Tutorial Adobe Premiere Elements

Adobe Premiere Elements Help Using Help
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Using Help
About Help
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Navigating in Help
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Adobe Premiere Elements Help Using Help
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Adobe Premiere Elements Help Contents
Contents
Learning About Adobe Premiere Elements 4
Key Features in Adobe Premiere Elements 7
Tutorials 10
Starting and Working with Projects 26
Capturing Video and Adding Files 46
Editing Movies 68
Applying Effects and Transitions 108
Animating Effects 166
Adding Titles 181
Creating DVDs 198
Exporting Movies 214
Keyboard Shortcuts 230
Glossary 232
Legal Notices 240

Adobe Premiere Elements Help Learning About Adobe Premiere Elements
Learning About Adobe Premiere

Elements
Getting help
There are a number of ways to get the help you need in Adobe Premiere Elements. The
following three tables can help you find specific resources related to features, training
resources, and support.
Finding Help for Adobe Premiere Elements features

If you . . . Try this . . .
Want information about Insert the Adobe Premiere Elements application CD into your CD
installing Adobe Premiere drive, and follow the on-screen installation instructions. (You cannot
Elements run Adobe Premiere Elements from the CD.)
See the ReadMe file on the application CD.
Are new to Adobe Premiere See the Key Features in Adobe Premiere Elements on page 7 and
Elements and want an over- the Tutorials on page 10.
view of tools and features For information about specific tasks, use the How To palette.
Are looking for detailed In Help, use the Index or Search tabs.
information about a feature
Want a comprehensive list Choose Edit > Keyboard Customization.

of keyboard shortcuts
Finding Adobe Premiere Elements training resources

Want to obtain in-depth See the tutorials on the Adobe Studio website at www.stu-
Adobe Premiere Elements dio.adobe.com.
training Browse the Adobe Press materials at www.adobepress.com (English
only) and the training resources at www.adobe.com/support/train-
ing.html.
For step-by-step lessons, consider the Adobe Classroom in a Book
series.
Are looking for background See the Glossary on page 232.

information on digital video
Want information about Visit the Partnering with Adobe website at http://part-
becoming an Adobe Certi- ners.adobe.com. Certification is available for several different geo-
fied Expert graphical regions.

Finding Adobe Premiere Elements training resources

Want training from an See the Training page of the Adobe website at
Adobe Certified Training www.adobe.com/support/training.html.
Provider
Finding support for Adobe Premiere Elements
Want customer or technical Refer to the technical support card provided with your software.
support See the Adobe Premiere Elements support page at
www.adobe.com/support/products/premiereel.html.
See the ReadMe file installed with Adobe Premiere Elements for
information that became available after this guide went to press.
Want answers to common Visit the Adobe Premiere Elements support page at
troubleshooting questions www.adobe.com/support/products/premiereel/main.html.
Want to register your copy When you first start Adobe Premiere Elements, youre prompted to
of Adobe Premiere Ele- register online. Fill out the form, and then submit it directly or fax a
ments printed copy.
Fill out and return the registration card included with your software
package.
Want to access downloads Visit the main Adobe Premiere Elements page at www.adobe.com/
or links to user forums products/premiereel/main.html.
Working with Adobe Premiere Elements

You can work with Adobe Premiere Elements in many different ways. In the related topics,
youll find directions to information that will help you accomplish some common tasks.
If you want to add polish to video

Smoothly transition from one clip to the next. (See About transitions on page 147.)
Quickly apply sophisticated effects with presets. (See Applying preset effects on
page 112.)
Superimpose multiple clips to create a video collage. (See About superimposing and
transparency on page 158.)
If you want to add sound and music

Precisely control the volume of each clip. (See Changing the volume of audio clips on
page 94.)
Create crossfades with audio transitions. (See About transitions on page 147.)
Apply audio effects to add reverb, shift pitch, and more. (See Audio effects included
with Adobe Premiere Elements on page 143.)

If you want to share movies with friends and family

Create attractive DVDs with templates for chapter and scene menus. (See About
creating DVDs on page 198.)
Export compressed movies optimized for the Internet and wireless devices. (See
Exporting to an Internet format on page 224.)
Export frames as still images, which you can distribute via e-mail. (See Exporting a
frame as a still image on page 219.)
If you want to customize your editing environment

Arrange and resize windows and palettes to suit your system or personal preferences,
and save the arrangement as a custom workspace. (See Working with palettes and
windows on page 28.)
Organize source files in the Media window to work more efficiently. (See Working with
the Media window on page 33.)
Familiarize yourself with standard keyboard shortcuts, and create your own custom
shortcuts for nearly any command or function. (See the Keyboard Shortcuts Appendix.)

Adobe Premiere Elements Help Key Features in Adobe Premiere Elements
Key Features in Adobe Premiere

Elements
Action!
Whether youre a new or experienced movie maker, Adobe Premiere Elements makes it
easy to produce great results with an intuitive interface and exceptional creative control.
Guided workflow Use the task bar to move step-by-step through each stage of movie
production, from capture to export. (See About working with projects on page 26.)
One-click capture Automatically import all of the footage on a tape and separate scenes
into individual clips that are ready for editing in the Timeline window. (See Capturing
video on page 48.)
Cut!
After you capture footage from your camcorder, its time to assemble your movie. The
Timeline window lets you edit like the experts.
Gapless editing Shorten or cut a scene and automatically connect the remaining
footageno dragging of clips to close gaps you create while editing. (See Trimming
frames from either end of a clip in the Timeline window on page 80.)
Real-time, all the time Preview your edits and effects as you make changes, without
waiting for footage to render. (See Previewing clips and movies on page 101.)
Live TV preview Use a DV camcorder to connect a TV to your computer. Then preview
your movie on an attached TV set while you edit. Make sure that a movie looks the way
you want, long before burning it to DVD.
Unlimited undo and redo Multiple levels of undo and redo let you step backwards and
forwards through your edits with ease. And with Adobes familiar History palette, you can
jump backwards or forwards as far as you want with a single click. (See Undoing and
redoing changes on page 39.)
Special effects!
Adobe Premiere Elements comes loaded with hundreds of presets, effects, and transitions
to give you the ultimate creative control.
Over 150 professional-quality presets Choose from numerous preset effects, including
lighting, picture-in-picture, and image pan. In a few clicks, youll produce results that could
take hours or days to create on your own. (See Applying preset effects on page 112.)
Over 70 video and audio effects Add flair with blurs, drop shadows, and more. (See
Video effects included with Adobe Premiere Elements on page 123 and Audio effects
included with Adobe Premiere Elements on page 143.)

Over 70 distinctive transitions Move from scene to scene with style by using transitions
like dissolves and fades. (See About transitions on page 147.)
Animated clips Quickly and easily make your clips, titles, and graphics grow, shrink, spin
and move anywhere on the screen. (See Animating motion in the Monitor window on
page 175.)
Fast and slow motion Simply drag clip endpoints to change duration and create fast or
slow motion. (See Changing a clips speed on page 91.)
Terrific titles!
Create broadcast-quality titles and credits with the Adobe Title Designer.
Beautiful templates for all occasions Complete with stylized text and graphics, these
templates are terrific for birthdays, weddings, and all the special events in your life. (See
About using templates on page 183.)
Title effects Easily add shadows, glows, and other text effects. (See Adding color and
shadows to text and shapes on page 192.)
Over 30 new Adobe fonts Use typefaces optimized for use in titles and rolling credits.
(See Adding text to titles on page 185.)
Sensational sound!
Adobe Premiere Elements gives you full control over sound with support for the latest
audio standards.
Extensive file format support Import audio clips in a wide range of formats, including
AIFF, AVI, MOV, MP3, WAV, and WMA.
Multitrack mixing Add up to 99 stereo audio tracks for a sound mix as detailed as you
like. Sweeten your movie with ambient and sound effects tracks, and easily mix
background music. (See About editing a movie on page 68.)
Pitch control Slow down or speed up audio. (See Changing a clips speed on page 91.)
Independent audio and video editing Unlink audio from related video to create split
edits or reuse audio in other parts of a movie. (See Linking and unlinking video and audio
clips on page 96 and Trimming frames from linked audio and video separately on
page 82.)
Show time!
Share your movies with friends and family on DVD, videotape, or the Web.
Custom DVDs Use professionally-designed templates and automatic scene indexes to
quickly create custom DVDs. (See About creating DVDs on page 198.)
VHS tapes Share movies in this widely-available standard by using a DV camcorder to
connect a VCR to your computer. (See Recording your movie to videotape on page 217.)
Web and e-mail Export to Windows Media format to automatically optimize movies for
the Internet and wireless devices. (See Exporting to an Internet format on page 224.)

Help when you need it

You dont have to be an expert to get great results in Adobe Premiere Elements. With
guidance from the welcome screen, How To palette, and Help, youll become a savvy
filmmaker in no time.
Welcome screen Whenever you start Adobe Premiere Elements, the welcome screen
guides you to new or recent projects, helpful tutorials, and setup information.
How To palette Learn how to complete a variety of common tasks with the How To
palette, which makes it a snap to enjoy learning while doing. (See About the How To
palette on page 31.)
Help Choose Help > Contents to quickly access all the information you need to use
Adobe Premiere Elements, including details about windows, palettes, effects, and more.

Adobe Premiere Elements Help Tutorials
Tutorials
About these tutorials
The following four tutorials provide a quick tour of Adobe Premiere Elements features,
guiding you through a project from start to finish. When you start Adobe Premiere
Elements and click the Tutorials button , the finished tutorial project opens, showing
you the movie youll create. Then youre ready to begin the first tutorial, Edit a movie on
page 10. If you dont complete all the tutorials at one time, you can return to them in the
Tutorials chapter of the user guide or Help.
If you cant see Adobe Premiere Elements behind the tutorial text, resize or minimize
the browser window.
Edit a movie
Adobe Premiere Elements makes editing a movie easy. Whether sharing home movies
with family or creating a DVD to remember your wedding, youll be surprised by how
quickly you can convert your rough footage into the first cut of your movie.
In this tutorial, youll edit video and stills from a birthday party. Youll delete unnecessary
scenes, cut frames to remove bad shots, and add music.
1. Look at the finished movie to see what youll create.
Click the Play button in the Monitor window to view the movie that youll create in
these tutorials. Notice that the current-time indicator moves through the ruler above the
Play button as the movie plays. Below the Monitor window is the Timeline window, which
lists all of the video and audio clips in the order they appear in the movie. You assemble
and edit your movie on video and audio tracks in the Timeline window. In addition to
video, still images, and audio, this movie contains a title, some transitions, and special
effects.

Now that youve seen the finished movie, its time to create it yourself.
2. Open the tutorial project.

Switch to the start file for this tutorial by choosing File > Open Project. Navigate to the
Tutorial folder located within the folder containing the Premiere Elements program files
on your hard disk. The default location is C:\Program Files\Adobe\Premiere Elements
1.0\Tutorial. Open the Tutorial_Start.prel file. (If asked to save your changes to Tutorial.prel,
click No.)
This project contains all of the video captured directly from the video camcorder. Adobe
Premiere Elements automatically places video and audio clips in the Timeline window in
the order they were shot.
Choose File > Save As. Specify a new name and location for the project, and click OK.

3. Delete unnecessary clips.

Click the Play button in the Monitor window to view the raw video of the birthday party.
Because this is unedited video, some scenes are too long, some need trimming to remove
poor shots, and one, the shot of the grass and feet, needs to be deleted. In the Timeline
window, select the clip called Feet.avi, and press the Backspace key. Notice that although
you deleted Feet.avi from the movie, it remains in the Media window. The Media window
lists all the video and audio captured or added to a project.
Note: If you make a mistake during this tutorial, choose Edit > Undo. For more infor-
mation, see Undoing and redoing changes on page 39.
4. Trim a clip in the Timeline window.

