Adobe Premiere Pro CC 2016 User guide

Adobe

®

Premiere

®

Pro CC

Help

Last updated 6/18/2016

Legal notices

For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html.

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Last updated 6/18/2016

Contents

Chapter 1: What's new

New features summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Chapter 2:

Adobe Premiere Clip FAQ

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Edit Premiere Clip videos in Premiere Pro

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Adobe Hue Getting Started

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Adobe Hue CC Mobile to Desktop Workflows

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 3:

Premiere Pro and Adobe Anywhere

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Creative Cloud Libraries in Premiere Pro

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 4: Workspace and workflows

Proxy workflow

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Color workflows

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Basic workflow

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Touch and gesture

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Workspaces

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Working with Panels

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Using the Source Monitor and Program Monitor

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Preferences

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Sync settings using Adobe Creative Cloud

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Cross-application workflows

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Adobe Dynamic Link

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Direct-Link workflow between Premiere Pro and SpeedGrade

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Cross-platform workflow

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Keyboard shortcuts in Premiere Pro CC

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Basic workflow

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Support for VR Workflows

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 5: Project setup

Creating and changing projects

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Consolidate, transcode, and archive projects

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Chapter 6: Importing footage

Supported file formats

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Transferring and importing files

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Importing sequences, clip lists, and compositions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Importing still images

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Importing digital audio

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Importing assets from tapeless formats

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Importing XML project files from Final Cut Pro

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Capturing and digitizing footage

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Companion Mobile Apps

Collaboration

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Batch capturing and recapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Working with timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Setting up your system for HD, DV, or HDV capture

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Capture HD, DV, or HDV video

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Support for growing files

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Digitizing analog video

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Create clips for offline editing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Chapter 7: Managing assets

Organize assets in the Project panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Customizing the Project panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Managing metadata

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Working with aspect ratios

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Find assets

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Monitor overlays

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Render and replace media

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Chapter 8: Monitoring assets

Using the Reference Monitor

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Playing assets

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Waveform monitors and vectorscope

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Chapter 9: Editing

Add clips to sequences

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Create and change sequences

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Edit from sequences loaded into the Source Monitor

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Rearrange clips in a sequence

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Find, select, and group clips in

a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Rendering and previewing sequences

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Multi-camera editing workflow

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Working with markers

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Create and play clips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Trimming clips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Create special clips (synthetics)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Working with offline clips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Relinking offline media

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Source patching and track targeting

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Synchronizing audio and video with Merge Clips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Modifying clip properties with Interpret Footage

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Remove alerts with the Events panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Undo, history, and events

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Freeze and hold frames

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Working with captions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Chapter 10: Audio

Working with clips, channels, and tracks

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Audio channel mapping in Prelude

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Overview of audio and the Audio Track Mixer

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

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Editing audio in a Timeline panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Adjusting volume levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Monitor clip volume and pan using Audio Clip Mixer

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Panning and balancing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Recording audio

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Recording audio mixes

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Control surface support

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Editing audio in Adobe Audition

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Advanced mixing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Chapter 11: Titles

Creating and editing titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Creating and formatting text in titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Live Text templates

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Titler text styles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Working with text and objects in titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Add images to titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Drawing shapes in titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Fills, strokes, and shadows in titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Rolling and crawling titles

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Chapter 12: Effects and transitions

About effects

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Applying, removing, finding, and organizing effects

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Viewing and adjusting effects and keyframes

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Effect presets

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Master Clip Effects

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Masking and Tracking

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Stabilize motion with the Warp Stabilizer effect

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Transition overview: applying transitions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Modifying and customizing transitions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Change duration and speed of clips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Motion: position, scale, and rotate clips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Adjustment layers

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Color correction effects

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Three-Way Color Corrector

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Audio effects and transitions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Working with audio transitions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Applying effects to audio

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

The rolling shutter repair effect

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Interlacing and field order

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Eliminate flicker

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Creating common results

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Morph Cut

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

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Chapter 13: Animation and keyframes

Animating effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Adding, navigating, and setting keyframes

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Moving and copying keyframes

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Optimize keyframe automation

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Controlling effect changes using keyframe interpolation

