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Premiere Pro allows you to specify the settings for each sequence, trim clips, and assemble clips in sequences. Every Premiere Pro sqeuence can contain one or more sequences, and each sequence in a project can have different settings.

You can assemble and rearrange sequences in one or avobe Timeline panels, dwnload their clips, transitions, and effects are represented graphically. A sequence can consist of multiple video and audio tracks running parallel in a Timeline panel. Multiple tracks are used to superimpose or mix clips. A sequence must contain at least one video track and one audio track.

Sequences with audio tracks must also contain a master audio track, where the output of premierr audio tracks is directed for mixing. Multiple audio tracks are used to mix audio. A single Timeline panel appears in a frame in the lower central portion of the screen when settinvs launch Premiere Pro. You can open any of its default workspaces, or create a project. You can remove all sequences from a Timeline panel, or add multiple sequences to it.

Each sequence appears as a tab within that Timeline panel. You can also open multiple Timeline panels, each within its own frame, with each containing any number of sequences. You can show or hide items by selecting, or deselecting them in the Timeline panel menu. На этой странице items include: time ruler numbers, and the work area bar.

To premmiere a new sequence in a timeline panel, double click the sequence in the Project Panel. The sequence opens in a new tab посетить страницу the Timeline panel. You can open more than one Timeline panel if you have more than one sequence in a project.

When you open a sequence, it opens in a new tab. Drag the tab into another docking area. The sequence appears in a new adobe premiere pro cs6 gopro sequence settings free download. Time ruler measures sequences time horizontally. Numbers indicate that the sequence time is displayed seftings the ruler from left to right.

They change according to the level of detail at which you view the sequence. By default, these numbers are based on the ppremiere display style specified in the Display Format field of the Sequence Settings dialog box. Work area bar specifies the area of the sequence that you want to render previews, or to define a sequenc you plan to export. The work area bar is located in the lower portion of the time ruler. The work area bar is not available by default.

To activate it, click avobe three stacked lines next to the sequence name and choose Work Area Bar from the drop-down list. You can drag the edges of the work area bar, or use keyboard diwnload to set the work area in a sequence. For details, see Define the work area for rendering. The current frame displays in the Program Monitor. The playhead is a blue triangle больше на странице the ruler. A adobe premiere pro cs6 gopro sequence settings free download line extends from the playhead to the bottom of the time ruler.

You can change the current time by dragging the playhead. Playhead position shows the timecode for the current frame in a Timeline panel. To move to a different time, aodbe in the Playhead position and enter a new time.

You can also place the pointer over the display and drag left or right. You can change the display between timecode and the simple frame count. Zoom scroll bar is at the bottom settinbs the Timeline panel. This bar corresponds with the visible area of adobe premiere pro cs6 gopro sequence settings free download time ruler in the Timeline. The Source Monitor and Program Monitor also have zoom scroll bars. You can drag the handles to change the width of the bar and change the scale of the time ruler.

Source track indicator represents a video or audio track of the clip in the Source Monitor. Place into the head of the Timeline sequnece where you want to insert or overwrite the source clip track. To move to playhead using timecode, click the timecode value in the Playhead Position. Do not use the number pad on macOS. You can use any of the following shortcuts when entering timecode:.

Note: You can also position the Selection tool over the timecode value and drag to the downpoad or right. The farther you drag, the more quickly the timecode changes.

When you have a long sequence of clips, many of them are out of view. If a clip is out of view, scroll horizontally in your sequence in the Ssettings panel. For each of these commands, the Timeline panel need not be selected, however, your mouse must hover over the Timeline panel. When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view.

If a clip adobe premiere pro cs6 gopro sequence settings free download out of view, scroll vertically in your sequence in the Timeline. Do one of the following to scroll vertically in a sequence in the Timeline. You can arrange, edit and, add special effects to clips in the video and audio tracks of the Timeline panel. You can add or remove tracks as needed, rename them, and determine which to affect pre,iere a procedure.

New video tracks appear above existing на этой странице tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all cx6 in the track but does not affect source clips listed in the Project panel. You can add a track as you mario kart pc windows 10 a clip to the sequence.

See Add a track while adding a clip. With the Timeline panel active, right click the track and select Add Track from the drop-down list. The Add Tracks dialog box opens. Note: An audio track can accept only seqjence clips that use the matching channel type—mono, stereo, or 5. Adobe premiere pro cs6 gopro sequence settings free download the Timeline panel active, right click the track and select Delete Track from the drop-down list.

The Delete Tracks dialog adobe premiere pro cs6 gopro sequence settings free download opens. By enabling Sync Lock on tracks, downlad can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple adobe premiere pro cs6 gopro sequence settings free download.

If a clip is part of an operation, the track shifts regardless of their sync-lock state. The other tracks shift premiwre clip content to the right only if their sync lock is enabled. The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks. To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon.

Locking an entire track is useful for preventing changes to fgee clips on that track while you work on other parts of the sequence. In a Timeline panel, a pattern of slashes appears setings a locked track. Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence.

If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target track, it xownload no longer the target. Source clips cannot be added to the track until you unlock it and target it again. Note: You can lock a track to prevent it from shifting when you perform insert edits. You can exclude video or audio clips in any track from previews and export. Clips in excluded video tracks appear as premmiere video in the Program Monitor and in output files.

Clips in excluded audio tracks are not output to the Audio Mixer, to the speakers, or to output files. Adjust the tint values in the shadows and highlights settings the Shadow Tint and Highlight Tint wheels. Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the middle of the wheel and drag the cursor to fill in the wheels. Click to hide the Eye icon for video or the Mute icon for audio at the left edge of the track.

Each icon is a toggle switch. Click its box again to display the icon and include the track. Note: Excluding a track with the Eye icon does not exclude it from outputs.

If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video appears before or after the last clips in the non-excluded tracks. To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box.

To exclude all video or all audio tracks, Shift-click to hide the Eye icon for video or the Speaker icon for audio. It excludes all tracks of the same type. Shift-click its box again to display all the icons and include the windows change admin hint free download. You can customize the tracks in a Timeline panel in several ways.

You can expand or collapse adobe premiere pro cs6 gopro sequence settings free download to display or hide track controls. Choosing from several display options, you doanload control how video and audio clips appear on a track. You premidre change the size of the premidre area or move the boundary between the video and audio tracks to display more tracks of either type.

You can preimere a track to display track controls.

You can arrange, edit and, add special effects to clips in the video and audio tracks of the Timeline panel. You can add or remove tracks as needed, rename them, and determine which to affect by a procedure. New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks.

Deleting a track removes all clips in the track but does not affect source clips listed in the Project panel. You can add a track as you add a clip to the sequence.

See Add a track while adding a clip. With the Timeline panel active, right click the track and select Add Track from the drop-down list. The Add Tracks dialog box opens. Note: An audio track can accept only audio clips that use the matching channel type—mono, stereo, or 5. With the Timeline panel active, right click the track and select Delete Track from the drop-down list. The Delete Tracks dialog box opens. By enabling Sync Lock on tracks, you can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple trim.

If a clip is part of an operation, the track shifts regardless of their sync-lock state. The other tracks shift their clip content to the right only if their sync lock is enabled. The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks.

To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon. Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In a Timeline panel, a pattern of slashes appears over a locked track. Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence. If you want to lock both a video track and a track with corresponding audio, lock each track separately.

When you lock a target track, it is no longer the target. Source clips cannot be added to the track until you unlock it and target it again. Note: You can lock a track to prevent it from shifting when you perform insert edits.

You can exclude video or audio clips in any track from previews and export. Clips in excluded video tracks appear as black video in the Program Monitor and in output files. Clips in excluded audio tracks are not output to the Audio Mixer, to the speakers, or to output files. Adjust the tint values in the shadows and highlights using the Shadow Tint and Highlight Tint wheels.

Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the middle of the wheel and drag the cursor to fill in the wheels.

Click to hide the Eye icon for video or the Mute icon for audio at the left edge of the track. Each icon is a toggle switch. Click its box again to display the icon and include the track. Note: Excluding a track with the Eye icon does not exclude it from outputs. If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video appears before or after the last clips in the non-excluded tracks.

To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box. To exclude all video or all audio tracks, Shift-click to hide the Eye icon for video or the Speaker icon for audio. It excludes all tracks of the same type.

Shift-click its box again to display all the icons and include the tracks. You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track.

You can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type. You can expand a track to display track controls. Increase the height of a track to better see icons and keyframes or to display larger views of video track thumbnails and audio track waveforms. To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon appears.

Then drag up or down to resize the track below for video or the track above for audio. Note: You can expand an audio track to use the audio fade line for either individual clips in that track or for the entire audio track.

To resize the track header section, position the pointer over the right edge of the track header so that the resize icon appears. Then drag the right edge. The icons at the top of the track header limit its minimum width. The maximum width is about twice the minimum width. To customize the style of the video track, click Timeline Display Settings, the wrench tool on the timeline panel.

Note: For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs. You can create a sequence by dragging the asset to the New Item button at the bottom of the Project panel. You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset.

For more information, see Sequence presets and settings. Instead, change your export settings later. Note: When a merged clip is used to create a Sequence from Clip, there are empty stereo audio tracks, depending on the media format.

You can delete the empty stereo audio tracks if you want. You can create a sequence from a selected clip which matches its attributes by doing the following:. The sequence settings must be correct when you create the sequence. Sequence settings like timebase are locked once the sequence is created. It prevents unwanted inconsistencies that could result from changing sequence settings later.

When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence setting preset.

If you want full control over almost all the sequence parameters, start a new sequence and customize its settings. Creating a sequence opens the New Sequence dialog box. Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed, like the following:. These sequence settings presets contain the correct settings for the most typical sequence types. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want.

Then move the contents of the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters. However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence. To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence.

After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings. Asset parameters include the following:. You can use the Properties panel to discover many of these parameters for your assets.

For more information, see Viewing clip properties. Assets can use codecs not supported natively by Premiere Pro. Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system.

To customize most sequence settings, you must start a new sequence, select an existing preset, and change its settings. Note: Every editing mode does not support every possible frame rate. To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card. Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab.

You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed. In the Project panel, right-click a sequence, and select Sequence Settings. Select the desired settings. For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project.

Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card. The editing mode does not determine the format of your final movie. Output settings can be specified during export.

The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit.

This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately. Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here. Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences.