In the Timeline window, click the time ruler just before the beginning of the Gifts.avi clip to
reposition the current-time indicator . Zoom into the time ruler and the tracks by clicking
the Zoom In button . Then press the spacebar, which is a shortcut for clicking the Play or
Pause button in the Monitor window. The clip begins out of focus and needs trimming.
Place the pointer on the video track at the start of the Gifts.avi clip. If you move the pointer
over the edit point between Cake.avi and Gifts.avi, youll see it change to the Trim In icon
(when touching Gifts.avi) or to the Trim Out icon (when touching Cake.avi). With the
Trim In icon placed over the start of Gifts.avi, drag to the right until the clip begins to come
into focus. (Notice that the Monitor window shows both the clip youre trimming and the
last frame of the adjacent Cake.avi clip.)

Trimming does not delete frames. It simply sets the start or end of the clip. (Start and end
points are also called In and Out points.) The trimmed frames are always available if you
later need to adjust a clip again.
5. Create a mini-slideshow with still images.

In the task bar, click the Add Media button . Navigate to the Tutorial folder, select the
Photos folder, and click Add Folder. In the Media window, click the down arrow next to the
Photos folder to expand it. Shift-click each photo to select all five, and then click the Create
Slideshow button at the bottom of the Media window. From the Ordering menu, select
Sort Order to place the images in the order they appear in the Media window. Change
Image Duration to 2 Seconds and Transition Duration to 20 frames. Then, click OK.
The Create Slideshow command places the five still images at the end of the movie on the
Video 1 track and adds the Cross Dissolve transition between each image. (In the Timeline
window, transitions appear as rectangles with diagonal lines.)

6. Preview the slideshow.

Move the current-time indicator to the beginning of the photos, and press the spacebar.
Movies with transitions or effects can take longer to process, so the slideshow preview
may not play as smoothly as the other clips. Adobe Premiere Elements adds a thin, red line
in the time ruler to indicate that you should first render that area for the best preview.
Choose Timeline > Render Work Area. When rendering is complete, the red line turns
green and the Monitor window plays the movie.
For more information about rendering, see Previewing clips and movies on page 101.
7. Add music.
Close the Photos folder in the Media window. Add music to the project by clicking the Add
Media button . Navigate to the Tutorial folder, select the Music.wav file, and click Open.
Move the current-time indicator to the beginning of the movie, zooming out if necessary.
Drag Music.wav from the Media window to the Audio 2 track, letting it snap to the
beginning of the movie. You will adjust its length later.
When adding music to a movie with an existing soundtrack, you often need to reduce the
volume of the music to hear the dialog. For this movie, however, the original sounds from
the party are not critical, so you dont need to adjust the volume.
8. Preview the movie and save the project.

With the current-time indicator at the beginning of the project, press the spacebar. The
first cut of the movie is complete. Now the fun beginsadding transitions and effects!
In the task bar, click the Save Project button . You will build on this project in the next
tutorial, Apply effects and transitions on page 15.

Apply effects and transitions

Effects enhance your movie, either by correcting problems that occurred while shooting
the video or by creatively altering the images. Transitions between scenes can also be
either subtle, like crossfades, or unusual, like page peels.
The setup scene in this project shows the preparation for the party. In the following steps,
youll accelerate the clips speed. Then, youll add the Black And White effect to half of the
clip. You will then add transitions to create smooth scene changes.
1. Change the clip speed.
In the Timeline window, drag the current-time indicator to the beginning of the Party
Setup.avi clip. Click the Time Stretch tool . Place the pointer at the end of the
Party_Setup.avi clipthe pointer changes to the Time Stretch Out icon .
Note: If you instead position the pointer at the beginning of the next clip, the pointer
becomes the Time Stretch In icon . This is not the proper iconmake sure that you see
the Time Stretch Out icon.
Drag to the left while watching the timecode at the bottom right of the Monitor window.
Stop dragging at three seconds (00;00;03;00). To eliminate the gap that results, click the
Selection tool , click the gap, and then press the Backspace key. Drag the end of the
Music.wav clip to the left until it lines up with the end of the entire movie. Then press Enter
to render and preview the clip.

2. Delete the audio portion of the clip.

Move the current-time indicator to the beginning of the movie. Press the spacebar, and
listen to the Party_Setup.avi clip. The speed change altered the pitch of the soundtrack,
resulting in a distracting noise. To delete the soundtrack, Alt-click the audio portion of the
clip to select it alone, and then press the Backspace key.
3. Split the clip.

In the Timeline window, drag the current-time indicator to the beginning of the movie,
and click the Zoom In button until the Party_Setup.avi clip occupies most of the
window. Using the Razor tool , position the pointer at the midpoint of Party_Setup.avi,
and click.
4. Display the Effects workspace.

In the task bar, click the Effects button . In the Effects window, effects are organized by
categories, which you can expand to see the available effects. If you know the name of the
effect that you need, you can quickly find it by typing its name in the Contains box. Type
Black & White in the Contains box. (To access the full list of effects again, delete all of the
text in the Contains box.)

5. Apply an effect to the clip.

Drag the Black & White effect from the Effects window to the first half of the
Party_Setup.avi clip in the Timeline window. To preview the effect, press Enter.
Adobe Premiere Elements also includes several pre-configured effects in the Presets
folder.
6. Apply a transition.
In the Effects window, delete any text in the Contains box, and type dissolve. Several
transitions in the Dissolve folder appearfor this project, youll use the Cross Dissolve
transition. In the Timeline window, drag the current-time indicator to the point where you
split the Party_Setup.avi clip with the Razor tool. Click the Zoom In button to see the
split better. Drag the Cross Dissolve transition from the Effects window to the split in the
Timeline window. When the pointer changes to a Transition icon , release the mouse.
To preview the effect of the transition, press Enter.
7. Apply a transition to fade out the movie.

In the Timeline window, click the Zoom Out button until you can see the last clip. Now
youll apply the Dip To Black transition to smoothly end the movie. In the Effects window,
clear the Contains box and type dip to reveal the Dip To Black transition. Drag the
transition to the end of the last photo in the Timeline window. Then press Enter to preview
the fade.

8. Apply an audio transition to fade out the music.

Drag the current-time indicator to the end of the Music.wav clip. Click the Zoom In button
to make the clip easier to see. In the Effects window, clear the Contains box. Expand the
Audio Transitions folder, and then expand the Crossfade folder. Drag the Constant Gain
effect to the end of Music.wav. Then position the pointer at the beginning of the
transition, and drag it to the left. Near the Trim In icon , a box appears displaying the
duration of your adjustment. Drag the fade until its duration is a full second (-00;00;01;00).
In the task bar, click the Save Project button . Youll build on this project in the next
tutorial, Add titles on page 18.
Add titles
You can use titles to display credits or the name of your movie, to identify people or places
when they appear in the movie, or to superimpose text. In this project, youll use one of
the many title templates included with Adobe Premiere Elements to quickly create a title
for the opening of the movie.
1. Choose a template, and open the Adobe Title Designer.
In the task bar, click the Titles button . In the Templates dialog box, expand the Happy
Birthday folder, and then expand the Balloons folder. Select the Balloons_Title template.
Click OK.

2. Change the text in the template.

Click the Type tool , and position the cursor just before the B in Birthday Title. When a
rectangular outline appears around both words, drag to select all of the letters. Then type
Diana--5! At the top of the Adobe Title Designer window, click the Center Horizontally
button to center the new title in the window.
Click the Selection tool , click on the words Birthday SubTitle, and press Delete.
You can also change the type size and font. See Changing text attributes on
page 187.
3. Save the title, and add it to the movie.

Click Save Title. For File Name, type Title, and then click Save. Close the Adobe Title
Designer. The title now appears in the Media window with the other clips for your project.
In the Timeline window, drag the current-time indicator to the beginning of your movie,
and click the Zoom In button . Drag the title clip from the Media window to the
beginning of your movie. Click the Timeline window to activate it.

4. Add a transition between the title and the first clip.

Press the Page Up or Page Down key repeatedly until the current-time indicator returns to
the beginning of the Party_Setup.avi clip. In the task bar, click the Effects button . In the
Effects window, delete any text in the Contains box. Expand the Video Transitions and 3D
Motion folders. Drag the Curtain transition to the beginning of the first Party_Setup.avi
clip in the Timeline window. To preview, drag the current-time indicator to a point before
the transition, and press the spacebar.
5. Preview the complete movie.

In the Timeline window, click the Zoom Out button until you can see the entire movie.
Press Enter to render the areas marked by the red line and begin playback.
Congratulations! Youve completely assembled and edited a movie. In the task bar, click
the Save Project button . Youll build on this project in the next tutorial, Burn a DVD on
page 20.
Burn a DVD
DVDs let you share your movies with friends and family. You can create DVDs with or
without menus. (See Understanding the types of DVDs you can create on page 198.)
When you create a DVD with menus, you can choose from predesigned menu templates in
a variety of styles and themes.
In this tutorial youll create a DVD from the birthday project you worked on in previous
tutorials. Youll add scene markers, select a menu template, and create a DVD with both a
main menu and a scene selection submenu.

1. Set Scene Markers for the scenes submenu.

Open the birthday project you saved in the previous tutorial, Add Titles. Click the Edit
button in the task bar. Then, click the Timeline window to make it the active window.
Choose Marker > Auto-Generate DVD Markers. Select the At Each Scene option, and click
OK. (This command places a DVD Scenes Marker at the edit point between each clip on
the Video 1 track.)
2. Delete extra markers in the slideshow.

Move the current-time indicator to the middle of the slideshow and zoom in. Adobe
Premiere Elements has placed markers at each photo. For the DVD, you need the
slideshow marked as a scene, but you dont need each photo marked. Leave the DVD
marker above the first photo, but double-click the DVD marker between the first and
second photo. In the DVD Marker dialog box, click Delete. Delete the other three DVD
markers above the subsequent photos.

3. Choose a DVD template.

Click the DVD button in the task bar. The DVD Templates dialog box lists the available
menu templates, which are grouped by theme. Choose the Happy Birthday theme. Select
the Balloons template, and click OK. The DVD Layout window opens and displays the main
menu for the DVD. At the bottom of the window, the DVD Menus box lists all the menus
created for the project. In addition to the main menu, youll find scenes menus with
buttons that link to each DVD Scene Marker in the Timeline window.
4. Customize the menu titles of Main Menu 1 and Scenes Menu 1.

Double-click Birthday Title in the main menu. In the Change Text dialog box, type Diana--
5! and click OK. Then, select Scenes Menu 1 at the bottom of the DVD Layout window.
Double-click Happy Birthday Title. Type Diana--5! and click OK.
5. Customize the buttons on Scenes Menu 1.

Double-click the Scene 1 thumbnail button. In the DVD Marker dialog box, type Set Up in
the Name box. When you change the button text, you also name the linked marker.

Sometimes the frame marked by a Scene Marker is not the best thumbnail for a button,
especially if the clip starts with a transition, like this one. To choose a different frame,
position the pointer over the timecode displayed under the thumbnail. When the pointer
changes to a hand and arrow , slowly drag to the right. Stop dragging when the scene
changes to color. Click OK to see the new thumbnail and button name in the menu.
6. Delete the extra button, and name the remaining buttons.

Note that the Scene 2 thumbnail button links to the second Party_Setup.avi clip, which
you created when you split the clip. You dont need two markers for the same scene.
Double-click the Scene 2 thumbnail button. In the DVD Marker dialog box, click Delete.
This action deletes both the marker in the Timeline window and the button in the menu.
Because all the remaining buttons fit on Scenes Menu 1, Adobe Premiere Elements
automatically deletes Scenes Menu 2.
Rename the remaining buttons as follows:
Scene 2: Cake
Scene 3: Gifts
Scene 4: Photos

7. Preview the DVD.

Click Preview DVD, and then click the Play Movie button on the DVD menu. Once the
movie starts, the transport controls become available. Place the pointer over each control
to view the tool tips for each.
When the main menu displays again, click the Scenes button on the DVD menu. Use the
arrow keys and Enter button in the Preview window to select a button and play a scene.
Note that each scene plays to the end of the movie. When you finish previewing the DVD,
close the Preview window.
8. Review the Burn DVD options.