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Chapter 14: Compositing

Blending modes

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

Compositing, alpha channels, and adjusting clip opacity

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

Chapter 15: Exporting

Workflow and overview for exporting

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Exporting projects for other applications

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Export a still image

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Export to Panasonic P2 format

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Exporting to DVD or Blu-ray Disc

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Exporting to videotape

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Exporting for the Web and mobile devices

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

Exporting OMF files for Pro Tools

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Smart rendering

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Working with Adobe SpeedGrade

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Working with Adobe Prelude

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

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Chapter 1: What's new

New features summary

The Adobe Premiere Pro CC 2015.3 release (June 2016) delivers easy proxy media creation that allows you to switch

seamlessly between original high-resolution and proxy low-resolution clips. Get your work done faster with the

Premiere Pro family of apps, connected to each other and to your creative assets by Creative Cloud, providing a more

streamlined way to create. Premiere Pro also now offers powerful support for VR Video workflows. Color and light have

never been more important and with new enhancements to the Lumetri Color tools, creative possibilities are greatly

expanded. Thanks to CreativeSync, all your creative assets — your media, looks, images, and Stock content — are

available in Premiere Pro CC.

Premiere Pro Proxy Workflow

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What's new

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Premiere Pro now supports proxy media creation, allowing you to easily switch between original/high-resolution and

proxy/low-resolution clips. Heavy 8K, HD or HFR media can overload even the most powerful computer systems.

Using lower-resolution proxies can speed up editing, while maintaining the ability to switch back to the original high

resolution media for final output. With proxy creation, you can work with high-resolution media flexibly, across

different devices (for example, on lightweight devices that are slower and have less storage). Switching between

proxy/low-resolution and original/high-resolution files has never been easier or more fluid.

To le arn more, see Proxy workflow

Ingest Workflow

Now you can start editing footage immediately while it’s being imported in the background. Mount the camera media

and start editing right away. Once the copy is complete, Premiere Pro switches to using the copied media—allowing the

camera media to be freed up for use elsewhere.

To le arn more, see Ingest Workflow

VR Video Workflow

A new VR workflow allows you to move around virtually inside spherical media using new monitor controls or by click-

dragging on the video for a complete preview of the VR video playback experience. Premiere Pro export properly flags

the file so VR-capable video players such as YouTube will automatically recognize it. You can also preview stereoscopic

VR media by switching into anaglyph mode (requires anaglyph 3D glasses).

To le arn more, see Support for VR Workflows

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What's new

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New Enhancements to Lumetri Color Tools

New enhancements to the Lumetri Color tools help you be more creative with color. For example, using HSL

Secondaries, you can easily select a specific range of colors to make adjustments to. Premiere Pro also now offers color

grading control surface support, which gives users finer control over the subtleties of the color grade than what can be

achieved with a mouse and keyboard. Using the White Balance eyedropper feature, you can now set the white balance

within the frame with a single click. You can also set the brightness of the scopes to one of three levels to make them

more readable in various lighting conditions. Apply preset SpeedLooks with just one click.

Control Surface Support

Lumetri panel grading controls can now be mapped to control surface devices (Tangent Devices -

Elements/Wave/Ripple).

To le arn more, see Control Surface Support.

HSL Secondaries

A new section called HSL Secondary has been added to the Lumetri Color effect. This section provides additional color

tools to isolate a color/luma key and apply a secondary color correction to it.

To le arn more, see HSL Secondaries.

Lumetri Scopes Enhancements

The Lumetri Scopes now feature improvements to 8-bit display quality, and the ability to adjust the brightness of the

scopes from Normal(100%) to Bright(125%) or Dimmed(50%).

To le arn more, see Enhancements with Lumetri Scopes.

New SpeedLooks Linear Look Bundle

Premiere Pro now comes with SpeedLooks Studio Linear, a new creative look presets package. These look presets are

optimized for Rec709/DSLR footage.

To le arn more, see SpeedLooks Studio Linear.

Editing Enhancements

New Keyboard Shortcuts

Notable keyboard shortcuts that have been added include:

• A toggle that allows you to instantly zoom all the way in on the Timeline to view individual frames, and back out to

the previous zoom level.

• A new shortcut to generate peak files for audio waveforms. This feature is useful when you have the Automatic peak

file generation preference disabled.