This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth.

Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files. Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences.

Selecting this option often renders moving assets more sharply. At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening. For more information, see Optimize rendering for available memory. Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings.

Note: Save and name your sequence settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings. Note: Some sequence presets have only one file format and codec choice.

To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets. These use horizontal pixels with pixel aspect ratios of 1. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage.

For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage.

For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help. For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files.

Both these uncompressed formats do subsample video files at YUV. Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression. And hence retain much higher color depth in the previews than the compressed formats. Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1.

Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats. Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage. This footage emulates film in its picture quality and depiction of movement. The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields.

Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence.

Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes. From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage. Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. Duplicates frames where necessary to maintain This option uses fewer CPU resources.

Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources. By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. Note: You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.

Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look. When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps.

However, the camera records and logs 24p footage in fps non-drop-frame timecode. If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices.

Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices. A single project can contain multiple sequences with different settings.

You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created. To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use.

The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area.

Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking. Legal Notices Online Privacy Policy.

Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences.

Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences. Timeline panels. Open a sequence in a Timeline panel. Open extra Timeline panels. Navigation controls in timeline. A Timeline panel contains several controls for moving through the frames of a sequence.

Navigation controls. Time ruler Time ruler measures sequences time horizontally. Work area bar Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. Playhead Position Playhead position shows the timecode for the current frame in a Timeline panel. Zoom scroll bar Zoom scroll bar is at the bottom of the Timeline panel. Important notes.

Expanding the bar to its maximum width reveals the entire duration of the time ruler. Contracting the bar, zooms in for a more detailed view of the ruler.

Expanding and contracting the bar is centered on the playhead. By positioning the mouse over the bar, you can scroll the mouse wheel to expand and contract the bar. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag the bar, you are not moving the playhead.

However, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. Gestures for macOS are supported for the zoom scroll bar. Source track indicator Source track indicator represents a video or audio track of the clip in the Source Monitor. Navigate in a sequence.

Position the playhead in Timeline panel To position the playhead in the timeline panel, do any of the following:. In the time ruler, drag the playhead or click where you want to position the playhead.

Drag in the Playhead Position. It gives you full control over your settings if you want to make any adjustments or create a new sequence setting preset. It’s the easiest and will automatically create a sequence that matches the settings of the footage you drag into the box. While creating your new sequence, you may have noticed the following sequence settings window pop open.

If you didn’t, that simply means that Premiere Pro matched the settings of the footage you dragged into your timeline to create your sequence. Ninety percent of the time, the easiest method is to allow Premiere Pro to match your sequence settings to your existing footage and not worry about the gritty details in this first window. Unless you have a specific setting in mind or you’re having some other issue that you’re trying to solve, you can simply skip down to the next section to learn about how to do this.

In that case, let’s cover all the options in this window and narrow down exactly what is best for your video project. There are three main areas of settings that matter to us: resolution, dimensions, and frame rate.

Before you can answer that question, you need to know exactly what settings you’ll want your output video to be. We want to match our sequence settings to the settings of our final exported video.

Regardless of the settings your footage was shot in, you’ll want to set your sequence to match the settings that you’d like for your final video.

Then we can tweak the footage to fit our settings in the sequence as we edit. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider.

Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window. In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence. Here you’ll see where you can change any specific option for this 4K preset. I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name.

Step 4 : Make sure to rename your sequence at the bottom. I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different.

Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with.

If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences. Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first.

Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner. Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box. Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there.

You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly.

Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in. Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘.

Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings. We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project. Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence.

Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window. Step 4 : You can now name your new preset and add any other descriptive words as needed.

You’ve already imported all your footage and you’re about start laying out those first few cuts. But when you go to create your first sequence, the options are endless. Which settings will you choose? What if you don’t find exactly which sequence matches your camera? Or what if you aren’t even sure which one matches? What are the best options for YouTube videos, large presentations, social media, or the myriad of other options?

In today’s post we are covering everything you need to know about sequence settings in Premiere Pro, so you’ll be able to pick exactly the best settings for each and every project you create.

If you don’t have a copy of Premiere Pro yet, you can try it out for free here. Before we get too far into the weeds, it’s important that you know exactly what a sequence is so you’ll be able to make the best decisions in regard to how you want to set up your own project sequences.

A sequence in Premiere Pro is simply a visual assembly of your audio and video clips that you’ll arrange in any order you like within the Timeline Panel. Getting the settings correct for your sequence will determine the size, dimensions, resolution, and more for your final video. Your video and audio clips can sit side by side in a sequence or they can overlap and stack on top of multiple layers in a sequence.

You can create multiple sequences for each project and customize the settings for each of these sequences. Premiere Pro is also smart enough to match the exact settings of your existing footage if you aren’t sure – I’ll show you how in a minute.

It’s the easiest and most straightforward. Use it when you know your footage settings will match your final video settings. If you want to see all the options available to your new sequence so you can manually adjust any settings. It gives you full control over your settings if you want to make any adjustments or create a new sequence setting preset.

It’s the easiest and will automatically create a sequence that matches the settings of the footage you drag into the box. While creating your new sequence, you may have noticed the following sequence settings window pop open.

If you didn’t, that simply means that Premiere Pro matched the settings of the footage you dragged into your timeline to create your sequence.

Ninety percent of the time, the easiest method is to allow Premiere Pro to match your sequence settings to your existing footage and not worry about the gritty details in this first window. Unless you have a specific setting in mind or you’re having some other issue that you’re trying to solve, you can simply skip down to the next section to learn about how to do this.

In that case, let’s cover all the options in this window and narrow down exactly what is best for your video project. There are three main areas of settings that matter to us: resolution, dimensions, and frame rate. Before you can answer that question, you need to know exactly what settings you’ll want your output video to be. We want to match our sequence settings to the settings of our final exported video. Regardless of the settings your footage was shot in, you’ll want to set your sequence to match the settings that you’d like for your final video.

Then we can tweak the footage to fit our settings in the sequence as we edit. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider. Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window. In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence. Here you’ll see where you can change any specific option for this 4K preset.

I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name.

Step 4 : Make sure to rename your sequence at the bottom. I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different.

Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with.

If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences.

Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner. Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box.

Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there. You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly.

Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in. Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘. Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings.

We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project. Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project.

Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window. Step 4 : You can now name your new preset and add any other descriptive words as needed.

You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro. Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures! The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it.

Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time. Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag. I love having a pancake lens. It’s my go-to around the house and travel lens. Here’s my favorite and why. Email address:. Your email address will not be published.

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ГЛАВА 67 – Сьюзан? – Тяжело дыша, Хейл приблизил к ней свое лицо. Он сидел у нее на животе, раскинув ноги в стороны. Его копчик больно вдавливался в низ ее живота через тонкую ткань юбки.

Кровь из ноздрей капала прямо на нее, и она вся была перепачкана.

– Включилось питание от автономных генераторов. Это аварийное электропитание в шифровалке было устроено таким образом, чтобы системы охлаждения «ТРАНСТЕКСТА» имели приоритет перед всеми другими системами, в том числе освещением и электронными дверными замками.

При этом внезапное отключение электроснабжения не прерывало работу «ТРАНСТЕКСТА» и его фреоновой системы охлаждения. Если бы этого не было, температура от трех миллионов работающих процессоров поднялась бы до недопустимого уровня – скорее всего силиконовые чипы воспламенились бы и расплавились.

Поэтому такая перспектива даже не обсуждалась.

 
 

Create and change sequences in Premiere Pro.Timeline panels

 

Premiere Pro comes with several categories of sequence settings presets installed, like the following:. These sequence settings presets contain the correct settings for the most typical sequence types.

Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then move the contents of the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters. However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence.

To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence.

After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings. Asset parameters include the following:. You can use the Properties panel to discover many of these parameters for your assets. For more information, see Viewing clip properties. Assets can use codecs not supported natively by Premiere Pro.

Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system. To customize most sequence settings, you must start a new sequence, select an existing preset, and change its settings. Note: Every editing mode does not support every possible frame rate.

To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card. Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab. You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed.

In the Project panel, right-click a sequence, and select Sequence Settings. Select the desired settings. For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project. Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback.

Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card. The editing mode does not determine the format of your final movie.

Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately.

Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here. Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences. This setting is often not available if the selected compressor provides only one option for bit depth.

You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software.

If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files.

Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply.

At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.

For more information, see Optimize rendering for available memory. Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Note: Save and name your sequence settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings. Note: Some sequence presets have only one file format and codec choice.

To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets. These use horizontal pixels with pixel aspect ratios of 1.

When creating a sequence for these formats, select the preset that best matches the specifications of your source footage. For HDV footage, create and save a custom preset with settings to match the settings of your footage.

For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage.

For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help. For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files.

Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files. Both these uncompressed formats do subsample video files at YUV. Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression. And hence retain much higher color depth in the previews than the compressed formats.

Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1.

Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats. Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage. This footage emulates film in its picture quality and depiction of movement.

The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields.

Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes. From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage.

Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. Duplicates frames where necessary to maintain This option uses fewer CPU resources. Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources.

By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. Note: You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.

Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look.

When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in fps non-drop-frame timecode. If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices.

Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices.

A single project can contain multiple sequences with different settings. You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created.

To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use. The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area. Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking. Legal Notices Online Privacy Policy.

Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences. Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences.

Timeline panels. Open a sequence in a Timeline panel. Open extra Timeline panels. Navigation controls in timeline. A Timeline panel contains several controls for moving through the frames of a sequence. Navigation controls. Time ruler Time ruler measures sequences time horizontally. Work area bar Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. Playhead Position Playhead position shows the timecode for the current frame in a Timeline panel.

Zoom scroll bar Zoom scroll bar is at the bottom of the Timeline panel. Important notes. Expanding the bar to its maximum width reveals the entire duration of the time ruler. Contracting the bar, zooms in for a more detailed view of the ruler. Expanding and contracting the bar is centered on the playhead. By positioning the mouse over the bar, you can scroll the mouse wheel to expand and contract the bar.

By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag the bar, you are not moving the playhead. However, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. Gestures for macOS are supported for the zoom scroll bar. Source track indicator Source track indicator represents a video or audio track of the clip in the Source Monitor. Navigate in a sequence. Position the playhead in Timeline panel To position the playhead in the timeline panel, do any of the following:.