Click Burn DVD in the DVD Layout window. Although you dont need to burn a DVD of this
birthday movie, you should review the settings in the Burn DVD dialog box:
DVD Settings You can burn directly to a disc if your burner is compatible. If your burner
isnt compatible, you can write to a folder and use the software that came with your DVD
burner to burn the DVD.
Quality Settings By default, Adobe Premiere Elements fits contents to available space,
compressing video only as much as necessary to preserve quality. Compressing video for
DVD is very time-consuming and can take several hours depending on the length and
complexity of the movie.
TV Standard These settings specify the television standard for your region so TV DVD
players can play the DVD you create. For example, the clips used in this tutorial are in NTSC
format. If you are in a PAL region, however, you would burn a DVD using the PAL television
standard.

For more information, see About burning a DVD on page 210 and Burning a DVD on
page 211.

Adobe Premiere Elements Help Starting and Working with Projects
Starting and Working with

Projects
About working with projects
A project is a single Adobe Premiere Elements file that combines everything you need to
create a movie, including video, audio, effects, and titles. A project stores only references
to the source files that you capture or import, so youll want to avoid moving, renaming, or
deleting your source files in Windows. (See Locating missing files on page 28.)
Workspace buttons in the task bar
After you start a project, you can work through each stage by clicking the task bar buttons
labeled Capture, Edit, Effects, Titles, DVD, and Export. When you click these buttons, the
content of the How To palette changes to reflect your current task. Likewise, the
workspace changes as follows:
Capture Opens the Capture window, which lets you preview, navigate, and capture
footage from a tape in your DV camcorder. (See Capturing video on page 48.)
Edit Opens the Media, Timeline, and Monitor windows, which respectively let you
organize, edit, and preview clips. (See Working with the Media window on page 33 and
About editing a movie on page 68.)
Effects Opens the Effects window, which lets you apply a wide range of video and audio
effects to clips in the Timeline window. (See About working with effects on page 108.)
Titles Opens the Adobe Title Designer, which lets you create and edit titles using a variety
of background templates and text styles as a starting point. (See Creating titles using the
Adobe Title Designer on page 181.)
DVD Opens the DVD Layout window, from which you can apply menu templates, and
preview and burn DVDs. (See About creating DVDs on page 198.)
Export Opens a menu with options that let you share movies on videotape or in common
file formats, such as QuickTime and Windows Media. (See About exporting movies on
page 214.)
If you rearrange a default workspace, Adobe Premiere Elements stores your changes.
You can restore a default at any time. (See Arranging workspaces on page 29.)

Starting a new project

In most cases, you can start a project simply by selecting New Project from the welcome
screen or File menu. The default project settings reflect the standard video format for your
region: NTSC for North America and Japan; PAL for Europe. You rarely need to change
these settings.
If your source footage is in a very unusual format, such as widescreen, you need to change
the preset used for new projects. Presets determine the video and audio format of a
project, including video frame rate and aspect ratio, and audio sample rate and bit depth.
You cant change these settings after starting a project, so verify the format of your source
footage before changing project presets.
Note: Capture cards certified as compatible with Adobe Premiere Elements may install
their own optimized presets when you install the software that comes with the card.
To start a new project:
Start Adobe Premiere Elements, and click New Project.
In Adobe Premiere Elements, choose File > New > Project.
2 Specify the project name and saved location, and click OK.
Note: By default, the folder for a saved project also stores rendered previews, conformed
audio files, and captured audio and video. These files are very large, so you should save
them to your largest, fastest hard drive. To store these files separately from projects,
choose Edit > Preferences > Scratch Disks.
To change the preset used for new projects:
1 Do one of the following to access the welcome screen:
Start Adobe Premiere Elements.
In Adobe Premiere Elements, choose File > Close.
2 Click Setup, and then select a preset from the list of Available Presets.
3 Click Save as Default.
Note: If you cant find a preset that works for you, create a custom preset. See Specifying
project settings on page 42 and Creating project presets on page 45.
Opening an existing project

You can open only one project at a time. However, you can add media from one project to
another. (See Adding video, audio, and still image files on page 55.)
To open an existing Adobe Premiere Elements project:
Do one of the following:
Start Adobe Premiere Elements, and click the project name in the welcome screen. (If
the project isnt recent, click Open Project, select the file, and click Open.)
In Adobe Premiere Elements, choose File > Open Project, select the project file, and
click Open.
In Windows, double-click the project file.

Locating missing files

Adobe Premiere Elements doesnt store original source files in a projectit references the
file name and location of each source file when you import it. If you later move, rename, or
delete a source file in Windows, Adobe Premiere Elements opens the Where Is The File
dialog box when you next open the project.
Note: After you create the final movie, you can delete source files if you do not plan to use
them in a project again.
To locate missing source files:
In the Where Is The File dialog box, choose one of the following options:
Display Only Exact Name Matches Displays only the files that match the name of the
missing file when the project was last closed. If you know that the file name has changed,
deselect this option.
Select Replaces the missing file with the selected original or replacement file.
Find Starts the Windows XP Search feature.
Skip Previews Skips missing preview files so you arent asked to find them.
Skip Replaces the missing file with an offline file, a blank placeholder for related clips in
the Media and Timeline windows.
Skip All Replaces all missing clips with offline files without asking you for confirmation.
To replace an offline file, use the Locate Media command. (See Using offline files on
page 66.)
Working with palettes and windows

In Adobe Premiere Elements, the workspace contains both palettes and windows. When
displayed, the How To, History, and Info palettes always float above windows. You can also
combine these palettes to organize the workspace.
While palettes provide helpful information about the current task, you perform tasks
primarily in windows. Three named windows form the main work area in Adobe Premiere
Elements:
Media window Lets you organize all media clips that you add to a project. To add a clip to
a movie, drag the clip to the Timeline window. (See Working with the Media window on
page 33.)
Monitor window Includes Clip and Timeline views. Use the Clip view to see an individual
video or audio clip; use the Timeline view to see the overall movie youre editing in the
Timeline window. (See Working with the Monitor window on page 68.)
Timeline window Lets you assemble and edit video and audio clips on multiple tracks.
Changes you make in this window appear in the Timeline view of the Monitor window.
(See Working with the Timeline window on page 70.)
Adobe Premiere Elements also provides specialized windows for tasks such as capturing
video, applying effects, creating titles, and laying out DVD menus. For more information,
see the following:
Capturing video on page 48.

Applying and organizing effects on page 110.

Creating titles using the Adobe Title Designer on page 181.
Creating menu-based DVDs on page 205.
Arranging workspaces
Adobe Premiere Elements comes with default window and palette arrangements called
workspaces, which are optimized for specific tasks such as capturing or editing video. As
you work through each stage of a project, you can access these workspaces from the
buttons on the task bar labeled Capture, Edit, Effects, Titles, DVD, and Export.
You can rearrange the default workspaces, changing window sizes and positions to better
suit your working style. If you rearrange the Edit workspace, for example, Adobe Premiere
Elements displays your customized layout whenever you click the Edit button. If you later
wish to return to the default arrangement, you can quickly restore it.
You can add palettes to a workspace by selecting them from the Window menu.
To use a workspace:
Do either of the following:
In the task bar, click a workspace button.
Choose Window > Workspace, and then choose a workspace.
To restore a default workspace:
Choose Window > Restore Workspace > [workspace name].
A
D
B E
The default Edit workspace

A. Monitor window B. Media window C. Timeline window D. Task bar E. How To palette

Using tabs in windows and palettes

Some Adobe Premiere Elements windows contain tabs that you can click to view the
contents in that window. You can drag these tabs away to form separate windows. You can
also do the following:
Combine the How To, History, and Info palettes as a group of tabs.
Display the Effects and Effect Controls windows as tabs within the Media window.
Grouping palettes by dragging palette tabs
To reorganize windows by using tabs:

Do any of the following:
To rearrange and separate a group of tabs, drag the tab for that window.
To group a tab with another tab or window, drag its tab to another window. Note that
some tabs can be grouped only with certain other tabs, as noted above.
If a window contains more tabs than Adobe Premiere Elements can display at once,
drag the slider bar that appears above the tabs.
Using window and palette menus

Most windows and palettes include menus that appear when you click the More button. In
addition, all windows have context menus, the content of which depends on the current
task or mode. The commands found in window menus, palette menus, and context menus
are specific to individual windows or palettes.
To open window and palette menus:
Click the More button near the upper right corner of the window or palette.
To open window context menus:
Right-click in the window.
Adjusting window and palette brightness

You can adjust the brightness of the background color in windows and palettes. For
example, you may prefer to lower the brightness when working in a darkened room or
when performing color corrections.

To adjust the brightness of window and palette backgrounds:

Choose Edit > Preferences > General, and specify a value for User Interface Brightness.
To minimize the visual impact of window elements, right-click the Windows desktop
and choose Properties; then customize options in the Appearance tab in the Display
Properties for Windows. For example, use the Windows Classic style or reduce the font size
in title bars. (See Windows online Help.)
Changing palette display

You can change the display of palettes so that they are effectively arranged with windows.
To show and hide palettes:
To show a palette, choose its name from the Window menu or click its tab, if visible.
To hide a palette, click the close box on its tab.
To hide or show all open palettes, press the Tab key.
To group the How To, History, and Info palettes:
Drag one palettes tab to another.
To separate a palette:
Drag a palette tab to another location.
If you have more than one monitor connected to your system and if your system
supports a multiple-monitor desktop, you can drag palettes to any monitor.
About the Info palette

The Info palette displays information about a selected item in the Media or Timeline
window. For clips, the Info palette displays information such as duration, In point, and Out
point. The information displayed may vary depending on factors such as the media type
and the current window. For example, an empty space in the Timeline window, a rectangle
in the Title window, and a clip in the Media window display information unique to each
item.
In the Info palette, the Video entry indicates the frame rate, dimensions, and pixel aspect
ratio; the Audio entry indicates the sample rate, bit depth, and channels.
About the How To palette

The How To palette provides a group of how-tos for each stage of a project. How-tos
include a short set of instructions that help you quickly complete common video-editing
tasks. When you click task bar buttons to change the workspace, the How To palette
automatically displays related how-tos. You can also navigate between groups of related
how-tos by using the pop-up menu in the palette. To return to the list of how-tos for the
current workspace, click the Home button .
Some how-tos contain a Related Topics section, from which you can access Help for
more information.

Using the History palette

The History palette records the changes you make to a project. For example, each time
you add a clip, insert a marker, or apply an effect, the History palette adds that action to
the bottom of its list. The tool or command you used appears in the palette along with an
identifying icon. You can use the palette to quickly undo several changes. When you select
a change in the palette, the project returns to the state of the project at the time of that
change. The more recent changes turn gray and disappear when you make your next
change.
List of changes in the History palette

A. Selected change B. Later changes that will be replaced by next change.
The History palette records changes only for the current session. Closing a project or
choosing the Revert command clears the History palette. While the palette lists most
changes, it does not list individual changes within some windows, such as the Adobe Title
Designer, nor does it list program-wide changes, such as window placement or Prefer-
ences settings.
To display the History palette:
Choose Window > History.
To select a change:
In the History palette, click the item you want to change.
To delete a selected change:
Do either of the following:
Choose Delete from the More menu in the History palette menu, and then click OK.
Click the Delete icon , and then click OK.
To move around in the History palette:
Drag the slider or the scroll bar in the palette.
Choose Step Forward or Step Backward from the More menu in the History palette.
To clear all changes from the History palette:
Choose Clear History from the More menu in the History palette, and then click OK.