• New Shortcut to Add/Remove a keyframe.

• New Shortcut to Nudge keyframe in time by one frame.

• New Shortcut to select the Next/Previous keyframe.

• New Shortcut to Increase/Decrease keyframe value.

To le arn more, see Keyboard shortcuts in Premiere Pro CC

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What's new

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Enhanced editing experience

Multiple enhancements have been added to the editing experience in order to ensure editors can work faster and more

efficiently. Range selection now auto scrolls the timeline vertically to select additional clips outside the current view.

Remove specific effects using the Remove Attributes command.

To le arn more, see Create and change sequences

VFX Clip Marker Workflow

All clip markers for a sequence can now be displayed in the markers panel. Filter clip markers in the markers panel by

color and view only those colored markers.

To le arn more, see Working with Markers.

Using multiselection for field options and field dominance

Premiere Pro now allows you to apply the field dominance to multiple clips in the timeline (or project panel).

To le arn more, see Using multiselection for field options and field dominance.

New Minimum Timeline Height

You can now drag sequence video and audio tracks to a shorter timeline height, collapsing tracks not in active use in

order to devote more space to others.

Improved Morph Cut Face Detection

Premiere Pro now comes with improved Morph Cut Face Detection. Premiere can now find faces in more challenging

shots, giving editors the option to use a morph cut.

Ability to remove individual effects

Premiere Pro now allows you to select clips in a sequence that already have effects applied, and use the Remove

Attributes command to remove specific effects from a range of clips.

Timeline vertical auto scroll when range selecting

Premiere Pro’s timeline now auto-scrolls the timeline vertically to select clips beyond the current view while using the

selection or lasso tool.

New open captions

Premiere Pro features new features to allow editors to create and edit open captions. An editor can now create open

captions (subtitles) directly in Premiere Pro without having to use a 3rd party plug-in to create them. This feature allows

a user to select the font, color, size, and positioning of open captions on screen.

To le arn more, see New Open Captions.

Performance and stability improvements

Preimium Pro now ensures maximum performance with support for H264 GPU acceleration on Windows. Users with

lightweight PCs and integrated Intel GPUs can now experience improved playback performance with H264 media due

to GPU acceleration.

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What's new

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Fast, flexible editing workflows with broad native camera support

Premiere Pro now offers broader native format support (including Red Weapon). You can now edit virtually any type

of media and not worry about transcoding, thanks to broad native format support. This saves a lot of time and allows

you to jump-start the editing process.

Expanded support in Premiere Pro’s titler for MENA languages

The Title functionality within Premiere Pro CC now supports more languages in their native alphabets, including

MENA territories: Arabic and Hebrew Users in more geographies can now incorporate titles in their native alphabets.

Enhanced Export Options

Destination Publishing support for Twitter

Twitter has been added to Premiere Pro’s extensive destination publishing workflow, joining other popular social media

publishing options such as YouTube, Facebook and Vimeo. Now users can render and share videos directly to Twitter

from Premiere Pro.

Panasonic AVC-LongG export support

Premiere Pro has added support for the Panasonic AVC-LongG codecs (AVC-LongG6/12/25/50) in an MXF OP1a

wrapper. These codecs are available under the MXF OP1a format.

AS-10 export support

Premiere Pro now allows you to export using the AS-10 export option, which is now available in the format drop down.

FCP XML Time Remapping Support

Premiere Pro now supports the import of Speed ramps and exporting the same to Final Cut Pro XML documents.

Direct Export to XDCAM HD Disc

Premiere Pro now has an option to directly export to an XDCAMHD Disc. When an XDCAM HD codec is selected

there will be a Sony device compatibility checkbox. Checking this will enable support for writing directly to an

XDCAM HD disc.

QT XDCAM HD to MXF XDCAM HD Smart Rendering

You can now smart render your QuickTime XDCAM HD sources in to an MXF wrapper. It’s as simple as selecting the

Enable Smart Rendering checkbox of a matching MXF OP1a preset.

Note: Pr

emiere Pro does not support smart rendering MXF XDCAM sources to QuickTime XDCAM.