In the time ruler, drag the playhead or click where you want to position the playhead. Drag in the Playhead Position. Use any playback control in the Program Monitor. To move the playhead in the direction you want, press the Left Arrow or Right Arrow key. Shift while pressing the arrow keys to move in increments of five frames.

Move the playhead using timecode To move to playhead using timecode, click the timecode value in the Playhead Position. Omit leading zeros. For example, 0;0;12;3 becomes 00;00;12; Enter values that exceed the normal values. For example, with fps timecode, where the playhead is at 00;00;12; If you want to move 10 frames ahead, you can change the frame number to 00;00;12; The playhead moves to 00;00;13; A plus sign or minus sign before a number moves the playhead ahead or back a specified number of frames.

Add a period. A period before a number specifies an exact frame number, rather than its timecode value. For example,. Snap to clip edges and markers To snap to clip edges and markers, shift-drag the playhead in a Timeline panel. Zoom into or out of a sequence in timeline panel To zoom into or out of a sequence in the timeline, do one of the following:. To zoom out, press -. To zoom in, select the zoom tool. Click or drag a marquee selection around the part of the sequence you want to see in more detail.

Use the zoom scroll bar. To zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. You can pinch to zoom the Multi-Touch trackpad to zoom in and out of the sequence. To zoom in to the view you had before pressing the backslash key, press the backslash key again. Scroll horizontally in a sequence in timeline panel When you have a long sequence of clips, many of them are out of view.

Scroll the mouse wheel. Use the Page Up key to move left and the Page Down key to move right. Drag the zoom scroll bar at the bottom of the Timeline panel left or right. On Apple MacBook Pro computers, move two fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally. Scroll vertically in a sequence in timeline panel When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view.

In the right of the Timeline panel drag up or down in the scroll bar. On Apple MacBook Pro computers, move two fingers vertically on the Multi-Touch trackpad to navigate the sequence vertically.

Work with tracks. Add tracks. In the Add Tracks dialog box, do any of the following:. To add the number of tracks you want, enter a number in the Add field for video, audio, and audio submix tracks. To specify the placement of added tracks, choose an option from the Placement menu for each type of track added. To specify the type of audio or submix track you want to add, choose an option from the Track Type menu.

For more about audio channel types, see Audio tracks in a sequence. Add tracks dialog box. Click OK. Delete tracks. You can delete one or more tracks at a time, whether video or audio. In the Delete Tracks dialog box, check the box for each type of track you want to delete. Delete Tracks dialog box. For each checked item, specify which tracks you want to delete in its menu. Rename a track. To rename a track, do the following:.

Sync Lock to prevent changes. Do one of the following:. To enable Sync Lock for selected tracks, click the Toggle Syn Lock icon at the head of each video and audio track you want to lock. Sync Lock for a selected track. To enable Sync Lock for all tracks of a particular type video or audio , Shift-click the Toggle Sync Lock icon at the head of any track of that type. Sync Lock for tracks of a particular type.

Track Lock to prevent changes. To enable Track Lock for selected tracks, click the Toggle Track Lock icon at the head of each video and audio track. Track Lock for a selected track.

To enable Track Lock for all tracks of a particular type video or audio , Shift-click the Toggle Track Lock box at the head of any track of that type. Track Lock for tracks of a particular type. Exclude tracks in a sequence. Tint wheels. Set track display. Expand and resize a track. Collapsed tracks always appear at the same height and cannot be resized.

Resize the track header section. Resize track header. Set the display style of a track. Expand the track by double clicking on it. Timeline display settings. Create a sequence. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider. Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window.

In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence. Here you’ll see where you can change any specific option for this 4K preset.

I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name. Step 4 : Make sure to rename your sequence at the bottom. I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window.

This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different. Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with. If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences.

Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner. Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box.

Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there. You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly. Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in. Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘.

Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings. We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project. Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project.

Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window. Step 4 : You can now name your new preset and add any other descriptive words as needed. You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro.

Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures! The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it. Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time.

Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag. I love having a pancake lens. It’s my go-to around the house and travel lens. Here’s my favorite and why. Email address:. Your email address will not be published.

Premiere Pro comes with several categories of sequence settings presets installed, like the following:. These sequence settings presets contain the correct settings for the most typical sequence types. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want.

Then move the contents of the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters. However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence.

To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence. After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings. Asset parameters include the following:.

You can use the Properties panel to discover many of these parameters for your assets. For more information, see Viewing clip properties. Assets can use codecs not supported natively by Premiere Pro. Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system. To customize most sequence settings, you must start a new sequence, select an existing preset, and change its settings.

Note: Every editing mode does not support every possible frame rate. To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card.

Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab. You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed. In the Project panel, right-click a sequence, and select Sequence Settings. Select the desired settings.

For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project.

Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback.

Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card. The editing mode does not determine the format of your final movie.

Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit.

This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately. Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here. Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences.

This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software.

If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files.

Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences.

Selecting this option often renders moving assets more sharply. At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.

For more information, see Optimize rendering for available memory. Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Note: Save and name your sequence settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings. Note: Some sequence presets have only one file format and codec choice. To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets.

These use horizontal pixels with pixel aspect ratios of 1. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage. For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more information about creating custom sequence presets, see Create a custom sequence preset.

For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage. For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help.

For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files.

Both these uncompressed formats do subsample video files at YUV. Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression. And hence retain much higher color depth in the previews than the compressed formats.

Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1. Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats. Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage.

This footage emulates film in its picture quality and depiction of movement. The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields. Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence.

Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes. From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage. Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. Duplicates frames where necessary to maintain This option uses fewer CPU resources. Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources.

By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation.

Note: You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.

Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look. When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in fps non-drop-frame timecode. If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count.

When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices. Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices.

A single project can contain multiple sequences with different settings. You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created. To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use.

The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area. Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking.

Legal Notices Online Privacy Policy. Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences.

Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences. Timeline panels. Open a sequence in a Timeline panel. Open extra Timeline panels. Navigation controls in timeline. A Timeline panel contains several controls for moving through the frames of a sequence.

Navigation controls. Time ruler Time ruler measures sequences time horizontally. Work area bar Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. Playhead Position Playhead position shows the timecode for the current frame in a Timeline panel. Zoom scroll bar Zoom scroll bar is at the bottom of the Timeline panel. Important notes. Expanding the bar to its maximum width reveals the entire duration of the time ruler.

Contracting the bar, zooms in for a more detailed view of the ruler. Expanding and contracting the bar is centered on the playhead. By positioning the mouse over the bar, you can scroll the mouse wheel to expand and contract the bar.

By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag the bar, you are not moving the playhead. However, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. Gestures for macOS are supported for the zoom scroll bar. Source track indicator Source track indicator represents a video or audio track of the clip in the Source Monitor.

Navigate in a sequence. Position the playhead in Timeline panel To position the playhead in the timeline panel, do any of the following:. In the time ruler, drag the playhead or click where you want to position the playhead. Drag in the Playhead Position. Use any playback control in the Program Monitor. To move the playhead in the direction you want, press the Left Arrow or Right Arrow key.

Shift while pressing the arrow keys to move in increments of five frames. Move the playhead using timecode To move to playhead using timecode, click the timecode value in the Playhead Position. Omit leading zeros. For example, 0;0;12;3 becomes 00;00;12; Enter values that exceed the normal values. For example, with fps timecode, where the playhead is at 00;00;12; If you want to move 10 frames ahead, you can change the frame number to 00;00;12; The playhead moves to 00;00;13; A plus sign or minus sign before a number moves the playhead ahead or back a specified number of frames.

Add a period. A period before a number specifies an exact frame number, rather than its timecode value. For example,. Snap to clip edges and markers To snap to clip edges and markers, shift-drag the playhead in a Timeline panel. Zoom into or out of a sequence in timeline panel To zoom into or out of a sequence in the timeline, do one of the following:. To zoom out, press -. To zoom in, select the zoom tool. Click or drag a marquee selection around the part of the sequence you want to see in more detail.

Use the zoom scroll bar. To zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. You can pinch to zoom the Multi-Touch trackpad to zoom in and out of the sequence. To zoom in to the view you had before pressing the backslash key, press the backslash key again. Scroll horizontally in a sequence in timeline panel When you have a long sequence of clips, many of them are out of view.

Scroll the mouse wheel. Use the Page Up key to move left and the Page Down key to move right. Drag the zoom scroll bar at the bottom of the Timeline panel left or right. On Apple MacBook Pro computers, move two fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally.

Scroll vertically in a sequence in timeline panel When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view. In the right of the Timeline panel drag up or down in the scroll bar. On Apple MacBook Pro computers, move two fingers vertically on the Multi-Touch trackpad to navigate the sequence vertically. Work with tracks. Add tracks. In the Add Tracks dialog box, do any of the following:.

To add the number of tracks you want, enter a number in the Add field for video, audio, and audio submix tracks. To specify the placement of added tracks, choose an option from the Placement menu for each type of track added. To specify the type of audio or submix track you want to add, choose an option from the Track Type menu.

For more about audio channel types, see Audio tracks in a sequence. Add tracks dialog box. Click OK. Delete tracks. You can delete one or more tracks at a time, whether video or audio. In the Delete Tracks dialog box, check the box for each type of track you want to delete. Delete Tracks dialog box. For each checked item, specify which tracks you want to delete in its menu.

Rename a track. To rename a track, do the following:. Sync Lock to prevent changes. Do one of the following:. To enable Sync Lock for selected tracks, click the Toggle Syn Lock icon at the head of each video and audio track you want to lock.

Sync Lock for a selected track. To enable Sync Lock for all tracks of a particular type video or audio , Shift-click the Toggle Sync Lock icon at the head of any track of that type. Sync Lock for tracks of a particular type. Track Lock to prevent changes.

To enable Track Lock for selected tracks, click the Toggle Track Lock icon at the head of each video and audio track. Track Lock for a selected track. To enable Track Lock for all tracks of a particular type video or audio , Shift-click the Toggle Track Lock box at the head of any track of that type. Track Lock for tracks of a particular type. Exclude tracks in a sequence. Tint wheels.

Set track display. Expand and resize a track. Collapsed tracks always appear at the same height and cannot be resized. Resize the track header section. Resize track header. Set the display style of a track. Expand the track by double clicking on it. Timeline display settings. Create a sequence. There are three main areas of settings that matter to us: resolution, dimensions, and frame rate. Before you can answer that question, you need to know exactly what settings you’ll want your output video to be.