Working with the Media window

The Media window helps you collect, organize, and preview source material for your
movies. Think of the Media window as a sophisticated file cabinet, a staging area for video
and audio clips you assemble and edit in the Timeline window.
A
E F G H I J K
Media window
A. Close Project B. Folders C. Clip D. More menu E. List view F. Icon view G. Create Slideshow
H. Find I. New Folder J. New Item K. Delete Selected Items
Viewing clip properties

You can view clip properties by using either the Media window or the File menu. Use the
Media window to quickly overview clip properties; use the File menu when you want
comprehensive information about a clip.
In the Media window, you can add a preview area for clips. In this preview area, you can
replace the default clip thumbnail (the first frame) by designating any clip frame as a
poster frame. Specifying a new poster frame is particularly helpful when the first frame
doesnt adequately represent what the clip contains.
To view a selected clips properties:
Expand the Media window or scroll horizontally to view columns. Some columns may
be hidden. (See Customizing List view on page 36.)
Choose File > Get Properties For > Selection.
To customize general display options for the Media window:
From the More menu in the Media window, choose any of the following:
Thumbnails > [command] to hide or set the size of thumbnails.
Clean Up to remove empty space between items in Icon view and arrange them within
the width of the Media window. (See Viewing lists or icons in the Media window on
page 35.)
View > Preview Area to hide or show the thumbnail viewer and clip information.

To play back a clip in the Media window:

1 Select the clip.
2 Press the Play button on the thumbnail viewer. The Play button becomes a Stop
button, which you press to stop playback. (Playing the clip in the thumbnail viewer does
not affect Monitor window views.)
To designate a clip frame as a poster frame:
1 Select the clip in the Media window.
2 Press the Play button or drag the play slider on the thumbnail viewer in the upper left
corner of the Media window until the frame you want is displayed.
3 Click the Set Poster Frame button .
You can also set the poster frame by right-clicking the thumbnail viewer and
choosing Set Poster Frame from the context menu.
Renaming, deleting, and finding items

Use the Media window to rename, find, and delete items. All media in your project exist on
your hard disk as files stored separately from the projectonly a reference to each file is
added to the Media window in Adobe Premiere Elements. Whenever you rename, edit, or
delete a clip in Adobe Premiere Elements, the original file and file name remain untouched
on your hard disk.
When you use the Project > Locate Media command, you have the option of deleting
the actual source file along with its reference in the project. (See Analyzing clip
properties and data rate on page 62.)
To rename a clip:
1 Select the clip, and choose Clip > Rename.
2 Type the new name, and press Enter.
You can also rename a selected clip by clicking its name once to select the text,
typing the new name, and pressing Enter. In addition, the Rename command is also
available when you right-click a clip.
To rename an original source file:
Exit Adobe Premiere Elements and rename the file on the Windows desktop. The next time
you open the project, Adobe Premiere Elements asks you to locate the file. (See Locating
missing files on page 28).
To delete an item from the Media window:
Select the item and press the Delete key. (To identify unused items, note the Video Usage
and Audio Usage columns in List View. To display these columns, scroll to the right.)
Note: Because Adobe Premiere Elements doesnt store actual media files in the project,
deleting a clip from a project removes all instances from a movie but does not delete the
clips source file from your hard disk. To conserve disk space, also delete the source file in
Windows.
To find an item in a project:
1 Choose Edit > Find, or click the Find button at the bottom of the Media window.

2 Specify options based on the contents of any column in List view.

3 Click Find.
Organizing clips in folders

The Media window can include folders, which you can use to organize project contents in
much the same way as folders in Windows Explorer. Folders can contain media or other
folders. Consider using folders to organize media types, such as DV captures, Adobe
Photoshop still images, and audio files.
To add a folder:
Click the New Folder button at the bottom of the Media window.
If you click the New Folder button multiple times in a row, each new folder is nested
inside the previous new folder.
To move an item into a folder:
Drag the item to the Folder icon. You can move folders into other folders to nest them.
To display the contents of a folder:
In List view, click the triangle beside the Folder icon to expand the folder.
Double-click the folder.
To navigate from nested folders to parent folders:
Click the Parent Folder button at the top of the Media window. You can continue to click
this button until the top-level contents of the Media window appear.
Viewing lists or icons in the Media window

In the Media window, you can view items by using either List view or Icon view. List view
lets you view more items simultaneously and sort items by properties such as media type
and duration. Icon view displays thumbnails that let you visually organize project
contents.
A B
Media window views

A. List view B. Icon view

To change the Media window view:

Click the List View button or the Icon View button at the bottom of the window.
Choose View > List or View > Icon from More menu in the Media window.
To arrange items in Icon view:
Drag an item to any square. As you drag, a vertical bar indicates where the item is going. If
you drag an item to a folder, the item goes inside the folder.
You can use Icon view for storyboarding, and then use the Create Slideshow feature
to move the storyboard into a movie. (See Creating a slideshow or movie automati-
cally on page 75.)
To sort items in List view:
Click the column heading by which you want to sort the items. (For example, click Media
Type to sort items by type.) If folders are expanded, items sort from the top level and down
the Media window hierarchy. To reverse the sort order, click the column heading again.
Customizing List view

Use the Media windows List view to quickly evaluate, locate, or organize clips based on
specific properties. For information on these properties, see Clip properties in List view
on page 37.
To change the width of a list view column:
Position the pointer over a dividing line between column headings until the Column
Resize icon appears; then drag horizontally.
To rearrange list view columns:
Drag a column heading horizontally. (You cannot move the Name column.)
To add a column:
1 Choose Edit Columns from the More menu in the Media window.
2 Select a column name (after which the new column will appear), and click Add.
3 Type a name.
4 Choose a type. Text columns can contain any text you enter. Boolean columns provide a
check box. Click OK.
To customize List view columns:
Choose Edit Columns from the More menu in the Media window, and do any of the
following:
To display a column, select the option next to the column.
To rename a column, select a column name, click Rename, and edit the name.
To remove a column, select a column name and click Remove.

To rearrange columns, select a column name and click Move Up or Move Down. You can
also rearrange columns by dragging them horizontally in the Media window.
Note: If you cant locate or change a column attribute in the Edit Columns dialog box, the
attribute is locked by Adobe Premiere Elements and cannot be changed. For example, you
can change the names of columns you added, but not the names of columns built into
Adobe Premiere Elements.
Clip properties in List view

By default, List view displays Name, Media Type, Video Usage, Audio Usage, and Comment
properties for each clip. To display more properties, customize list view columns. (See
Customizing List view on page 36.)
You can display any of the following properties:
Name By default, displays the clip name on disk. You can change the name the clip uses
inside the project. You cannot remove the Name field. (See Renaming, deleting, and
finding items on page 34.)
Label Color that helps identify and associate clips. (See Labeling items in the Media
window on page 38.)
Media Type The kind of media, such as Movie or Still Image.
Media Start The timecode when capture started.
Media End The timecode when capture ended.
Media Duration Length of the captured media on disk, expressed in the Display Format
specified in the General section of the Project Settings dialog box. (See Specifying
General settings on page 43.)
Note: In Adobe Premiere Elements, all durations in any window include the frames
specified by the In point and Out point. For example, setting the In point and Out point to
the same frame results in a duration of one frame.
Video In Point The timecode of the In point as set in the Monitor or Media window.
Video Out Point The timecode of the Out point as set in the Monitor or Media window.
Video Duration The duration of the clip as defined by the Video In point and Out point
and incorporating any adjustments applied in Adobe Premiere Elements, such as
changing the clip speed.
Audio In Point The timecode of the In point as set in the Monitor or Media window.
Audio Out Point The timecode of the Out point as set in the Monitor or Media window.
Audio Duration The duration of the clip as defined by the Audio In point and Out point
and incorporating any adjustments applied in Adobe Premiere Elements, such as
changing the clip speed.
Video Info The frame size and aspect ratio of the clip, and whether an alpha channel is
present.
Audio Info The audio specifications of the clip.
Video Usage The number of times the video component of a clip is used in the movie.
Audio Usage The number of times the audio component of a clip is used in the movie.
Tape Name The name of the tape the clip was captured from. (Enter this name if desired.)

Description A description of the clip. (Enter a description if desired.)

Comment Text intended for identification and sorting purposes.
Log Note Text that was entered using the Log Note option when a clip was captured
using the Capture window.
Capture Settings Specifies whether a file was captured in the current project.
Status Specifies whether a clip is online or offline. If a clip is offline, this option also
indicates why.
Scene Text that was entered using the Capture windows Scene option when capturing
video using Adobe Premiere Elements.
Shot/Take Text that was entered using the Capture windows Shot/Take option when
capturing video using Adobe Premiere Elements.
Good Indicates preferred clips.
Labeling items in the Media window

Labels are colors that help you identify and associate clips. You assign and view labels in
the Media and Timeline windows. (To display the Label column in the Media window, see
Customizing List view on page 36.)
To assign a label to a clip:
1 In the Media or Timeline window, select a clip.
2 Choose Edit > Label, and choose a color.
To select all clips using the same label:
1 Select a clip that uses the label.
2 Choose Edit > Label > Select Label Group.
To edit label names or colors:
1 Choose Edit > Preferences > Label Colors.
2 Edit label names, or click a color swatch to edit a color.
To set default labels for a media type:
1 Choose Edit > Preferences > Label Defaults.
2 For any media type in the panel, select a label color.
Note: Label defaults affect clips you add to the Media window from the time you change
the defaults; the command doesnt change label colors for clips already in the Media
window. To change label colors for clips already in the Media window, use the Edit >
Preferences > Label Colors command.

Undoing and redoing changes

If you change your mind about an edit or effect, Adobe Premiere Elements provides
several ways to undo your work. You can undo only those actions that alter video content;
for example, you can undo an edit, but you cannot undo scrolling a window.
To undo or redo changes:
To undo or redo the most recent change, click the Undo button or the Redo button
in the task bar. (You can sequentially undo a series of recent changes.)
To quickly jump to any change that occurred since you last opened a project, select an
item in the History palette. (See Using the History palette on page 32.)
To stop a change that Adobe Premiere Elements is processing (for example, when you
see a progress bar), press Esc.
To undo all changes made since you last saved the project, choose File > Revert.
To undo changes made before you last saved a project, try opening a previous
version in the Premiere Auto-Save folder. Then choose File > Save As to store the
project outside of the Premiere Auto-Save folder. The number of changes you undo
depends on the Auto Save preference settings. (See Backing up projects with Auto Save
on page 40.)
Saving projects
Saving a project saves your editing decisions, references to source files, and the most
recent arrangement of windows. Protect your work by saving often.
To specify where Adobe Premiere Elements stores project-related files, such as captured
video and audio, and video and audio previews, see Using scratch disks on page 40.
To save a project:
To save the currently open project, click the Save button in the task bar.
To save a copy of a project and continue working in the new copy, choose File > Save As,
specify a location and file name, and click Save.
To save a copy of a project but continue working in the original project, choose File >
Save a Copy, specify a location and file name, and click Save.

Backing up projects with Auto Save

To more easily revisit design decisions or recover from a crash, enable the Auto Save
option. This option automatically saves backup project files to the Adobe Premiere
Elements Auto-Save folder at a specified time interval. For example, you can set Adobe
Premiere Elements to save a backup copy every 15 minutes, producing a series of files that
represent the state of your project at each interval.
Automatic saving serves as an alternative to the Undo command, depending on how
much the project changes between each save. Because project files are quite small
compared to source video files, archiving many versions of a project consumes relatively
little disk space.
To automatically save a project or series of projects:
1 Choose Edit > Preferences > Auto Save.
2 Do any of the following, and then click OK:
Select Automatically Save Projects, and type the number of minutes after which Adobe
Premiere Elements will save the project.
Type a number for the Maximum Project Versions to specify how many versions of each
project file you want to save. For example, if you type 5, Adobe Premiere Elements saves
five versions of each project you open.
To open a project file created by the Auto Save preference:
1 Do either of the following:
Start Adobe Premiere Elements, and click Open Project.
In Adobe Premiere Elements, choose File > Open Project.
2 In the project folder, open the file in the Adobe Premiere Elements Auto-Save folder. (If
no files are available, the Auto Save preference may be turned off.)
Using scratch disks

When you edit a project, Adobe Premiere Elements uses disk space to store files required
by your project, such as captured video and audio, conformed audio, and preview files
that you create manually or that are created automatically when exporting to certain
formats. Adobe Premiere Elements uses conformed audio files and preview files to
optimize performance, allowing real-time editing, high processing quality, and efficient
output.
All scratch disk files are preserved across work sessions. If you delete preview files or
conformed audio files, Adobe Premiere Elements automatically recreates them.
By default, scratch files are stored where you save the project. The scratch disk space
required increases as your movie become longer or more complex. If your system has
access to multiple disks, you can use the Edit > Preferences > Scratch Disks command to
specify which disks Adobe Premiere Elements uses for these files. For best results, set up
your scratch disks before you begin a project.