HEVC Support for 10-bit output

Premiere Pro now offers support for HEVC 10-bit export, which is available under the Profiles setting of the HEVC

Video tab. Main 10 profile permits 10-bit exports. You can also export using the Rec. 2020 color primaries when you

select the Main 10 profile.

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What's new

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New checkbox added to remove XAVC-Intra spec limitation on duration

A new checkbox, Sony device compatibility has been added to XAVC export settings. By default, this setting is

unchecked and generates output that always matches the full duration of your source. When checked, the output will

adhere to Sony specifications that may truncate the end of your file.

Match Source option for still image formats

Match Source is now offered for all still image formats supported by AME, matching the source frame height, width,

rate, field order and aspect ratio. Older presets have been removed and replaced with the new Match Source versions.

Twirl down/up state

Twirl states are now remembered in Export Settings so they don't have to be re-adjusted to an up/down open/closed

state each time.

Purchase of Stock Assets

You can now purchase Stock assets directly from within the Premiere Pro Project area. For watermarked Stock assets,

you can now see a new Shopping Cart icon in the Project area for these files, and you can now purchase Stock assets

directly from the Project area by clicking on this icon. Also, if you have a watermarked Stock asset in a Sequence, you

can right click the clip in the sequence to see a License option in the context menu. You can purchase a watermarked

Stock asset directly from the clip in the Sequence.

Better Collaborative Workflows

You can now share read-only CC Libraries that are locked from editing but can still be used. New assets can be

automatically updated and shared instantly. This feature allows you to share read-only locked Library assets that cannot

be renamed or deleted from the library. You can also set different levels of access to a read only libraries. 'Edit only'

access allows collaborators to edit, rename move or delete the contents of a library. View only access limits a

collaborator to using and commenting on an asset. You can now share a public link(URL) to share library assets and

this library appears in the users' library panel, so they can automatically get updates to the library in the apps that

support Libraries.

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What's new

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Dolby Vision Metadata Preservation

This feature allows users with Dolby Vision MXF clips to export cuts-only copies of Dolby clips to a new Dolby

container, along with smart rendering of the underlying media files. If any changes are applied, the exported MXF does

not retain the Dolby metadata. This is a useful way to join together or make cuts-only edits to existing Dolby Vision

material.

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Chapter 2:

Adobe Premiere Clip FAQ

General information

Using Adobe Premiere Clip

• How do I learn Premiere Clip?

Watch a tutorial to learn how to quickly create and edit videos with Premiere Clip.

• How do I create a new project?

1 Tap the + icon in the upper right-hand corner of your screen.

2 Add media from the following options: From your mobile device, Lightroom, Creative Cloud files, or Take a

Photo or Video.

3 After you’ve selected your media, choose a project type: Automatic or Freeform.

Note: If Automatic is selected, Premiere Clip will generate a great video for you, edited to the beats of your soundtrack.

You can customize the pace, music, and sequence order. If Freeform is selected, you will have full customizing

capabilities at your fingertips including trimming, splitting clips, applying custom Looks, smart audio effects, and

more. You can move a project from Automatic to Freeform for further editing. Simply tap on the Filmstrip icon in the

upper-right hand corner of your screen when working in Automatic mode. Once you’ve converted a project from

Automatic to Freeform, you will not be able to go back to Automatic.

• What type of media can I add?

You can add videos and images to your project. Browse for media on your device, use the camera to shoot footage,

select from your Lightroom collection, or download from your Creative Cloud assets folders.

1 Tap + to add media.

2 Browse and select media on your device, from Lightroom, Creative Cloud assets, or use the camera to shoot.

• How do I add titles?

Use Premiere Clip to create stunning videos within minutes. With easy-to-use tools, tips, and storycards, Premiere

Clip helps you make stunning videos. You can publish and share videos directly on social networks, or send them

to Premiere Pro on the desktop.

Companion Mobile Apps

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You can add title cards to display text content in your videos.

In the Freeform edit

or:

1 Tap + in the bottom right-hand corner of your screen.

2 Tap New Title or the Aa icon.

3 Enter the text, and then specify the Text Color and Background Color.

4 Use the purple handles to adjust the duration of the clip.

• How do I turn a title card into a Storycard?

Storycards are useful tools to help plan your shoot. In the Freeform editor, you can turn a title card or a still image

into

a Storycard. You can then add notes, shoot against the title card, and replace it with footage.