We want to match our sequence settings to the settings of our final exported video. Regardless of the settings your footage was shot in, you’ll want to set your sequence to match the settings that you’d like for your final video. Then we can tweak the footage to fit our settings in the sequence as we edit. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider.

Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window. In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence.

Here you’ll see where you can change any specific option for this 4K preset. I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name. Step 4 : Make sure to rename your sequence at the bottom.

I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different.

Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with. If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences.

Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner.

Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box. Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there.

You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly. Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in.

Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘. Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings. We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project.

Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window.

Step 4 : You can now name your new preset and add any other descriptive words as needed. You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro. Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing.

This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures! The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it. Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time. Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag.

Oct 03,  · Premiere Pro will then reload all of the Sequence Settings. Find the Custom folder, and select your preset. Name the sequence and click OK. You’re now ready to edit. Part 4: Working With Multiple Sequence Settings. Some projects might need multiple sequence settings, especially if you want to export in different replace.meted Reading Time: 6 mins. Nov 27,  · Hi i have a new GoPro6 and i’m on finding out, how can i make the videos bether. In any YouTube Videos i see the Presets for GoPro’s but not by me. I have – Mar 18,  · You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings.

Premiere Pro allows you to specify the settings for each sequence, trim clips, and assemble clips in sequences. Every Premiere Pro project can contain one or more sequences, and each sequence in a project can have different settings.

You can assemble and rearrange sequences in one or more Timeline panels, where their clips, transitions, and effects are represented graphically. A sequence can consist of multiple video and audio tracks running parallel in a Timeline panel. Multiple tracks are used to superimpose or mix clips. A sequence must contain at least one video track and one audio track. Sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing.

Multiple audio tracks are used to mix audio. A single Timeline panel appears in a frame in the lower central portion of the screen when you launch Premiere Pro. You can open any of its default workspaces, or create a project. You can remove all sequences from a Timeline panel, or add multiple sequences to it. Each sequence appears as a tab within that Timeline panel. You can also open multiple Timeline panels, each within its own frame, with each containing any number of sequences. You can show or hide items by selecting, or deselecting them in the Timeline panel menu.

These items include: time ruler numbers, and the work area bar. To open a new sequence in a timeline panel, double click the sequence in the Project Panel. The sequence opens in a new tab in the Timeline panel. You can open more than one Timeline panel if you have more than one sequence in a project. When you open a sequence, it opens in a new tab. Drag the tab into another docking area. The sequence appears in a new timeline. Time ruler measures sequences time horizontally.

Numbers indicate that the sequence time is displayed along the ruler from left to right. They change according to the level of detail at which you view the sequence. By default, these numbers are based on the timecode display style specified in the Display Format field of the Sequence Settings dialog box. Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. The work area bar is located in the lower portion of the time ruler.

The work area bar is not available by default. To activate it, click the three stacked lines next to the sequence name and choose Work Area Bar from the drop-down list. You can drag the edges of the work area bar, or use keyboard shortcuts to set the work area in a sequence. For details, see Define the work area for rendering. The current frame displays in the Program Monitor. The playhead is a blue triangle on the ruler.

A vertical line extends from the playhead to the bottom of the time ruler. You can change the current time by dragging the playhead.

Playhead position shows the timecode for the current frame in a Timeline panel. To move to a different time, click in the Playhead position and enter a new time.

You can also place the pointer over the display and drag left or right. You can change the display between timecode and the simple frame count. Zoom scroll bar is at the bottom of the Timeline panel. This bar corresponds with the visible area of the time ruler in the Timeline. The Source Monitor and Program Monitor also have zoom scroll bars.

You can drag the handles to change the width of the bar and change the scale of the time ruler. Source track indicator represents a video or audio track of the clip in the Source Monitor. Place into the head of the Timeline track where you want to insert or overwrite the source clip track. To move to playhead using timecode, click the timecode value in the Playhead Position.

Do not use the number pad on macOS. You can use any of the following shortcuts when entering timecode:. Note: You can also position the Selection tool over the timecode value and drag to the left or right. The farther you drag, the more quickly the timecode changes. When you have a long sequence of clips, many of them are out of view. If a clip is out of view, scroll horizontally in your sequence in the Timeline panel.

For each of these commands, the Timeline panel need not be selected, however, your mouse must hover over the Timeline panel. When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view.

If a clip is out of view, scroll vertically in your sequence in the Timeline. Do one of the following to scroll vertically in a sequence in the Timeline. You can arrange, edit and, add special effects to clips in the video and audio tracks of the Timeline panel. You can add or remove tracks as needed, rename them, and determine which to affect by a procedure. New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks.

Deleting a track removes all clips in the track but does not affect source clips listed in the Project panel. You can add a track as you add a clip to the sequence. See Add a track while adding a clip. With the Timeline panel active, right click the track and select Add Track from the drop-down list. The Add Tracks dialog box opens.

Note: An audio track can accept only audio clips that use the matching channel type—mono, stereo, or 5. With the Timeline panel active, right click the track and select Delete Track from the drop-down list. The Delete Tracks dialog box opens. By enabling Sync Lock on tracks, you can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple trim.

If a clip is part of an operation, the track shifts regardless of their sync-lock state. The other tracks shift their clip content to the right only if their sync lock is enabled.

The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks. To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon. Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In a Timeline panel, a pattern of slashes appears over a locked track.

Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence. If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target track, it is no longer the target. Source clips cannot be added to the track until you unlock it and target it again.

Note: You can lock a track to prevent it from shifting when you perform insert edits. You can exclude video or audio clips in any track from previews and export. Clips in excluded video tracks appear as black video in the Program Monitor and in output files. Clips in excluded audio tracks are not output to the Audio Mixer, to the speakers, or to output files.

Adjust the tint values in the shadows and highlights using the Shadow Tint and Highlight Tint wheels. Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the middle of the wheel and drag the cursor to fill in the wheels.

Click to hide the Eye icon for video or the Mute icon for audio at the left edge of the track. Each icon is a toggle switch.

Click its box again to display the icon and include the track. Note: Excluding a track with the Eye icon does not exclude it from outputs. If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video appears before or after the last clips in the non-excluded tracks.

To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box. To exclude all video or all audio tracks, Shift-click to hide the Eye icon for video or the Speaker icon for audio. It excludes all tracks of the same type. Shift-click its box again to display all the icons and include the tracks.

You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track. You can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type. You can expand a track to display track controls. Increase the height of a track to better see icons and keyframes or to display larger views of video track thumbnails and audio track waveforms.

To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon appears. Then drag up or down to resize the track below for video or the track above for audio. Note: You can expand an audio track to use the audio fade line for either individual clips in that track or for the entire audio track. To resize the track header section, position the pointer over the right edge of the track header so that the resize icon appears.

Then drag the right edge. The icons at the top of the track header limit its minimum width. The maximum width is about twice the minimum width. To customize the style of the video track, click Timeline Display Settings, the wrench tool on the timeline panel. Note: For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs. You can create a sequence by dragging the asset to the New Item button at the bottom of the Project panel. You can also create a sequence by using a sequence preset.

The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings. Instead, change your export settings later. Note: When a merged clip is used to create a Sequence from Clip, there are empty stereo audio tracks, depending on the media format.

You can delete the empty stereo audio tracks if you want. You can create a sequence from a selected clip which matches its attributes by doing the following:. The sequence settings must be correct when you create the sequence. Sequence settings like timebase are locked once the sequence is created. It prevents unwanted inconsistencies that could result from changing sequence settings later.

When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence setting preset. If you want full control over almost all the sequence parameters, start a new sequence and customize its settings. Creating a sequence opens the New Sequence dialog box. Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed, like the following:.

These sequence settings presets contain the correct settings for the most typical sequence types. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then move the contents of the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters.

However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence. To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence. After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings.

Asset parameters include the following:. You can use the Properties panel to discover many of these parameters for your assets. For more information, see Viewing clip properties. Assets can use codecs not supported natively by Premiere Pro.

Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system. To customize most sequence settings, you must start a new sequence, select an existing preset, and change its settings.

Note: Every editing mode does not support every possible frame rate. To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card.

Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab.

You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed. In the Project panel, right-click a sequence, and select Sequence Settings. Select the desired settings. For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project.

Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card. The editing mode does not determine the format of your final movie.

Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately. Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback.

If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here. Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences.

This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth.

Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files. Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply.

At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening. For more information, see Optimize rendering for available memory. Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings.

Note: Save and name your sequence settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings.

Note: Some sequence presets have only one file format and codec choice. To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets. These use horizontal pixels with pixel aspect ratios of 1. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage.

For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage.

For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help. For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files.

Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files. Both these uncompressed formats do subsample video files at YUV.

Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression.

And hence retain much higher color depth in the previews than the compressed formats. Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1. Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats.

Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage. This footage emulates film in its picture quality and depiction of movement.

The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields. Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes.

From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage.

Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different.

Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with.

If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences. Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner.

Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box. Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there. You can either leave it in place if you want, or you can delete it.

Either way, your sequence has been set up perfectly. Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in.

Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘. Step 7: Let’s rename our sequence.

Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings. We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project. Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window.

Step 4 : You can now name your new preset and add any other descriptive words as needed. You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro.

Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures!

The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it. Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time.

Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag. I love having a pancake lens. It’s my go-to around the house and travel lens. Here’s my favorite and why. Email address:. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website.

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I hope you’ll learn something new and share your creativity here. No Comments.

 

Need GoPro Presets for Premiere Pro CS6 LOCKED, DU – Adobe Support Community – .

 

With the Timeline panel active, right click the track and select Delete Track from the drop-down list. The Delete Tracks dialog box opens. By enabling Sync Lock on tracks, you can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple trim. If a clip is part of an operation, the track shifts regardless of their sync-lock state. The other tracks shift their clip content to the right only if their sync lock is enabled.

The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks. To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon. Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In a Timeline panel, a pattern of slashes appears over a locked track.

Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence. If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target track, it is no longer the target.

Source clips cannot be added to the track until you unlock it and target it again. Note: You can lock a track to prevent it from shifting when you perform insert edits. You can exclude video or audio clips in any track from previews and export. Clips in excluded video tracks appear as black video in the Program Monitor and in output files. Clips in excluded audio tracks are not output to the Audio Mixer, to the speakers, or to output files.