Types of scratch disks

While performance can be enhanced by setting each scratch disk type to a different disk,
you can also specify folders on the same disk. Select Edit > Preferences > Scratch Disks to
access the following options:
Captured Video Folder or disk where Adobe Premiere Elements stores video files that
you capture using the Capture window.
Captured Audio Folder or disk where Adobe Premiere Elements stores audio files that
you capture using the Capture window.
Video Previews Files created when you use the Timeline > Render Work Area command,
export to a movie file, or export to a DV device. If the previewed area includes effects, the
effects are rendered at full quality in the preview file.
Audio Previews Files created when you use the Timeline > Render Work Area command,
use the Clip > Audio Options > Render And Replace command, export to a movie file, or
export to a DV device. If the previewed area includes effects, the effects are rendered at
full quality in the preview file.
Conformed Audio Imported audio converted to Adobe Premiere Elements specifications
for consistent high-quality playback as you edit. (See About conformed audio files on
page 57.)
Guidelines for maximizing scratch disk performance

If your computer has only one hard disk, consider leaving all scratch disk options at their
default settings. For maximum performance, follow these guidelines:
Set up scratch disks on one or more separate hard disks. In Adobe Premiere Elements,
its possible to set up each type of scratch disk to its own disk (for example, one disk for
captured video and another for captured audio).
Specify your fastest hard disks for capturing media and storing scratch files. You can use
a slower disk for audio preview files and the project file.
Specify only disks attached to your computer. A hard disk located on a network is
usually too slow. Avoid using removable media because Adobe Premiere Elements
always requires access to scratch disk files. Scratch disk files are preserved for each
project, even when you close the project. Adobe Premiere Elements reuses these files
when you reopen the project associated with them. If scratch disk files are stored on
removable media and the media is removed from the drive, the scratch disk wont be
available to Adobe Premiere Elements.
Although you can divide a single disk into partitions and set up partitions as scratch
disks, this doesnt improve performance because the single drive mechanism becomes
a bottleneck. For best results, set up scratch disk volumes that are physically separate
drives.
Setting up scratch disks

You set up scratch disks in the Scratch Disk panel of the Preferences dialog box. Before
changing scratch disk settings, you can verify the amount of free disk space on the
selected volume by looking in the box to the right of the path. If the path is too long to
read, position the pointer over the path name, and the full path appears in a tool tip.

To specify scratch disks:

1 Choose Edit > Preferences > Scratch Disks.
2 For each scratch disk type, specify a disk location for Adobe Premiere Elements to store
the corresponding files (scratch files are stored in a subfolder named after the project).
My Documents Stores scratch files in the My Documents folder.
Same as Project Stores scratch files in the same folder where the project is stored.
Custom Indicates that the current path isnt in the pop-up menu. The current path isnt
changed until you click Browse to specify any available disk location.
Specifying project settings

Project settings determine the video and audio format of a project, including settings
such as video frame rate and aspect ratio, and audio sample rate and bit depth.
When you start a new project by using the welcome screen, you can review and change
project settings by clicking the Setup button and choosing New Preset. You should do so
only if none of the available presets matches the specifications of your source media. (See
Creating project presets on page 45.) When working in a project, you can review project
settings by choosing a command from the Project > Project Settings submenu. Note that
some settings such as frame rate, size, and aspect ratio cant be changed after a project is
createdverify all project settings before starting a project.
If you need to specify lower-quality settings for output (such as streaming web
video), dont change your project settingsinstead, change your export settings.
Project settings are organized into the following categories:
General Settings Control the fundamental characteristics of the project, including the
method Adobe Premiere Elements uses to process video (Editing Mode), count time
(Display Format), and play back video (Timebase). (See Specifying General settings on
page 43.)
Capture Settings Control how Adobe Premiere Elements transfers video and audio
directly from a deck or camcorder. (Other Project Settings panels do not affect capturing.)
The contents of this panel depend on the editing mode. (See Guidelines for connecting
other sources on page 47 and Troubleshooting DV capture problems on page 51.)
Video Rendering Controls the frame size, picture quality, compression settings, and
aspect ratios that Adobe Premiere Elements uses when you play back video from the
Timeline window (the window where you edit your video program). (See Specifying
Video Rendering settings on page 44.)
Default Timeline Controls the number of video tracks and the number of audio tracks for
new movies you create.

Specifying General settings

General settings should match the most common source media in your project (for
example, if most of your footage is DV, use the DV Playback editing mode). Changing
these settings arbitrarily may result in a loss of quality.
To specify General settings:
Choose Project > Project Settings > General, and specify the following options:
Editing Mode Identifies the DV Playback video method used for all projects. The
following video preview settings cant be changed because they must remain consistent
with the DV standard: Timebase, Frame Size, Pixel Aspect Ratio, Fields, and Sample Rate.
Note: The Editing Mode setting should represent the specifications of the source media,
not the final output settings. Specify output settings when you export. (See Exporting
video for hard disk playback on page 218.)
Timebase Specifies the time divisions Adobe Premiere Elements uses to calculate the
time position of each edit: 25 for PAL (European standard), and 29.97 for NTSC (North
American and Japanese standard). Do not confuse timebase with the frame rate of the
video you play back or export from projects, although timebase and frame rate often use
the same value.
Playback Settings This button is available when you use a DV preset, choose the DV
Playback editing mode, or install a plug-in that provides additional playback functions.
When you use the DV Playback editing mode, use this option to indicate where you want
your previews to play back: on your DV camcorder (or other connected device) or on your
desktop. For information on the playback settings available for third-party plug-ins, see
the documentation provided by the manufacturer of the plug-in.
Frame Size Specifies the dimensions, in pixels, for frames when you play back projects. In
most cases, the frame size for your project should match the frame size of your source
media. Dont change the frame size in order to compensate for slow playbackinstead,
adjust playback resolution by choosing a different Quality setting from the More menu in
the Media window, or adjust the frame size of final output by changing Export settings.
Pixel Aspect Ratio Sets the aspect ratio for individual pixels. This ratio is determined by
the video format: PAL or NTSC. If you use a pixel aspect ratio that is different from your
video, the video may play back and render with distortion. (See About aspect ratios on
page 62.)
Fields Specifies the field dominance, or which field of each frames interlaced fields is
drawn first. Note that many capture cards capture fields regardless of whether you shot
progressive scan footage.
Display Format (video) Specifies the way time appears throughout the project. The time
display options correspond to standards for editing video and motion-picture film. For
NTSC video, choose 30 fps Drop-Frame Timecode. For video to be played back from the
Web or CD-ROM, choose 30 fps Non Drop-Frame Timecode. For PAL video, choose 25 fps
Timecode. For more information about these formats, see the Glossary on page 232.
Title Safe Area Sets how much of the frame edge to mark as a safe zone for titles, so that
titles arent cut off by televisions that zoom the picture slightly to enlarge it. A rectangle
with cross-hairs marks the title-safe zone when you click the Safe Zones button in the
Monitor window. Titles are usually assumed to require a wider safe zone than action.

Action Safe Area Sets how much of the frame edge to mark as a safe zone for action so
that action isnt cut off by televisions that zoom the picture slightly to enlarge it. A
rectangle marks the action-safe zone when you click the Safe Zones button in the Monitor
window.
Scale Clips To Project Dimensions When Adding To Timeline Adjusts imported video
and still images so that they fit within the frame, if they are larger or smaller than the
frame.
Sample Rate Identifies the audio sample rate defined by the project preset. Options are
32 kHz or 48 kHz. In general, higher rates provide better audio quality when you play back
audio in projects, but they require more disk space and processing. Resampling, or setting
a different rate from the original audio, also requires additional processing time and
affects the quality. Try to record audio at a high-quality sample rate, and capture audio at
the rate at which it was recorded.
Display Format (audio) Specifies whether audio time display is measured by 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.
Specifying Capture settings

If youre capturing DV source media, you dont need to change capture settings. When DV/
IEEE 1394 Capture is the selected capture format, no options are available because the
options are automatically set to the IEEE 1394 standard. Additional capture formats and
options may appear if you install other software, such as software included with a capture
card certified to be compatible with Adobe Premiere Elements.
To specify capture settings:
1 Choose Project > Project Settings > Capture.
2 Choose a Capture format and select options as desired.
Specifying Video Rendering settings

Video rendering settings affect how Adobe Premiere Elements generates video when you
select Timeline > Render Work Area.
To specify video rendering settings:
1 Choose Project > Project Settings > Video Rendering.
2 Select one of the following options:
Compressor Identifies the codec that Adobe Premiere Elements applies when
previewing movies. The codec is defined by the project preset; you cannot change it
because it must conform to the DV standard.
Note: If you use a clip in your video program without applying effects or changing frame
or time characteristics, Adobe Premiere Elements uses the clips original codec for
playback. If you make changes that require recalculation of each frame, Adobe Premiere
Elements applies the codec identified here.
Color Depth Indicates the number of colors included in rendered video. This setting is
determined by the project preset; you cannot change it.

Optimize Stills Select this option to use still images efficiently in projects. For example, if
a still image has a duration of 2 seconds in a project set to 30 fps, Adobe Premiere
Elements creates one 2-second frame instead of 60 frames at 1/30 second each. Deselect
this option if projects exhibit playback problems when displaying still images.
Specifying Default Timeline settings

Default Timeline settings determine how many video and audio tracks appear in the
Timeline window when you create a new project.
To specify Default Timeline settings:
1 Choose Project > Project Settings > Default Timeline.
2 Enter the number of default tracks in the Video and Audio sections.
Creating project presets

If none of the built-in presets matches the format of your source footage, you can save a
customized set of project settings as a preset, which you can apply to new projects. The
procedure for creating a preset differs if youre changing settings for an open project
versus establishing settings for a new project. If you want to back up or distribute preset
files, you can find them in the Settings subfolder of the Adobe Premiere Elements folder
on your hard disk.
If you have a capture card that includes presets for capturing from Adobe Premiere
Elements, installing the cards software also installs the presets. Manufacturer-supplied
presets are tested with the manufacturers hardware, so you should not change their
settings.
To create a preset from settings for an open project:
1 In the Project Settings dialog box, click Save. (If the dialog box isnt open, choose any
command from the Project > Project Settings submenu.)
2 Type a name and description, and click OK.
Save and name your project settings even if you plan to use them in only one project.
Saving settings creates a backup copy you can use if someone accidentally alters the
current project settings.
To create a preset when starting a new project:
1 Do one of the following to access the welcome screen:
Start Adobe Premiere Elements.
In Adobe Premiere Elements, choose File > Close.
2 Click Setup.
3 Select the existing preset that most closely matches your editing environment, and
then click New Preset.
4 Specify project settings, and then click Save.
5 Type a name and description, and click OK.