1 Select either a title card or an image.

2 From the Clip options tool bar, tap on the Framed Image icon.

Note: Android users, tap on the More options icon.

3 Tap Turn into Storycard.

• How do I duplicate a clip?

In the Freeform editor:

1 Tap a clip to select it.

2 From the Clip options tool bar, tap on the Copy (“+”) icon.

Note: Android users, tap on the More options icon.

3 Tap Duplicate Clip to create a copy.

• How do I split a clip?

In the Freeform edit

or:

1 Tap a clip to select it.

2 From the Clip options tool bar, tap on the Copy (“+”) icon.

Note: Android users, tap on the More options icon.

3 Move the white playhead to the location to split.

4 Tap Split at Playhead.

• How do I make lighting adjustments to a clip?

In the Freeform editor:

1 Tap a clip to select it.

2 From the Clip options tool bar, tap the Shutter icon.

3 You can adjust the sliders for Exposure, Highlights, or Shadows.

• How do I adjust audio for a video clip?

You can adjust the volume and fade settings for audio associated with a clip.

In the Fr

eeform ed

i

t

or:

1 Tap a clip to select it.

2 From the Clip options tool bar, tap the Audio icon.

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3 Do the following:

• Tu rn Play Audio on or off. (“On” will play the audio in this video clip. “Off” will mute the audio in this video

clip.)

• Adjust the Vol um e.

• Enable Smart Volume. Smart volume increases all audio in the clip to a consistent volume.

• Toggle on/off the Audio Fade In or Audio Fade Out options.

• How do I adjust the playing speed for a clip?

You can adjust the playback speed for a clip.

In the Freeform edito

r:

1 Tap a clip to select it.

2 From the Clip options tool bar, tap the Speed icon.

Note: Android users, tap on the More options icon.

3 Adjust the playback speed. The duration of the clip increases as you reduce the playback speed.

• How do I add a soundtrack to my project?

You can add a soundtrack to your project, so that it plays in the

background of your video. Premiere Clip comes with

10 royalty-free tracks for you to use (Premiere Clip Themes), or add a soundtrack from your music library.

In Automatic mode:

1 From the bottom tool bar, tap the Music icon.

2 Select Replace Soundtrack and choose from the options available.

In the Freeform editor:

1 From the top menu bar, tap the Music icon.

2 Choose a Soundtrack from the options available.

• How do I edit the soundtrack on my project?

Once you've added a soundtrack, you can edit i

t in the Soundtrack menu.

• Swipe left or right on the audio waveform to change the start point of the song.

• Tap Replace to select another soundtrack.

• Tap Delete Soundtrack to remove background audio.

• Adjust the Vol um e of the soundtrack.

• Enable Sync to Music. When this is on, trimming a clip will snap to the beats of the soundtrack.

• Enable Auto Mix. Auto Mix causes the soundtrack to play quietly when there is sound in the clip.

• Enable or disable Audio Fade In and Audio Fade Out.

• How do I adjust the look of my project?

Adobe Premiere Clip provides several options for adding finishing touches to your project.

In the F

reeform editor:

1 Tap the Settings Gear icon from the top menu bar.

2 Tap Look, and then choose from Clip Defaults or My Library (Note: Android users can choose the Looks icon

from the top menu bar). Tap Back to return to the Project Settings panel.

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3 Enable or disable Fade settings:

• Fade in from black

• Fade out to black

• Crossfade between clips

4 Enable or disable Photo Motion.

• How do I use custom Looks saved in my Creative Cloud libraries?

You can add custom Looks to Adobe Premiere Clip using Creative Cloud Libraries with the new Adobe Capture C

C

app

.

In t

he Freeform editor:

1 Tap the Settings Gear icon from the top menu bar.

2 Tap Look, then tap My Library to access your custom Looks.

Note: Android users can tap on the Look

s icon from the top menu bar then tap on the dropdown arrow to select

another library.

3 Tap Change Library to select another library.

4 Tap on a Look to apply it to your video sequence.

Don’t have Adobe Capture CC? Download it free for iOS or Android.

• How do I create a project with assets from my Lightroom for mobile collection?