Adjust the tint values in the shadows and highlights using the Shadow Tint and Highlight Tint wheels. Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the middle of the wheel and drag the cursor to fill in the wheels. Click to hide the Eye icon for video or the Mute icon for audio at the left edge of the track.

Each icon is a toggle switch. Click its box again to display the icon and include the track. Note: Excluding a track with the Eye icon does not exclude it from outputs. If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video appears before or after the last clips in the non-excluded tracks. To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box. To exclude all video or all audio tracks, Shift-click to hide the Eye icon for video or the Speaker icon for audio.

It excludes all tracks of the same type. Shift-click its box again to display all the icons and include the tracks. You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track.

You can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type. You can expand a track to display track controls.

Increase the height of a track to better see icons and keyframes or to display larger views of video track thumbnails and audio track waveforms. To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon appears. Then drag up or down to resize the track below for video or the track above for audio. Note: You can expand an audio track to use the audio fade line for either individual clips in that track or for the entire audio track.

To resize the track header section, position the pointer over the right edge of the track header so that the resize icon appears. Then drag the right edge. The icons at the top of the track header limit its minimum width.

The maximum width is about twice the minimum width. To customize the style of the video track, click Timeline Display Settings, the wrench tool on the timeline panel.

Note: For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs. You can create a sequence by dragging the asset to the New Item button at the bottom of the Project panel.

You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets.

For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings. Instead, change your export settings later. Note: When a merged clip is used to create a Sequence from Clip, there are empty stereo audio tracks, depending on the media format.

You can delete the empty stereo audio tracks if you want. You can create a sequence from a selected clip which matches its attributes by doing the following:. The sequence settings must be correct when you create the sequence. Sequence settings like timebase are locked once the sequence is created. It prevents unwanted inconsistencies that could result from changing sequence settings later.

When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence setting preset. If you want full control over almost all the sequence parameters, start a new sequence and customize its settings.

Creating a sequence opens the New Sequence dialog box. Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed, like the following:.

These sequence settings presets contain the correct settings for the most typical sequence types. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then move the contents of the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters.

However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence. To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence. After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings.

Asset parameters include the following:. You can use the Properties panel to discover many of these parameters for your assets. For more information, see Viewing clip properties. Assets can use codecs not supported natively by Premiere Pro. Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system. To customize most sequence settings, you must start a new sequence, select an existing preset, and change its settings.

Note: Every editing mode does not support every possible frame rate. To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card. Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab.

You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed. In the Project panel, right-click a sequence, and select Sequence Settings.

Select the desired settings. For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project.

Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card.

The editing mode does not determine the format of your final movie. Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately.

Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here.

Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences. This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software.

If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth.

Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files. Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats.

Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply. At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality.

Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening. For more information, see Optimize rendering for available memory. Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Note: Save and name your sequence settings even if you plan to use them in only one project.

Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings. Note: Some sequence presets have only one file format and codec choice. To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets.

These use horizontal pixels with pixel aspect ratios of 1. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage. For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence.

Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage.

For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help. For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files.

Both these uncompressed formats do subsample video files at YUV. Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression. And hence retain much higher color depth in the previews than the compressed formats.

Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1. Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats. Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage. This footage emulates film in its picture quality and depiction of movement.

The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields. Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes.

From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage. Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. Duplicates frames where necessary to maintain This option uses fewer CPU resources.

Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources. By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. Note: You can apply any of few third-party film-look plug-in effects to the master sequence.

These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks. Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look. When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps.

However, the camera records and logs 24p footage in fps non-drop-frame timecode. If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices.

Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices. A single project can contain multiple sequences with different settings.

You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created. To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use. The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area.

Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking. Legal Notices Online Privacy Policy. Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences.

Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences. Timeline panels. Open a sequence in a Timeline panel. Open extra Timeline panels.

Navigation controls in timeline. A Timeline panel contains several controls for moving through the frames of a sequence.

Navigation controls. Time ruler Time ruler measures sequences time horizontally. Work area bar Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. Playhead Position Playhead position shows the timecode for the current frame in a Timeline panel. Zoom scroll bar Zoom scroll bar is at the bottom of the Timeline panel.

Important notes. Expanding the bar to its maximum width reveals the entire duration of the time ruler. Contracting the bar, zooms in for a more detailed view of the ruler. Expanding and contracting the bar is centered on the playhead. By positioning the mouse over the bar, you can scroll the mouse wheel to expand and contract the bar.

By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag the bar, you are not moving the playhead. However, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. Gestures for macOS are supported for the zoom scroll bar. Source track indicator Source track indicator represents a video or audio track of the clip in the Source Monitor.

Navigate in a sequence. Position the playhead in Timeline panel To position the playhead in the timeline panel, do any of the following:. In the time ruler, drag the playhead or click where you want to position the playhead.

Drag in the Playhead Position. Use any playback control in the Program Monitor. To move the playhead in the direction you want, press the Left Arrow or Right Arrow key. Shift while pressing the arrow keys to move in increments of five frames. Move the playhead using timecode To move to playhead using timecode, click the timecode value in the Playhead Position.

Omit leading zeros. For example, 0;0;12;3 becomes 00;00;12; Enter values that exceed the normal values. For example, with fps timecode, where the playhead is at 00;00;12; If you want to move 10 frames ahead, you can change the frame number to 00;00;12; Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window.

In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence. Here you’ll see where you can change any specific option for this 4K preset. I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name. Step 4 : Make sure to rename your sequence at the bottom. I like to begin with ‘Master – Project Name’, but it’s completely up to you.

Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different. Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with.

If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences. Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first.

Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner. Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box.

Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there. You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly.

Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in. Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘.

Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings. We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project.

Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window.

Step 4 : You can now name your new preset and add any other descriptive words as needed. You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro. Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor.

Sharing my exact folder structures! The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it. Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time. Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag.

I love having a pancake lens. It’s my go-to around the house and travel lens. Here’s my favorite and why. Email address:. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.

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To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card. Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab.

You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed. In the Project panel, right-click a sequence, and select Sequence Settings.

Select the desired settings. For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence. Choose settings that conform to the specifications for the type of output intended for your project. Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card.

The editing mode does not determine the format of your final movie. Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately. Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback.

If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here. Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences.

This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth.

Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files. Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences.

Selecting this option often renders moving assets more sharply. At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality.

Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.

For more information, see Optimize rendering for available memory. Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Note: Save and name your sequence settings even if you plan to use them in only one project.

Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings. Note: Some sequence presets have only one file format and codec choice. To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets. These use horizontal pixels with pixel aspect ratios of 1. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage.

For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage.

For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help. For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files.

Both these uncompressed formats do subsample video files at YUV. Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression.

And hence retain much higher color depth in the previews than the compressed formats. Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1.

Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats. Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage.

This footage emulates film in its picture quality and depiction of movement. The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields. Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes.

From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage. Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. Duplicates frames where necessary to maintain This option uses fewer CPU resources. Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources.

By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. Note: You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.

Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look.

When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in fps non-drop-frame timecode.

If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices.

Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices. A single project can contain multiple sequences with different settings. You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created. To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use.

The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area. Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking.

Legal Notices Online Privacy Policy. Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences. Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences.

Timeline panels. Open a sequence in a Timeline panel. Open extra Timeline panels. Navigation controls in timeline. A Timeline panel contains several controls for moving through the frames of a sequence.

Navigation controls. Time ruler Time ruler measures sequences time horizontally. Work area bar Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. Playhead Position Playhead position shows the timecode for the current frame in a Timeline panel.

Zoom scroll bar Zoom scroll bar is at the bottom of the Timeline panel. Important notes. Expanding the bar to its maximum width reveals the entire duration of the time ruler. Contracting the bar, zooms in for a more detailed view of the ruler. Expanding and contracting the bar is centered on the playhead.

By positioning the mouse over the bar, you can scroll the mouse wheel to expand and contract the bar. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag the bar, you are not moving the playhead.

However, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. Gestures for macOS are supported for the zoom scroll bar. Source track indicator Source track indicator represents a video or audio track of the clip in the Source Monitor.

Navigate in a sequence. Position the playhead in Timeline panel To position the playhead in the timeline panel, do any of the following:. In the time ruler, drag the playhead or click where you want to position the playhead.

Drag in the Playhead Position. Use any playback control in the Program Monitor. To move the playhead in the direction you want, press the Left Arrow or Right Arrow key. Shift while pressing the arrow keys to move in increments of five frames. Move the playhead using timecode To move to playhead using timecode, click the timecode value in the Playhead Position. Omit leading zeros. For example, 0;0;12;3 becomes 00;00;12; Enter values that exceed the normal values.

For example, with fps timecode, where the playhead is at 00;00;12; If you want to move 10 frames ahead, you can change the frame number to 00;00;12; The playhead moves to 00;00;13; A plus sign or minus sign before a number moves the playhead ahead or back a specified number of frames.

Add a period. A period before a number specifies an exact frame number, rather than its timecode value. For example,. Snap to clip edges and markers To snap to clip edges and markers, shift-drag the playhead in a Timeline panel. Zoom into or out of a sequence in timeline panel To zoom into or out of a sequence in the timeline, do one of the following:. To zoom out, press -. To zoom in, select the zoom tool. Click or drag a marquee selection around the part of the sequence you want to see in more detail.

Use the zoom scroll bar. To zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. You can pinch to zoom the Multi-Touch trackpad to zoom in and out of the sequence.

To zoom in to the view you had before pressing the backslash key, press the backslash key again. Scroll horizontally in a sequence in timeline panel When you have a long sequence of clips, many of them are out of view.

Scroll the mouse wheel. Use the Page Up key to move left and the Page Down key to move right. Drag the zoom scroll bar at the bottom of the Timeline panel left or right.

On Apple MacBook Pro computers, move two fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally. Scroll vertically in a sequence in timeline panel When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view. In the right of the Timeline panel drag up or down in the scroll bar. On Apple MacBook Pro computers, move two fingers vertically on the Multi-Touch trackpad to navigate the sequence vertically.

Work with tracks. Add tracks. In the Add Tracks dialog box, do any of the following:. To add the number of tracks you want, enter a number in the Add field for video, audio, and audio submix tracks. To specify the placement of added tracks, choose an option from the Placement menu for each type of track added.

To specify the type of audio or submix track you want to add, choose an option from the Track Type menu. For more about audio channel types, see Audio tracks in a sequence.