Adobe Premiere Elements Help Capturing Video and Adding Files
Capturing Video and Adding

Files
Preparing your system for capture
Adobe Premiere Elements includes all of the tools necessary to acquire the footage from
your DV camcorder so that you can begin assembling your movie. The process, called
capturing, is easy; you simply connect your DV camcorder to your computer, and then
enable the Capture command in Adobe Premiere Elements.
However, before you capture, it is important to make sure that your system is set up
appropriately for working with digital video. Following are some general guidelines for
ensuring a DV-capable system:
Note: Adobe Premiere Elements supports capture only from video camcorders, not digital
still-image cameras. To use photos from digital cameras, you need to transfer the footage
to your hard disk, and then add them to your project. (See Adding files on page 55 and
Using the Send To command in Adobe Photoshop Elements on page 58.)
Make sure that your computer has an IEEE 1394 (also known as FireWire or iLink) port.
This port may either be built into your computer or available on a PCI or PC card (often
referred to as a capture card) that you install yourself. A majority of computers manufac-
tured in the last two years include onboard IEEE 1394 cards. (See Connecting your DV
camcorder to your computer on page 47.)
Make sure that your hard disk is fast enough to capture and play back digital video. The
speed at which digital video files transfer information, called the data transfer rate
(often shortened to data rate), is 3.6 MB-per-second. The data transfer rate of your hard
disk should meet or exceed this rate. To achieve this rate, your hard disk must be able to
operate at 7200 rpm. Most hard disks manufactured in the last five years have this
capability. To confirm the rate or rpm speed of your hard disk, see your computer or
hard disk documentation.
Make sure that you have sufficient disk space for the captured footage. Five minutes of
digital video occupies about one gigabyte of hard disk space. Though the Capture
window in Adobe Premiere Elements indicates the duration of footage that you can
capture based on the remaining space on your hard disk, be certain beforehand that
you will have sufficient space.
Make sure that you periodically defragment your hard disk. Writing to a fragmented
disk can cause disruptions in your hard disks write speed, causing you to lose, or drop,
frames as you capture. You can use the defragmentation utility included with Windows
XP, located in Start > All Programs (or Programs if you are using the Classic Mode
display) > Accessories > System Tools > Disk Defragmenter.

Connecting your DV camcorder to your computer

To capture DV video, connect your DV camcorder to your computer by using an IEEE 1394
cable and IEEE 1394 ports. If your computer does not have a built-in IEEE 1394 port, you
can purchase an IEEE 1394 card separately (see your computers documentation for more
information). If your DV camcorder does not include an IEEE 1394 cable, you can purchase
one at any computer, camera, or consumer electronics outlet.
Connecting to the IEEE 1394 (FireWire/i.Link) port on the computer
Some DV camcorders require that you use the power adapter to activate the IEEE 1394
port. Other camcorders may go into a sleep or other inactive mode if left in camera mode
without being activated for a period of time. To ensure the camcorder doesnt go into
these inactive modes, connect your camcorder to its power adapter when setting it up for
capture.
Guidelines for connecting other sources

Before DV camcorders were widely manufactured, most people used camcorders that
recorded video onto VHS or 8mm tapes, among other tape formats. These formats are
called analog formats, and the video recorded and stored on them is called analog video.
To use video from analog sources in your Adobe Premiere Elements project, you must first
convert the footage to digital data, or digitize it, because Adobe Premiere Elements only
accepts direct input from digital sources. To digitize your footage, you can use either your
DV camcorder or a standalone device that performs analog-to-digital conversion. You can
perform a successful conversion by using one of the following methods:
Use your DV camcorder to output a digital signal on-the-fly from an analog input.
Connect the analog source to input jacks on your DV camcorder and connect the DV
camcorder to the computer. Not all DV camcorders support this method. See your
camcorder documentation for more information.
Use your DV camcorder to record footage from your analog source. Connect your
analog sources output to the analog inputs on your DV camcorder. Then, just record
your analog footage to DV tape. When you are finished recording, Adobe Premiere
Elements can then capture the footage from the DV camcorder. This is a very common
procedure. See your camcorder documentation for more details on recording from
analog sources.

Use an analog-to-digital converter to bridge the connection between your analog

source and the computer. Connect the analog source to the converter and connect the
converter to your computer. Adobe Premiere Elements will then capture the digitized
footage. Analog-to-digital converters are available in many larger consumer electronics
stores.
Note: If you capture using an analog-to-digital converter, you may have to capture
without using device control. For information about device control, see Capturing video
with device control on page 49. For more information on capturing without device
control, see Capturing clips without using device control on page 50.
Capturing video
Use the Capture window to monitor the video and access all of the capture commands.
This window includes a video preview area, recording controls, a disk-space indicator, and
a timecode display. From the Capture window menu, accessed when you click the More
button, you can view and edit your current capture settings. You open the Capture
window by clicking the Capture button in the task bar. You can also open it from the
welcome screen, which appears when the application opens. (See Capturing video with
device control on page 49.)
A B C
Capture window
A. Status area B. Preview area C. Capture menu D. Device controls

Capturing video with device control

You can perform all of your capturing work within the Capture window, which contains
buttons that you use to directly control your camcordera method called device control.
Device control provides a convenient way to locate and capture scenes.
Note: If you cannot use device control to capture, see Capturing clips without using
device control on page 50.
A
B C D E F G H I J K
Capture window playback controls

A. Capture B. Previous Scene C. Next Scene D. Rewind E. Step Back (Left) F. Play G. Shuttle
H. Step Forward (Right) I. Fast Forward J. Pause K. Stop
To operate Capture window controls by using the keyboard, see the tool tips in the
Capture window.
If you are capturing select scenes from the tape, as opposed to capturing the entire tape,
capture at least three seconds of additional footage (called handles) at both the beginning
and end of the capture to ensure a margin of error during capture. Handles also allow for
cleaner transitions and more flexibility when you trim your clips.
For more information, see Understanding how transitions use trimmed frames on
page 147, Trimming frames from a clip on page 80, and Using the default scene
detection option on page 50.
For details about troubleshooting capture, see Troubleshooting DV capture problems on
page 51.
To capture video:
1 Connect the DV camcorder to your computer by using an IEEE 1394 connection. The
connection point on your camcorder may be marked DV IN/OUT, i.Link, or IEEE 1394.
Note: Some camcorders have a USB port for transfer of data. Do not use this port for
capture.
2 Turn the camcorder on and set it to the playback mode, which may be labeled either
VTR or VCR. Dont set the camcorder to a recording mode, such as Camera or Movie.
Start Adobe Premiere Elements and click the Capture button in the Welcome To Adobe
Premiere Elements dialog box to open the Capture window within a new project.
Open a new or existing project, and then click the Capture button in the task bar.
4 In the Capture window, click the More button and choose Capture Settings. Make sure
that the Capture Format menu shows your DV camcorder and that the text to the right of
the menu reads Capture module installed.
5 Click the More button and select or deselect Scene Detect and Capture To Timeline. For
information on these settings, see Using the default scene detection option on page 50
and Automatically capturing directly to the Timeline window on page 51.

6 Use the Capture window controls or the Current Position Timecode display to locate the
scene you want to capture. To use the Current Position Timecode, drag the display or click
it and enter the timecode you want.
7 To begin capture, click Capture. If you are using Scene Capture, quickly advance to the
next or previous scenes by clicking the Next Scene button or the Previous Scene
button .
Note: Activating any application window other than the Capture window will stop the
capture. If you want the capture to continue without interruption, do not try to access any
other window.
8 To end the capture before the tape reaches its end, click Stop Capture. If you chose to
use Scene Detect, you can also use the Next and Previous Scene buttons at this point to
move to the respective scene.
9 If you chose not to use Scene Detect and you only captured a segment of your video,
you can repeat this procedure to locate and capture another segment of video.
10 When you are finished capturing, close the Capture window.
Capturing clips without using device control

If you do not have a device that can be controlled by Adobe Premiere Elements, you can
capture video manually. You can manually operate both the playback device controls and
the Capture window controls in Adobe Premiere Elements.
To capture a clip with a noncontrollable device:
1 Make sure that the deck or camcorder is properly connected to your computer. (See
Connecting your DV camcorder to your computer on page 47.)
2 Click the Capture button in the task bar.
3 (Optional) Click the More button and select the options you want. (See Capturing
video with device control on page 49.)
4 Use the controls on the deck or camcorder to move the videotape to a point several
seconds before the frame where you want to begin capturing.
5 Press the Play button on the deck or camcorder, and then click Capture in the
Capture window.
6 When you see the point where you want to stop recording, wait a few seconds to
provide room for editing, and then click Stop Capture to stop recording.
Using the default scene detection option

By default, the Adobe Premiere Elements uses scene detection when capturing clips.
Scene Detect analyzes video for scene breaks indicated by the tape's time/date stamp. DV
camcorders add a time/date stamp to the tape each time you press Record. With Scene
Detect active, Adobe Premiere Elements captures a separate clip at each scene break it
detects, and then it places each scene in the Media window. You can deactivate Scene
Detect if you want to capture an entire tape without breaking it into separate clips.
To activate or deactivate Scene Detect:
In the Capture window, click the More menu and choose Scene Detect. A check mark
indicates that the feature is activated.

Automatically capturing directly to the Timeline window

By default, when Adobe Premiere Elements completes a capture, it places the captured
clips on the Timeline window in the order they were captured. This feature is especially
convenient because it creates a timeline that duplicates the order of the clips on your tape
and makes it easier to locate and delete unwanted clips. This feature is also useful if you
record scenes in roughly the order you want them to remain.
You can deactivate this feature if you plan to place clips in a wholly different order than
they were on the original tape.
To activate or deactivate Capture To Timeline:
In the Capture window, click the More menu and choose Capture To Timeline. A check
mark indicates that the feature is activated. All captured clips will also reside in the Media
window.
Navigating to a specific timecode

Timecode represents the location of the frames in a video. Camcorders record timecode
onto tape. The timecode is based on the number of frames per second (fps) that the
camcorder records and the number of frames per second that the video displays upon
playback. Digital video has a standard frame rate that is either 29.97 fps for NTSC video
(the U.S. television standard) or 25 fps (the European television standard). Timecode
describes location in the format of hours;minutes;seconds;frames. For example,
01;20;15;10 specifies that the displayed frame is located 1hour, 20 minutes, 15 seconds,
and ten frames into the scene.
As you view video in the Capture window, the Current Position Timecode display shows
you exactly where the current frame is located in the scene. You can use this display to
view your timecode and to manually navigate to a specific frame.
Note: If you have any blank gaps in your tape, the camcorders timecode counter will reset
to zero.
To navigate to a timecode:
Click the timecode value and enter the timecode.
Drag the timecode values to locate a particular frame.
Troubleshooting DV capture problems

If you run into problems while capturing DV footage, refer to the DV capture topics in
Adobe Premiere Elements Help or the documentation for your camcorder, deck, or
capture card; or check the Adobe website (www.adobe.com) for technical support.
Following are some common issues (along with solutions) that you may encounter when
capturing DV footage.
Your DV camcorder goes into sleep mode Close and then reopen the Capture window;
or close the Capture window, turn the camcorder off and on, and then reopen the Capture
window. You can disable sleep mode on many camcorders by connecting the camcorder
to AC power and ejecting the tape.

The video looks grainy, pixelated, or jumpy in the Capture or Monitor window If
you have met the minimum requirements for the data transfer rate of your hard disk, dont
be concerned with this preview (seePreparing your system for capture on page 46).
Adobe Premiere Elements captures and stores video at full quality.
The video image does not appear in the Capture window Make sure that the options
are set correctly, that your DV camcorder is playing, and that your IEEE 1394 connections
are secure. To ensure that Adobe Premiere Elements can see the DV camcorder, quit
Adobe Premiere Elements (leave the DV camcorder on), and then restart Adobe Premiere
Elements. Open the Capture window, click the Play button , and click in the capture
preview area.
File formats you can add to projects

Your choice of footage to include in your movie is not limited to the clips that you capture.
You can also use any number of other image, video, or audio files that reside on your
computer. You only need to add them to your Adobe Premiere Elements project to begin
working with them. In some cases, added files can retain a link to the Adobe application in
which they were created so that from within Adobe Premiere Elements you can open the
files original application, make changes, and immediately see the results in Adobe
Premiere Elements.
Supported video files

Before you add video files that you did not capture yourself, make sure that you can view
the video outside of Adobe Premiere Elements. Usually, double-clicking a video file will
open a playback application, such as Windows Media Player. If you can playback your file
in the player application, you will be able to successfully use that file in Adobe Premiere
Elements. You can add a single file, multiple files, or an entire folder of files. You can add
video and sequence files with frame sizes up to 4000 x 4000 pixels.
You can scale EPS images in Adobe Premiere Elements to any size without them becoming
jagged, or pixelized.
Adobe Premiere Elements supports the following video and sequence formats:
Video formats: DV AVI, MOV, MPEG/MPE/MPG, and WMV.
Sequence file formats: BMP, Animated GIF, JPEG, PICT/PIC/PCT, TGA/ICB/VST/VDA, TIFF,
and PSD.
Note: Type 1 AVI clips must be rendered before you can preview them from your DV
camcorder. To render a Type 1 AVI clip, add it to the Timeline window in a DV project and
build a preview file of that section of the Timeline window.
For more information, see About pixel aspect ratio on page 63 and Changing clip speed,
direction, and volume on page 91.
Supported audio files

