position as an editor at Filmworkers – Nashville. In 2005 Scott created The Editblog a website dedicated to all things editing and post-production which is now housed here at PVC. Someday he hopes to edit on a beach with a touch screen device, a wireless hard drive and a Red Stripe.




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