Add tracks dialog box. Click OK. Delete tracks. You can delete one or more tracks at a time, whether video or audio. In the Delete Tracks dialog box, check the box for each type of track you want to delete. Delete Tracks dialog box. For each checked item, specify which tracks you want to delete in its menu. Rename a track. To rename a track, do the following:.

Sync Lock to prevent changes. Do one of the following:. To enable Sync Lock for selected tracks, click the Toggle Syn Lock icon at the head of each video and audio track you want to lock. Sync Lock for a selected track. To enable Sync Lock for all tracks of a particular type video or audio , Shift-click the Toggle Sync Lock icon at the head of any track of that type.

Sync Lock for tracks of a particular type. Track Lock to prevent changes. To enable Track Lock for selected tracks, click the Toggle Track Lock icon at the head of each video and audio track. Track Lock for a selected track. To enable Track Lock for all tracks of a particular type video or audio , Shift-click the Toggle Track Lock box at the head of any track of that type. Track Lock for tracks of a particular type. Exclude tracks in a sequence.

Tint wheels. Set track display. Expand and resize a track. Collapsed tracks always appear at the same height and cannot be resized. Resize the track header section. Resize track header. Set the display style of a track. Expand the track by double clicking on it. Timeline display settings. Create a sequence. Viewing time: 58 seconds. Sequence presets and settings. Sequence Presets options.

Selecting a sequence preset. Create a custom sequence preset. New Sequence dialog box. Name the preset and add a description. Click OK to save the preset. Change sequence settings. Sequence settings. Editing Mode Editing mode determines the video format used for preview files and playback. Timebase Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. Video Frame Size Frame size specifies the dimensions, in pixels, for frames when you play back sequences.

In most cases, the frame size of your project matches the frame size of your source files. Do not change the frame size to compensate for slow playback.

Instead, choose a different quality setting from the Project panel menu. Alternatively, you can adjust the frame size of final output by changing export settings. Which settings will you choose? What if you don’t find exactly which sequence matches your camera? Or what if you aren’t even sure which one matches? What are the best options for YouTube videos, large presentations, social media, or the myriad of other options?

In today’s post we are covering everything you need to know about sequence settings in Premiere Pro, so you’ll be able to pick exactly the best settings for each and every project you create. If you don’t have a copy of Premiere Pro yet, you can try it out for free here. Before we get too far into the weeds, it’s important that you know exactly what a sequence is so you’ll be able to make the best decisions in regard to how you want to set up your own project sequences.

A sequence in Premiere Pro is simply a visual assembly of your audio and video clips that you’ll arrange in any order you like within the Timeline Panel.

Getting the settings correct for your sequence will determine the size, dimensions, resolution, and more for your final video. Your video and audio clips can sit side by side in a sequence or they can overlap and stack on top of multiple layers in a sequence. You can create multiple sequences for each project and customize the settings for each of these sequences. Premiere Pro is also smart enough to match the exact settings of your existing footage if you aren’t sure – I’ll show you how in a minute.

It’s the easiest and most straightforward. Use it when you know your footage settings will match your final video settings. If you want to see all the options available to your new sequence so you can manually adjust any settings. It gives you full control over your settings if you want to make any adjustments or create a new sequence setting preset.

It’s the easiest and will automatically create a sequence that matches the settings of the footage you drag into the box. While creating your new sequence, you may have noticed the following sequence settings window pop open. If you didn’t, that simply means that Premiere Pro matched the settings of the footage you dragged into your timeline to create your sequence.

Ninety percent of the time, the easiest method is to allow Premiere Pro to match your sequence settings to your existing footage and not worry about the gritty details in this first window. Unless you have a specific setting in mind or you’re having some other issue that you’re trying to solve, you can simply skip down to the next section to learn about how to do this. In that case, let’s cover all the options in this window and narrow down exactly what is best for your video project. There are three main areas of settings that matter to us: resolution, dimensions, and frame rate.

Before you can answer that question, you need to know exactly what settings you’ll want your output video to be. We want to match our sequence settings to the settings of our final exported video. Regardless of the settings your footage was shot in, you’ll want to set your sequence to match the settings that you’d like for your final video.

Then we can tweak the footage to fit our settings in the sequence as we edit. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider. Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window.

In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence. Here you’ll see where you can change any specific option for this 4K preset. I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name.

Step 4 : Make sure to rename your sequence at the bottom. I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go.

If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different. Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like.

Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with. If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences.

Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner. Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box.

A vertical line extends from the playhead to the bottom of the time ruler. You can change the current time by dragging the playhead. Playhead position shows the timecode for the current frame in a Timeline panel.

To move to a different time, click in the Playhead position and enter a new time. You can also place the pointer over the display and drag left or right.

You can change the display between timecode and the simple frame count. Zoom scroll bar is at the bottom of the Timeline panel. This bar corresponds with the visible area of the time ruler in the Timeline. The Source Monitor and Program Monitor also have zoom scroll bars. You can drag the handles to change the width of the bar and change the scale of the time ruler.

Source track indicator represents a video or audio track of the clip in the Source Monitor. Place into the head of the Timeline track where you want to insert or overwrite the source clip track. To move to playhead using timecode, click the timecode value in the Playhead Position. Do not use the number pad on macOS. You can use any of the following shortcuts when entering timecode:. Note: You can also position the Selection tool over the timecode value and drag to the left or right.

The farther you drag, the more quickly the timecode changes. When you have a long sequence of clips, many of them are out of view. If a clip is out of view, scroll horizontally in your sequence in the Timeline panel. For each of these commands, the Timeline panel need not be selected, however, your mouse must hover over the Timeline panel. When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view. If a clip is out of view, scroll vertically in your sequence in the Timeline.

Do one of the following to scroll vertically in a sequence in the Timeline. You can arrange, edit and, add special effects to clips in the video and audio tracks of the Timeline panel.

You can add or remove tracks as needed, rename them, and determine which to affect by a procedure. New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all clips in the track but does not affect source clips listed in the Project panel. You can add a track as you add a clip to the sequence.

See Add a track while adding a clip. With the Timeline panel active, right click the track and select Add Track from the drop-down list. The Add Tracks dialog box opens. Note: An audio track can accept only audio clips that use the matching channel type—mono, stereo, or 5. With the Timeline panel active, right click the track and select Delete Track from the drop-down list. The Delete Tracks dialog box opens. By enabling Sync Lock on tracks, you can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple trim.

If a clip is part of an operation, the track shifts regardless of their sync-lock state. The other tracks shift their clip content to the right only if their sync lock is enabled. The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks.

To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon. Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence.

In a Timeline panel, a pattern of slashes appears over a locked track. Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence.

If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target track, it is no longer the target.

Source clips cannot be added to the track until you unlock it and target it again. Note: You can lock a track to prevent it from shifting when you perform insert edits. You can exclude video or audio clips in any track from previews and export. Clips in excluded video tracks appear as black video in the Program Monitor and in output files.

Clips in excluded audio tracks are not output to the Audio Mixer, to the speakers, or to output files. Adjust the tint values in the shadows and highlights using the Shadow Tint and Highlight Tint wheels. Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the middle of the wheel and drag the cursor to fill in the wheels. Click to hide the Eye icon for video or the Mute icon for audio at the left edge of the track.

Each icon is a toggle switch. Click its box again to display the icon and include the track. Note: Excluding a track with the Eye icon does not exclude it from outputs. If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video appears before or after the last clips in the non-excluded tracks. To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box.

To exclude all video or all audio tracks, Shift-click to hide the Eye icon for video or the Speaker icon for audio. It excludes all tracks of the same type. Shift-click its box again to display all the icons and include the tracks. You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls.

Choosing from several display options, you can control how video and audio clips appear on a track. You can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type. You can expand a track to display track controls.

Increase the height of a track to better see icons and keyframes or to display larger views of video track thumbnails and audio track waveforms. To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon appears.

Then drag up or down to resize the track below for video or the track above for audio. Note: You can expand an audio track to use the audio fade line for either individual clips in that track or for the entire audio track. To resize the track header section, position the pointer over the right edge of the track header so that the resize icon appears.

Then drag the right edge. The icons at the top of the track header limit its minimum width. The maximum width is about twice the minimum width. To customize the style of the video track, click Timeline Display Settings, the wrench tool on the timeline panel. Note: For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs. You can create a sequence by dragging the asset to the New Item button at the bottom of the Project panel.

You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings. Instead, change your export settings later.

Note: When a merged clip is used to create a Sequence from Clip, there are empty stereo audio tracks, depending on the media format. You can delete the empty stereo audio tracks if you want. You can create a sequence from a selected clip which matches its attributes by doing the following:. The sequence settings must be correct when you create the sequence. Sequence settings like timebase are locked once the sequence is created.

It prevents unwanted inconsistencies that could result from changing sequence settings later. When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence setting preset.

If you want full control over almost all the sequence parameters, start a new sequence and customize its settings. Creating a sequence opens the New Sequence dialog box. Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed, like the following:.

These sequence settings presets contain the correct settings for the most typical sequence types. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then move the contents of the current sequence into it. A sequence can contain different types of assets, in different formats, and with various parameters. However, Premiere Pro performs best when the settings for a sequence match the parameters of most of the assets used in that sequence.

To optimize performance and reduce rendering times, find out the asset parameters for the primary assets you want to edit before creating a sequence. After learning the asset parameters, you can create a sequence with settings to match. Before capturing assets from a tape-based device, learn these parameters also, so that you can select the correct capture settings.

Asset parameters include the following:. You can use the Properties panel to discover many of these parameters for your assets. For more information, see Viewing clip properties. Assets can use codecs not supported natively by Premiere Pro. Often, you can edit these assets after installing the relevant codecs. However, beware of installing untested codecs that introduce severe problems with your computer system. To customize most sequence settings, you must start a new sequence, select an existing preset, and change its settings.

Note: Every editing mode does not support every possible frame rate. To create a custom preset with, for example, a Then, select In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture card. Note: If you create a custom sequence with Custom settings accessed in the Editing Mode drop-down list , you do not have to select a preset before clicking the Settings tab.

You can change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed. In the Project panel, right-click a sequence, and select Sequence Settings. Select the desired settings. For more information, see Settings. The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence.

Choose settings that conform to the specifications for the type of output intended for your project. Changing these settings arbitrarily often results in a loss of quality. Editing mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card.

The editing mode does not determine the format of your final movie. Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings. Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately.