As with video files, you can add any stereo audio file into Adobe Premiere Elements that
you can open in another audio player, such as Windows Media Player. If you add a mono
file, Adobe Premiere Elements converts it to stereo by copying the mono channel and
placing it onto a stereo channel. You cannot add five-, six-, or seven-channel audio files to

Adobe Premiere Elements supports the following stereo audio formats: AIFF, AVI, MOV,
MP3, WAV, and WMA.
Note: Formats such as MP3 and WMA are compressed using a method that removes some
of the original audio quality. To play back compressed audio, Adobe Premiere Elements
must decompress and possibly alter the files sample rate, thereby degrading the audio
quality. You may want to avoid using these formats in your movies.
If you want to add audio from CD, you must first copy, or rip, the audio tracks to your hard
disk using another application. Windows Media Player, included with Windows XP, can
perform this task; however, you can also use Adobe Audition to rip the CD at various
quality settings and perform complex audio processing functions on the file. If you plan to
publicly air or distribute your movie, make sure that you own the copyrights or have
licensed the copyrights to any CD audio you use. If you download music from the Internet
for use in your projects, be aware that some files, notably WMA (Windows Media Audio)
and AAC (QuickTime) files may have pre-encoded settings that will not allow you to play
the file back in Adobe Premiere Elements.
About video and audio requirements for DVDs

Most digital video and DVDs follow two basic television standards, NTSC or PAL. The
standard varies from country to country. If you captured your video from a DV camcorder
using the default settings for frame size and frame rate, it most likely conforms to one of
the television standards. Although Adobe Premiere Elements can scale your video to the
proper size and adjust the frame rate if necessary, you will get the best results if your video
matches the TV standard to which you plan to export.
Television Standard Areas Commonly Frame Size Frame Rate

Used
NTSC North America, parts of 720 x 480 29.97 fps

South America, Japan,
Philippines, Taiwan, S.
Korea, Guam, Burma,
and others
PAL Europe, Mid-East, and 720 x 576 25 fps

parts of the following
areas: Asia, Africa,
South America, and
others
Adobe Premiere Elements converts all imported audio to the bit depth and sample rate
required by DVDs. If possible, it is best to record your audio using the DVD specifications:
Audio bit depth: 16 bits.
Audio sample rate: 48,000 Hz (48 kHz).

Supported still image files

You can add individual still images or convert a numbered sequence of still images into
a single animation. You can add still images with frame sizes up to 4000 x 4000 pixels.
Adobe Premiere Elements also works well with images you create with Adobe Photoshop
Elements. You can open Adobe Photoshop Elements from within Adobe Premiere
Elements and subsequently edit or create images that you can use in your movie projects.
For more information, see Creating Photoshop files with Adobe Premiere Elements on
page 59.
Adobe Premiere Elements supports the following still image formats: JPEG, BMP, PNG, GIF,
PSD, PDF, PDD, JPG, TIFF (limited supportsee note that follows),ICO, and EPS.
Note: You can add files from Adobe Photoshop 3.0 or later. However, Adobe Premiere
Elements does not support 16-bit TIFF images created in Photoshop or other applications.
Empty (transparent) areas of nonflattened Photoshop files appear transparent in Adobe
Premiere Elements because the transparency is stored as an alpha channel. (See About
superimposing and transparency on page 158.)
For more information, see Adding an animation or still-image sequence on page 57.
Guidelines for creating still image files for video

The following guidelines affect how still images appear when you add them to your
Adobe Premiere Elements project:
If you own Adobe Photoshop Elements, create your still images by using the New
Photoshop File command. (SeeCreating Photoshop files with Adobe Premiere
Elements on page 59.) If you use Adobe Photoshop to create your still images, use one
of the DV/DVD or PAL new document presets. These presets are optimized for DV
output. (See Photoshop Help for more information.) If you use another application to
create your still images, see Using square-pixel footage for output to DV on page 66
for information on ideal frame sizes.
When you are editing or creating your still images, make sure that you do all of your
work in RGB mode. For more information, consult your products user guide, under the
category of color management. RGB mode produces colors that are suitable for video.
For best results, create files with a frame size at least as large as the frame size of your
video so that you dont have to enlarge, or scale up, the image in Adobe Premiere
Elements. Often, when you scale up an image, it becomes pixelated. If you plan to scale
up an image, prepare it at a larger frame size than the project. For example, if you plan
to scale up an image 200% in a project, prepare the image at double the project frame
size before you add it. To determine the frame size of your video, right-click it in the
Media window or Timeline window, and choose Properties. The Image Size value shows
your frame size.

Adding files
You can add other video, audio, and still image files to your project at any time. All added
files are visible in the Media window.
Adding video, audio, and still image files

Because Adobe Premiere Elements only creates a link to the file to add it, it is important
that you dont delete or move the original file while you are working with it in a project. If
you do move or delete it, Adobe Premiere Elements will prompt you to find it. You can
locate it or work with it as an offline file.(See Using offline files on page 66.)
By default, Adobe Premiere Elements scales still images to fit the project frame size. This
means that if you created an image that is larger than your project frame size, when you
add it to your project, Adobe Premiere Elements will reduce its size so that it fits within the
frame of your project. You can override this behavior and instead have Adobe Premiere
Elements add your files at the size at which they were created. You can also set the default
duration for all still images that you add. (See Changing the duration of a still image on
page 58.)
You can also add animations, which usually are saved as a sequence of numbered
still image files. For more information, see Adding an animation or still-image
sequence on page 57.
To add one or more files into the Media window:
To add one or more files, click the Add Media button in the task bar. Locate and select
the file or files that you want to add, and then click Open. To add an entire folder or
folders, select the items that you want to add and click Add Folder.
To add a file that was recently added into Adobe Premiere Elements, choose it from the
File > Add Recent File submenu. The file may not appear if many other files have been
added more recently or if Adobe Premiere Elements preferences have been reset.
To add files and folders by dragging, drag them from a desktop window to the Media
window in Adobe Premiere Elements.
To add still image files at the same size at which they were created:
1 Choose Project > Project Settings > General.
2 Deselect the Scale Clips To Project Dimensions When Adding To Timeline option, and
click OK.
To add still images directly from Photoshop Elements:
Drag the image from Photoshop Elements to the Media window in Adobe Premiere
Elements.
Copy the image from Photoshop Elements, and then paste it into the Media window in

Processing interlaced video fields

In most video, each frame consists of two fields. One field contains the odd-numbered
lines in the frame, and the other contains the even-numbered lines. The fields are inter-
laced, or combined, to create the complete image.
Ordinarily, interlace isnt apparent to a viewer. But because each field captures the subject
at a slightly different moment in time, playing a clip in slow-motion, creating a freeze
frame, or exporting a frame as a still image makes the two fields discernible. In these
circumstances, its usually preferable to deinterlace the imagethat is, eliminate one field
and create the missing field either by duplicating or interpolating the lines of the
remaining field.
Another unwanted effect can arise from inadvertently reversing the field dominance, or
the order in which the fields are recorded and displayed. When the field dominance is
reversed, motion appears jerky because the fields no longer appear chronologically. Fields
can become reversed in the following situations:
The field dominance of the original videotape was the opposite of the field dominance
of the video-capture card used to capture the clip.
The field dominance of the original videotape was the opposite of the field dominance
of the video-editing or animation software that last rendered the clip.
You have set an interlaced clip to play backward.
You can process fields for an interlaced clip in the movie so that the clips picture and
motion quality are preserved in situations such as changing the clip speed, exporting a
filmstrip, playing a clip backward, or freezing a video frame.
To specify field processing options for a clip:
1 Select a clip in the Timeline window, and choose Clip > Video Options > Field Options.
2 Select Reverse Field Dominance to change the order in which the clips fields appear.
This option is useful when the field dominance of the clip doesnt match your equipment
or when you play a clip backward.
3 For Processing Options, select one of the following choices:
None does not process the clips fields.
Interlace Consecutive Frames converts pairs of consecutive progressive-scan (noninter-
laced) frames into interlaced fields. This option is useful for converting 60-fps
progressive-scan animations into 30-fps interlaced video because many animation
applications dont create interlaced frames.
Always Deinterlace converts interlaced fields into whole progressive-scan frames.
Adobe Premiere Elements deinterlaces by discarding one field and interpolating a new
field based on the lines of the remaining field. It keeps the field specified in the Field
Settings option in the Project Settings. If you specified No Fields, Adobe Premiere
Elements keeps the upper field unless you selected Reverse Field Dominance, in which
case it keeps the lower field. This option is useful when freezing a frame in the clip.
Flicker Removal prevents thin horizontal details in an image from flickering by slightly
blurring the two fields together. An object as thin as one scan line flickers because it
can appear only in every other field.
4 Select Frame Blend Speed Changes to improve the appearance of video when the clips
speed is not 100% by blending frames together.

5 Click OK.
About conformed audio files

When you add audio files, Premiere Pro conforms them to the audio sample rate specified
in the Project Settings dialog box. While Premiere Pro conforms audio, youll see a progress
bar at the lower right corner of the application window. You can play back conformed
audio instantly at high quality because its consistent with all other audio in the project.
By default, conformed audio is stored in the same folder as the project. You can change
this default by choosing Edit > Preferences > Scratch Disks and specifying a different
location for Conformed Audio.
Note: Once you conform an audio clip, you dont need to conform it again unless you
delete the corresponding file in the Conformed Audio folder. If you delete conformed audio
files, Premiere Pro regenerates them when you next open related projects.
Adding an animation or still-image sequence

You can add an animation contained in a single file, such as an animated GIF. An animation
is different from a video in that the frames in an animation are drawn as graphics and,
therefore, are not scenes of live action, as in conventional digital video. Adobe Premiere
Elements can also add a sequence of numbered still-image files and automatically
combine them into a single clip; each numbered file represents one frame. Some applica-
tions, such as Adobe After Effects, can generate a numbered sequence of still images.
Images in a still-image sequence cannot include layers, so you need to flatten images that
will be part of a sequence. For information on layers and flattening, see the documen-
tation for the application that created the file.
Note: Changing the default duration of still images in the Preferences dialog box does not
affect the duration of still images that are part of a sequence.
When creating three-dimensional images or animations for use in Adobe Premiere
Elements, use the following guidelines whenever possible:
Use broadcast-safe colors. Most applications that create animations (such as Adobe
After Effects) allow you to check for broadcast-safe colors. Refer to your applications
documentation for more information.
Use the pixel aspect ratio and frame size specified in the project settings in Adobe
Premiere Elements.
Use the appropriate field settings to match your project. (See Processing interlaced
video fields on page 56.)
If youre using an Adobe application to generate the sequence, select the Embed
Project Link option so that you can open the sequence in the application that was used
to create it.
To add numbered still-image files and compile them into a single clip:
1 Make sure that each still-image file name has the correct file extension, and make sure
that all file names in the sequence contain an equal number of digits at the end of the file
name (before the file name extension)for example, file000.bmp, file001.bmp, and so
forth.
2 Choose File > Add Media.