1 In Premiere Clip, tap the + icon in the upper right-hand corner of your screen.

2 Tap L ightroom.

3 Select the Lightroom assets from your collections.

4 Tap Open to add the assets to your project.

If you’d like to create a Premiere Clip project from Lightroom for Mobile, launch Lightroom on your mobile device

(for

iOS only).

1 Open the collection that contains the assets you’d like to use for your Premiere Clip project.

2 Tap the Share icon in the top-right corner, and then tap Create a Video in Clip. (Alternatively, you can tap on “…”

Clip.)

3 Premiere Clip will launch and import your assets from Lightroom to create an Automatic project. You can make

further edits in the Freeform editor by tapping the Filmstrip icon and Convert to Freeform.

Note: You will need to sync your Lightroom mobile collections to enable this functionality. Follow the step-by-step

tutoria

l here: https://helpx.adobe.com/lightroom/help/lightroom-mobile-desktop-features.html

Don’t have Lightroom on mobile? Learn more here.

• How do I share my video?

You can save finished videos to your camera roll or Creative Cloud

folder, post them directly to Twitter, Facebook or

YouTube, or send them to Premiere Pro CC for additional editing.

1 From the top menu bar, tap the Share icon.

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2 Choose from the following options:

• Publish & Share Video

• If needed, change the name of your project.

• Choose privacy settings:

• Public: The videos are public and may be featured in Premiere Clip’s Community Videos gallery.

• Unlisted: Only people with the link can view the video.

• Choose options to share on Twitter and Facebook.

• Tap Publish.

• Edit in Premiere Pro

• Save to Camera Roll

• More Options (Save to Creative Cloud, Publish to YouTube)

• How do I edit my video in Premiere Pro?

Watch a tutorial to Refine a Premiere Clip video in Premiere Pro .

To take your project further in Premiere Pro, do the following:

1 From the top menu bar, tap the Share icon.

2 Tap Edit in Premiere Pro. Within a few minutes, your project and media will be sent to a Creative Cloud folder.

3 Open up Premiere Pro on your computer, and from the menu bar, select File > Convert Premiere Clip Project.

4 Choose the project XML file you wish to continue editing in Premiere Pro.

All of your project edits will show up in your Premiere Pro timeline, ma

king it easy to continue working. Don’t have

Premiere Pro CC? Download a free trial here. To learn more about importing Premiere Clip videos in to Premiere Pro

for advanced editing, see Edit Premiere Clip videos in Premiere Pro .

Edit Premiere Clip videos in Premiere Pro

Adobe Premiere Clip is a free mobile app that makes it fast and simple to transform clips into beautifully edited videos.

Lightweight yet feature-rich, Premiere Clip enables you to make videos where your media is–on your mobile device or

iPad. Adobe magic makes your videos look and sound great, bringing Hollywood quality to your fingertips.

Thanks to CreativeSync, you have access to your Premiere Cli

p p

rojects across all of your devices. With CreativeSync,

you can start a project on one device and pick up where you left off on another device. You can also share your Premiere

Clip videos directly on social networks, or send them to Premiere Pro on the desktop for further editing.

Premiere Clip is available as a free download through the iTunes and Google Play app stores. See the FAQ for more

information on how to use Premiere Clip to create and edit videos on your mobile device.

To take your Premiere Clip videos to t

he

next level by doing more nuanced and professional-quality edits, you can

export your video project from Premiere Clip to your Creative Cloud account. Adobe Creative Cloud for desktop keeps

all the files in sync so that all your changes are reflected o

n all

connected computers and devices. To edit your video

project in Premiere Pro CC, import the project in to Premiere Pro. Premiere Pro opens your project along with all the

associated assets, edits, beat markers, and custom Looks you applied in Premiere Clip.

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Exporting your Premiere Clip video to Creative Cloud

To share a video between applications such as Premiere Clip and Premiere Pro, export your video project to your

Creative Cloud account as follows:

1 From the top menu bar, tap the Share icon.

2 Tap Edit in Premiere Pro. Within a few minutes, your project and media will be sent to a Creative Cloud folder.

Note: The media in your project needs to be synced before you can send your project to Premiere Pro.

The Project Sent message appears after the project is synced to your Creative Cloud account.

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Adobe Premiere Pro CC 2016 User guide

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