Note: If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that require recalculation of each frame, Premiere Pro applies the codec that you choose here.

Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences. This setting is often not available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit color palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth.

Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files. Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats.

Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply. At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this option only on systems with enough RAM. Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening. For more information, see Optimize rendering for available memory.

Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Note: Save and name your sequence settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings to which you can revert in case someone accidentally alters the current sequence settings.

Note: Some sequence presets have only one file format and codec choice. To display and play back widescreen assets correctly, you must set your sequence settings to accommodate widescreen assets. These use horizontal pixels with pixel aspect ratios of 1. When creating a sequence for these formats, select the preset that best matches the specifications of your source footage. For HDV footage, create and save a custom preset with settings to match the settings of your footage.

For more information about creating custom sequence presets, see Create a custom sequence preset. For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. Then, select the General tab. Then, from the Timebase drop down list, select Note: In Windows, you can create a custom project preset for previewing uncompressed 10 bit or uncompressed 8-bit footage. For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help.

For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. Also, with Uncompressed bit YUV and high bit-depth color rendering Premiere Pro uses the color information in bit assets and up samples other assets in a sequence to generate bit preview files. Both these uncompressed formats do subsample video files at YUV.

Unlike the other file formats available for preview files, they do not then run the video data through a compressor. They are called uncompressed because they do not add this second layer of compression. And hence retain much higher color depth in the previews than the compressed formats. Therefore, uncompressed preview files can be quite a bit larger than compressed preview files. For example, x , Square Pixels 1. Optional Check the Maximum Bit Depth check box if your system supports 10 bit or greater formats.

Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage. This footage emulates film in its picture quality and depiction of movement. The 24p frame rate is very close to that of motion-picture film. Each frame is built from progressive lines not from interlaced half-frame fields.

Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes. From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage.

Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings. Duplicates frames where necessary to maintain This option uses fewer CPU resources. Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources. By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation.

Note: You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks. Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look.

When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in fps non-drop-frame timecode. If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices.

Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices.

A single project can contain multiple sequences with different settings. You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created.

To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use. The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area.

Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking. Legal Notices Online Privacy Policy. Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences.

Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences. Timeline panels. Unless you have a specific setting in mind or you’re having some other issue that you’re trying to solve, you can simply skip down to the next section to learn about how to do this. In that case, let’s cover all the options in this window and narrow down exactly what is best for your video project.

There are three main areas of settings that matter to us: resolution, dimensions, and frame rate. Before you can answer that question, you need to know exactly what settings you’ll want your output video to be.

We want to match our sequence settings to the settings of our final exported video. Regardless of the settings your footage was shot in, you’ll want to set your sequence to match the settings that you’d like for your final video.

Then we can tweak the footage to fit our settings in the sequence as we edit. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider. Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window.

In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence. Here you’ll see where you can change any specific option for this 4K preset.

I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name. Step 4 : Make sure to rename your sequence at the bottom.

I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go. If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different.

Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like. Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence. Here you’ll see where you can change any specific option for this HD preset.

Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with.

If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences.

Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner.

Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box. Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there.

You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly. Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in. Step 6: Get organized. Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘. Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence.

That’s it. We’ve created our new sequence that matches our footage settings. We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project. Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project.

Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window. Step 4 : You can now name your new preset and add any other descriptive words as needed. You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro.

Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures! The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it.

Nov 27,  · Hi i have a new GoPro6 and i’m on finding out, how can i make the videos bether. In any YouTube Videos i see the Presets for GoPro’s but not by me. I have – Oct 03,  · Premiere Pro will then reload all of the Sequence Settings. Find the Custom folder, and select your preset. Name the sequence and click OK. You’re now ready to edit. Part 4: Working With Multiple Sequence Settings. Some projects might need multiple sequence settings, especially if you want to export in different replace.meted Reading Time: 6 mins. Jan 13,  · Edit and correct GoPro video. What you’ll need. Get files. Sample footage to practice with (ZIP, 60 MB) Before you can edit your GoPro footage, you need to go out there and capture something. (I’ve provided sample footage at the link above so you can start right away.) Pay attention to your camera’s settings so you’ll capture optimal. Mar 18,  · You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings.

Затем, в отчаянии, он поднял над собой левую руку, чуть не задев по лицу пожилого человека. Камера выхватила исковерканные пальцы Танкадо, на одном из которых, освещенное ярким испанским солнцем, блеснуло золотое кольцо. Танкадо снова протянул руку.

Jan 13,  · Edit and correct GoPro video. What you’ll need. Get files. Sample footage to practice with (ZIP, 60 MB) Before you can edit your GoPro footage, you need to go out there and capture something. (I’ve provided sample footage at the link above so you can start right away.) Pay attention to your camera’s settings so you’ll capture optimal. Nov 23,  · 5 | How to Create a Custom Preset for Premiere Pro Sequence Settings. Step 1: Hit command-n (on mac) or control-n (on pc) to open up the sequence settings window. Step 2: On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you. Mar 18,  · You can also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more information, see Sequence presets and settings. Oct 03,  · Premiere Pro will then reload all of the Sequence Settings. Find the Custom folder, and select your preset. Name the sequence and click OK. You’re now ready to edit. Part 4: Working With Multiple Sequence Settings. Some projects might need multiple sequence settings, especially if you want to export in different replace.meted Reading Time: 6 mins.

 
 

Adobe premiere pro cs6 gopro sequence settings free download

 
 

Судьба в это утро не была благосклонна к Беккеру. Выбегая из собора в маленький дворик, он зацепился пиджаком за дверь, и плотная ткань резко заставила его остановиться, не сразу разорвавшись.

Он потерял равновесие, шатаясь, выскочил на слепящее солнце и прямо перед собой увидел лестницу. Перепрыгнув через веревку, он побежал по ступенькам, слишком поздно сообразив, куда ведет эта лестница.

Теперь Дэвид Беккер стоял в каменной клетке, с трудом переводя дыхание и ощущая жгучую боль в боку.

Самопроизвольный взрыв? – ужаснулась Соши.  – Господи Иисусе. – Ищите.

Nov 27,  · Hi i have a new GoPro6 and i’m on finding out, how can i make the videos bether. In any YouTube Videos i see the Presets for GoPro’s but not by me. I have – Oct 03,  · Premiere Pro will then reload all of the Sequence Settings. Find the Custom folder, and select your preset. Name the sequence and click OK. You’re now ready to edit. Part 4: Working With Multiple Sequence Settings. Some projects might need multiple sequence settings, especially if you want to export in different replace.meted Reading Time: 6 mins. Nov 23,  · 5 | How to Create a Custom Preset for Premiere Pro Sequence Settings. Step 1: Hit command-n (on mac) or control-n (on pc) to open up the sequence settings window. Step 2: On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you.

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Each frame is built from progressive lines not from interlaced half-frame fields. Both options convert 24p footage so that it plays back at You can select one of these options in the New Sequence settings when starting a new DVp sequence, or change it in an existing sequence. Note: Premiere Pro accepts 24p and Pa footage only from cameras using these pulldown schemes. From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage.

Note: If you capture 24p footage, Premiere Pro recognizes the footage as 24p and treats it regardless of your sequence settings.

Duplicates frames where necessary to maintain This option uses fewer CPU resources. Combines the frames in a telecine-like scheme to maintain This option produces smooth playback but uses more CPU resources.

By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. Note: You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.

Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look.

When you import 24p footage, Premiere Pro treats it as When you work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in fps non-drop-frame timecode. If you use fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as You can edit video for delivery to mobile phones, portable media players, and other portable devices.

Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices. A single project can contain multiple sequences with different settings.

You select settings for each sequence when you create it, but you can change some of these settings after a sequence is created. To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence you want to use. The sequence becomes the frontmost tab in both panels. To view a sequence in a separate Timeline panel, drag the Sequence tab away from the panel to an empty area.

Ctrl-drag Windows , or Command-drag macOS to prevent the panel from docking. Legal Notices Online Privacy Policy. Buy now. Create and change sequences Search. Adobe Premiere Pro User Guide. Select an article: Select an article:. On this page Timeline panels Navigation controls in timeline Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Create different types of sequences Using multiple sequences.

Applies to: Adobe Premiere Pro. Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences. Timeline panels. Open a sequence in a Timeline panel. Open extra Timeline panels. Navigation controls in timeline. A Timeline panel contains several controls for moving through the frames of a sequence.

Navigation controls. Time ruler Time ruler measures sequences time horizontally. Work area bar Work area bar specifies the area of the sequence that you want to render previews, or to define a region you plan to export. Playhead Position Playhead position shows the timecode for the current frame in a Timeline panel. Zoom scroll bar Zoom scroll bar is at the bottom of the Timeline panel. Important notes. Expanding the bar to its maximum width reveals the entire duration of the time ruler.

Contracting the bar, zooms in for a more detailed view of the ruler. Expanding and contracting the bar is centered on the playhead.

By positioning the mouse over the bar, you can scroll the mouse wheel to expand and contract the bar. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag the bar, you are not moving the playhead. However, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar.

Gestures for macOS are supported for the zoom scroll bar. Source track indicator Source track indicator represents a video or audio track of the clip in the Source Monitor. Navigate in a sequence. Position the playhead in Timeline panel To position the playhead in the timeline panel, do any of the following:. In the time ruler, drag the playhead or click where you want to position the playhead. Drag in the Playhead Position.

Use any playback control in the Program Monitor. To move the playhead in the direction you want, press the Left Arrow or Right Arrow key. Shift while pressing the arrow keys to move in increments of five frames. Move the playhead using timecode To move to playhead using timecode, click the timecode value in the Playhead Position.

Omit leading zeros. For example, 0;0;12;3 becomes 00;00;12; Enter values that exceed the normal values. For example, with fps timecode, where the playhead is at 00;00;12; If you want to move 10 frames ahead, you can change the frame number to 00;00;12; The playhead moves to 00;00;13; A plus sign or minus sign before a number moves the playhead ahead or back a specified number of frames.

Add a period. A period before a number specifies an exact frame number, rather than its timecode value. For example,. Snap to clip edges and markers To snap to clip edges and markers, shift-drag the playhead in a Timeline panel. Zoom into or out of a sequence in timeline panel To zoom into or out of a sequence in the timeline, do one of the following:.

To zoom out, press -. To zoom in, select the zoom tool. Click or drag a marquee selection around the part of the sequence you want to see in more detail. Use the zoom scroll bar.

To zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. You can pinch to zoom the Multi-Touch trackpad to zoom in and out of the sequence. To zoom in to the view you had before pressing the backslash key, press the backslash key again. Scroll horizontally in a sequence in timeline panel When you have a long sequence of clips, many of them are out of view. Scroll the mouse wheel. Use the Page Up key to move left and the Page Down key to move right.

Drag the zoom scroll bar at the bottom of the Timeline panel left or right. On Apple MacBook Pro computers, move two fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally. Scroll vertically in a sequence in timeline panel When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view.

In the right of the Timeline panel drag up or down in the scroll bar. On Apple MacBook Pro computers, move two fingers vertically on the Multi-Touch trackpad to navigate the sequence vertically. Work with tracks. Add tracks. In the Add Tracks dialog box, do any of the following:. To add the number of tracks you want, enter a number in the Add field for video, audio, and audio submix tracks.

To specify the placement of added tracks, choose an option from the Placement menu for each type of track added.

To specify the type of audio or submix track you want to add, choose an option from the Track Type menu. For more about audio channel types, see Audio tracks in a sequence. Add tracks dialog box. Click OK. Delete tracks. You can delete one or more tracks at a time, whether video or audio. In the Delete Tracks dialog box, check the box for each type of track you want to delete. Delete Tracks dialog box. For each checked item, specify which tracks you want to delete in its menu. Rename a track.

To rename a track, do the following:. Sync Lock to prevent changes. Do one of the following:. To enable Sync Lock for selected tracks, click the Toggle Syn Lock icon at the head of each video and audio track you want to lock.

Sync Lock for a selected track. To enable Sync Lock for all tracks of a particular type video or audio , Shift-click the Toggle Sync Lock icon at the head of any track of that type. Sync Lock for tracks of a particular type. Track Lock to prevent changes. To enable Track Lock for selected tracks, click the Toggle Track Lock icon at the head of each video and audio track.

Track Lock for a selected track. To enable Track Lock for all tracks of a particular type video or audio , Shift-click the Toggle Track Lock box at the head of any track of that type. Track Lock for tracks of a particular type. Exclude tracks in a sequence. Tint wheels. Set track display. Expand and resize a track. Collapsed tracks always appear at the same height and cannot be resized.

Resize the track header section. Resize track header. Set the display style of a track. Expand the track by double clicking on it. Timeline display settings. Create a sequence. Viewing time: 58 seconds. Sequence presets and settings. Sequence Presets options. Selecting a sequence preset. Create a custom sequence preset. New Sequence dialog box. Name the preset and add a description. Click OK to save the preset.

Change sequence settings. Sequence settings. Editing Mode Editing mode determines the video format used for preview files and playback. Timebase Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. Video Frame Size Frame size specifies the dimensions, in pixels, for frames when you play back sequences. In most cases, the frame size of your project matches the frame size of your source files.

Do not change the frame size to compensate for slow playback. Instead, choose a different quality setting from the Project panel menu. Alternatively, you can adjust the frame size of final output by changing export settings. The maximum frame size for a sequence is 10,x8, Scale motion effects proportionally when changing frame size This allows the user to scale the motion effect while changing sequences.

A very common film workflow involves sequences having black bars on the top and bottom. Project data like timecode or clip name are displayed in these black bars. When this information is not required, you can alter the sequence without damaging the clip. Pixel Aspect Ratio Pixel Aspect ratio sets the aspect ratio for individual pixels.

Choose Square Pixels for analog video, scanned images, and computer-generated graphics, or choose the format used by your source. If you use a pixel aspect ratio different from the pixel aspect ratio of your video, the video often gets rendered with distortion. Fields Fields specify the field order of a frame. If you work with progressive-scan video, select No Fields Progressive Scan.

Many capture cards capture fields regardless of whether the source footage was shot with progressive scan. Display Format Premiere Pro can display any of several formats of timecode. You can display the project timecode in a film format. For example, if you are editing footage captured from film. You can display timecode in simple frame numbers if your assets came from an animation program.

Changing the Display Format option does not alter the frame rate of clips or sequences. It changes only how their timecodes are displayed.

The time display options correspond to standards for editing video and motion-picture film. Audio Channel Format Channel format allows you to choose the format of the sequence. Sample Rate Higher quality audio requires more disk space and processing.

Resampling, or setting a different rate from the original audio, requires additional processing time and affects the quality. Display Format Display format specifies whether audio time display is measured using audio samples or milliseconds. By default, time is displayed in frames, but it can be displayed in audio units for sample-level precision when you are editing audio. Video Previews Preview File Format Preview file format allows you to select a file format that gives the best quality preview while keeping the rendering time and file size small.

For certain editing modes, only one file format is available. Codec Codec specifies the codec used for creating preview files for the sequence. Select one of these codecs if you intend to monitor or output to one of these formats.

To access either of these formats, first choose the Desktop Editing Mode. Width Width specifies the frame width of video previews, constrained by the pixel aspect ratio of the original media.

Height Height specifies the frame height of video previews, constrained by the pixel aspect ratio of the original media. Reset Reset clears existing previews and specifies full size for all following previews. Maximum Bit Depth Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences.

Maximum Render Quality Maximum Render Quality maintains sharp detail when scaling from large formats to smaller formats, or from high-definition to standard-definition formats. Save Preset Opens the Save Settings dialog box, where you can name, describe, and save your sequence settings. Create different types of sequences.

Select a preset that matches your footage. For an HD project, select one of the presets provided with your HD capture card. Enter a name in the Sequence Name field and click OK. The New Sequence dialog box opens with the Sequence Preset tab selected. Optional To set the number of channels in the Master audio track, select the Tracks tab. In the Master menu in the Audio pane, select one of the following:. Master audio track. Outputs two mono channels with stereo panning intact. Add the Sequence Name.

Create a sequence with uncompressed video playback For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use one of the uncompressed formats for preview files. In the New Sequence dialog box, click the Settings tab. In the Editing Mode menu, choose desired editing mode.

In the Timebase menu, choose the desired frame rate, such as 24, 25 or In the Video Previews section, choose one of these sets of preview file formats and codecs, depending on your system:. Optional If you plan to use uncompressed playback again, click Save Preset, give the preset a name and description, and click OK.

Enter a name for the sequence and click OK. Create 24p sequences Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced progressive fps is called 24p footage. Type a name for your sequence. Set 24p playback options. You set playback settings when you create a sequence. In the New Sequence dialog box, click the General tab. Click Playback Settings. In the 24p Conversion Method pane, select one of the following options:. Interlaced Frame There are three main areas of settings that matter to us: resolution, dimensions, and frame rate.

Before you can answer that question, you need to know exactly what settings you’ll want your output video to be. We want to match our sequence settings to the settings of our final exported video. Regardless of the settings your footage was shot in, you’ll want to set your sequence to match the settings that you’d like for your final video.

Then we can tweak the footage to fit our settings in the sequence as we edit. Let’s walk through this menu and discuss some of the most common settings you’ll probably want to consider. Step 1 : Hit command-n on mac or control-n on pc to open up the sequence settings window. In my opinion Step 3 : Navigate to ‘ Settings ‘ in the upper tabs to see more options for your sequence.

Here you’ll see where you can change any specific option for this 4K preset. I am happy to leave it all as is. Match yours to what you see here if it isn’t already. You can also save this preset for future use by hitting ‘ Save Preset ‘ just above the sequence name.

Step 4 : Make sure to rename your sequence at the bottom. I like to begin with ‘Master – Project Name’, but it’s completely up to you. Then hit ok. You now have a brand new 4K sequence with perfect settings ready to go.

If ever you want to tweak these settings, simply hit command-n to reopen the sequence settings window. This setting is very similar to the previous instructions for typical 4K video, except that our dimensions are going to be slightly different.

Step 3 : Navigate up to the settings tab on the top and click the drop down menu for ‘ Editing Mode ‘. Now choose ‘ Custom ‘. Step 4 : Under Frame Size, you’ll now want to readjust the dimensions to be x Step 5: Rename your sequence and save it as a preset if you like. Once you are happy with the settings the rest you can leave as is , then hit OK to create your new UHD sequence.

Here you’ll see where you can change any specific option for this HD preset. Like I said before, in most cases you don’t even need to pay attention to the initial sequences settings for your project. You can simply let Premiere Pro match the settings of the footage you’ll be editing with. If you want your final exported video to match all the same settings of the footage you’ll be editing, then this is the easiest and best method to use for setting up your sequences.

Step 1: Import your footage into Premiere Pro. If you are unsure of how to do this step, refer to this blog post that will walk you through it first. Step 2: In your project window, drag any of your footage clips into the little dog-eared box in the lower right hand corner. Step 3: This will automatically create a new sequence which matches the settings of the footage that you dragged into that box.

Step 4: You’ll see in your Timeline Panel that the clip of footage you dragged in is there. You can either leave it in place if you want, or you can delete it. Either way, your sequence has been set up perfectly. Step 5: Within the project window you’ll notice that your new sequence has been created and named the same as the clip name that you dragged in. Step 6: Get organized.

Let’s drag this sequence out of our footage bin and into a new bin that we’ll title: ‘ Sequences ‘. Step 7: Let’s rename our sequence. Double-click on the name to highlight and rename the sequence. That’s it. We’ve created our new sequence that matches our footage settings.

We’ve renamed it and created a new bin where we’ll keep any new sequences that we create for our project. Step 2 : On the left hand side, navigate down to which preset options you’d like to set for your project. Click on ‘ settings ‘ in the upper tab and specify any other settings that you’d like for your sequence. Step 3 : Once you have your settings as you’d like them, hit ‘Save Preset’ at the bottom of the window. Step 4 : You can now name your new preset and add any other descriptive words as needed.

You’ll now see your preset populate in the ‘Sequence Presets’ menu and you can choose it from that menu for any future project in Premiere Pro. Everything you need to know about creating and customizing your own keyboard shortcuts to save time and energy while editing. This is the key to being a faster, more efficient, and overall better editor. Sharing my exact folder structures! The dreaded missing media ‘red screen’ happens to the best of us, so don’t sweat it.

Lucky for us, Premiere Pro has made it fairly quick and simple to reconnect multiple files at once so you can get back to editing in no time. Learn exactly how to control the speed of your clips in Premiere Pro, as well as how to fix playback lag.