3 Locate and select the first numbered still in the sequence and, below the Files of Type
menu, select Numbered Stills, and click Open. When Numbered Stills is selected, Adobe
Premiere Elements interprets all of the numbered files as a single sequence.
Changing the duration of a still image

When you add a still image, you can assign a specific duration to it. The duration you set
specifies how much time the image occupies in the Timeline window. You can set a default
duration for all still images that you add, and you can change their duration right from the
Timeline window.
To change the default duration for still images:
1 Choose Edit > Preferences > Still Image.
2 For Default Duration, specify the number of frames you want as a default duration. The
frame rate of your project determines the amount of time that a certain number of frames
occupies. For instance, if you are working in a 25 frame-per-second project and you enter
25 frames as the duration, each still image that you add to the Timeline window will have a
duration of approximately one second.
Note: Changing the default duration of still images does not affect the duration of still
images that are already in the Timeline window.
To change the duration of a still image in the Timeline window:
Position the Selection tool over either end of the image, and drag.
Select the clip and choose Clip > Speed/Duration. Enter a new duration and click OK.
Working with Adobe Photoshop Elements

If you own Adobe Photoshop Elements, you can use it to edit still images for your video
projects. To add multiple existing images to a project, use the Send To command in
Photoshop Elements. To create a new still image for a project, use the Photoshop File
command in Adobe Premiere Elements.
Using the Send To command in Adobe Photoshop Elements

If you use Adobe Photoshop Elements, you can use the Send To command in the
Organizer to export any file or set of files directly to the Timeline window in Adobe
Premiere Elements. This feature is useful for quickly incorporating a set of images into your
Adobe Premiere Elements project, or for designing a sequential layout of your scenes (also
referred to as creating a storyboard). If you use tags and collections in the Organizer to
arrange your images into storyboards, Adobe Premiere Elements will place them in the
Timeline window in the order you set in the Organizer. See Photoshop Elements Help for
more information on organizing your images.
You can either send your files to a currently open Adobe Premiere Elements project, or you
can create a new project for your Organizer footage. Adobe Premiere Elements places the
footage on the Timeline window according to the settings specified in the Create
Slideshow dialog box. (See Create Slideshow options on page 77.)

To send Organizer footage to Adobe Premiere Elements:

1 Open a project by using one of the following methods:
To add the footage to an existing Adobe Premiere Elements project, open the project to
which you want to add the footage.
To add the footage to a new project, either open a new project or make sure that no
project is open.
2 In the Organizer, select the footage that you want to send, and activate the Send To
command. See Photoshop Elements Help for information on using the Send To command.
Creating Photoshop files with Adobe Premiere Elements

If you have Adobe Photoshop Elements 2.0 or later installed, you can use Adobe Premiere
Elements to create a new Photoshop Elements file (PSD) with dimensions and aspect
ratios equal to those of your movie. Creating a Photoshop Elements file this way ensures
that the file is optimized for your project. Once you create and save the file, you can go
back to Photoshop Elements to edit the filewhen you save and close the file in
Photoshop Elements, it automatically updates in Adobe Premiere Elements.
Adobe Premiere Elements uses pre-installed, pre-configured templates as a basis for these
Photoshop Elements files. The templates are included in the Adobe Premiere Elements/
Document Templates folder. You can create your own templates if you want to create files
of varying sizes in Photoshop Elements; however, they wont be preoptimized for your
project.
For information on working with footage of different aspect and pixel ratios, see About
aspect ratios on page 62.
To create a new PSD file:
1 Choose File > New > Photoshop File.
2 Enter a name for your Photoshop file.
3 Select Add To Project (Merged Layers) if you want the new file to appear in your Adobe
Premiere Elements project. Deselect this option to save the file to disk and not add it to
your project.
4 Click Save. Photoshop Elements opens to a new document.
To create or modify a template:
1 Open Photoshop Elements, and create a new document by using one of the DV NTSC or
PAL presets. You can also create other elements specifically for your default document,
such as a special background color or text.
2 Save the document by using the naming convention of the installed default templates
(for example, 720x480x0.9.psd) or any name that distinguishes it for your purposes.
For information on creating a new document in Photoshop Elements, see Photoshop
Elements Help.

Creating clips to optimize or enhance your project

You can create universal counting leaders, color bars, a 1 kHz tone, black video, and
colored backgrounds to place in your project to help with calibration of your video or
simply to use as footage.
You dont add these clips, but rather generate them by using commands in the Media
window. Once you generate them, they reside in the Media window along with your
added clips.
Creating and customizing a counting leader

A universal counting leader is the countdown graphic that appears at the beginning of
some films. The counting leader helps a projectionist verify that audio and video are
working properly and are synchronized. You can customize the color, appearance, and
audio settings of the counting leaders you create in Adobe Premiere Elements. The leader
is 11 seconds long.
Example frames from a counting leader
To create a universal counting leader:

1 In the Media window, click the New Item button , and choose Universal Counting
Leader from the menu that appears.
2 Specify the following options as needed (click the box next to the color options to
choose a color).
Wipe Color Specifies a color for the circular wipe area.
Background Color Specifies a color for the area behind the wipe color.
Line Color Specifies a color for the horizontal and vertical lines.
Target Color Specifies a color for the double circles around the numeral.
Numeral Color Specifies a color for the countdown numeral.
Cue Blip On Out Displays a small cue circle in the last frame of the leader.
Cue Blip On 2 Plays a beep at the two-second mark.
Cue Blip At All Second Starts Plays a beep at each second in the leaders progression.
You can change counting leader options by double-clicking the counting leader in
the Media window.

Creating color bars and a 1-kHz tone

You use the color bars and 1 kHz tone clips in tandem at the beginning of a video. Color
bars are multi-colored vertical bars at the beginning of broadcast videos that help broad-
casters calibrate the color for a video.
The 1-kHz tone is a short tone at the 1 kHz frequency that broadcasters use to adjust audio
levelsbroadcasters set it at a specific level for reference, and then decrease or increase
their own audio levels to match. Because some audio workflows must be calibrated at a
specific tone level, you can customize the tone level to match your audio workflow.
To add color bars and a 1-kHz tone to your project:
In the Media window, click the New Item button and choose Bars And Tone from the
menu that appears.
To customize the tone level:
1 Select a clip using one of the following methods:
To set the level for all new clip instances, select the Bars And Tone clip in the Media
window.
To set the level for only one clip instance, select the clip in the Timeline window.
2 Choose Clip > Audio Options > Audio Gain.
Creating black video

The black video clip is a span of pure black video that you can use anywhere in your movie.
For example, you can use this clip to create a fade-to-black effect as you change scenes.
Adobe Premiere Elements generates the black still-image video clip at the project frame
size, with a five-second duration. To create a different color clip, use a color matte. (See
Creating colored background clips on page 61.)
To add the black video clip:
In the Media window, click the New Item button and choose Black Video from the menu
that appears.
Creating colored background clips

Using the Media window, you can create a clip consisting of a full-frame matte of solid
color. You can use these mattes as a solid background for titles or animated clips.
Brightly colored mattes can serve as temporary backgrounds to help you see trans-
parency more clearly while you adjust a key effect. (See About keying effects on
page 160.)
To create a color matte:
1 In the Media window, right-click and choose New Item > Color Matte.
2 Choose a color in the Adobe Color Picker dialog box, and click OK. (See Selecting colors
for effects and mattes on page 119.)
3 Type a name for the matte in the Choose Name dialog box, and click OK.

Analyzing clip properties and data rate

Adobe Premiere Elements includes clip analysis tools that you can use to evaluate a file in
any supported format stored inside or outside a project. For example, you can determine
whether a clip you exported has an appropriate data rate for Internet distribution.
Analyzed properties for video files can include file size, number of video and audio tracks,
duration, average frame rate, audio sample rate, video data rate, and compression
settings, as well as information about dropped frames in captured clips.
Use the Properties feature to check for dropped frames in a clip you just captured. Use the
Data Rate Analysis graphs to evaluate how well the output data rate matches the require-
ments of your delivery medium. The graphs chart the render keyframe rate, the difference
between compression keyframes and differenced frames (frames that exist between
keyframes), and data rate levels at each frame.
To view the properties of a clip:
Choose one of the following commands:
If the clip is in the Source view, Timeline window, or Media window, select it and choose
File > Get Properties For > Selection.
If the clip is not in the project, choose File > Get Properties For > File. Locate and select
the clip you want to analyze, and then click Open.
The graphs include the following information:
Data Rate/Sec Graph The line represents the average data rate.
Sample Size Graph The blue bars represent the sample size of each keyframed frame.
Differenced frames sample size If displayed, the red bars represent the sample size of
the differenced frames between compression keyframes. You will only see these bars if
you are analyzing the properties of a clip that was compressed using a codec that
supports differenced frames. Differenced frames store only data that has changed
between any two keyframes. DV footage does not contain differenced frames.
You can also view clip properties in the Source view, Timeline window, or Media
window by right-clicking a clip and choosing Properties from the context menu.
About aspect ratios

The aspect ratio specifies the ratio of width to height. Video frames have an aspect ratio
(frame aspect ratio) as do the pixels that make up the frame (pixel aspect ratio). Some video
camcorders can record a variety of frame aspect ratios, and the NTSC and PAL video
standards use different pixel aspect ratios. If your added files appear distorted, for
example, if an image you know to be a perfect circle appears oval-shaped, you may have a
conflict between the images aspect ratio and the aspect ratio of your project.
Adobe Premiere Elements automatically attempts to detect and compensate for the pixel
aspect ratio of source clips so that this distortion doesnt occur. If a clip appears distorted
in Adobe Premiere Elements, you can manually change its pixel aspect ratio. It's important
to reconcile pixel aspect ratios before reconciling frame aspect ratios because an incorrect
frame aspect ratio is often caused by misinterpreting a source clip's pixel aspect ratio.

About frame aspect ratio

Frame aspect ratio describes the ratio of width to height in the dimensions of an image. For
example, DV NTSC has a frame aspect ratio of 4:3 (or 4.0 width by 3.0 height). For
comparison, a typical widescreen frame has a frame aspect ratio of 16:9; many camcorders
that have a widescreen mode can record using this aspect ratio. Many films are shot using
even wider aspect ratios.
4 16
3 9
A 4:3 frame aspect ratio (left), and a wider 16:9 frame aspect ratio (right)
When you add clips into a project that uses a frame aspect ratio that is different from the
aspect ratio used to shoot the video, you must decide how to reconcile the different
values. For example, there are two common techniques for showing a widescreen movie
with a 16:9 frame aspect ratio on a standard television with a 4:3 frame aspect ratio. You
can fit the entire width of the 16:9 frame into a black 4:3 frame, a technique called letter-
boxing, which results in black bands above and below the widescreen frame. Or, you can
fill the 4:3 frame with only a selected area of the 16:9 frame, a technique called pan & scan.
Though this technique eliminates the black bars, it also eliminates part of the action.
Adobe Premiere Elements automatically letterboxes any 16:9 footage that you add into a
4:3 aspect ratio project.
About pixel aspect ratio

Pixel aspect ratio describes the ratio of width to height in a single pixel of a frame. Pixel
aspect ratios vary because different video systems make different assumptions about the
number of pixels required to fill a frame. For example, many computer video standards
define a frame that has a 4:3 aspect ratio as 640 x 480 pixels. Pixels that are square, which
have an aspect ratio themselves of 1:1, perfectly fill the horizontal and vertical space
defined by that frame. However, video standards such as DV NTSC, which is the standard
followed by most consumer DV camcorders (sold in the U.S.), define a 4:3 aspect ratio
frame as 720 x 480 pixels. Consequently, in order to fit all of these pixels in the frame, the
pixels must be narrower than the square pixels. These narrow pixels are called rectangular
pixels, and they have an aspect ratio of 0.9:1, or 0.9 as they are commonly called. DV pixels
are vertically oriented in systems producing NTSC video and horizontally oriented in
systems producing PAL video. Adobe Premiere Elements displays a clips pixel aspect ratio
next to the clips image thumbnail in the Media window.

If you display rectangular pixels on a square-pixel monitor, images appear distorted, for
example, circles distort into ovals. However, when displayed on a broadcast monitor, the
images appear correctly proportioned because broadcast monitors use rectangular pixels.
Adobe Premiere Elements can display and output clips of various pixel aspect ratios
without distortion because it attempts to automatically display them with the pixel aspect
ratio of your project. You may occasionally encounter a distorted clip if Adobe Premiere
Elements interprets pixel aspect ratio incorrectly; if this happens, you can correct the
distortion by manually specifying the source clips pixel aspect ratio. (See Setting pixel
aspect ratio on page 65.)
A B C
Pixel and frame aspect ratios

A. Square pixels and 4:3 frame aspect ratio B. Nonsquare pixels and 4:3 frame aspect ratio
C. Nonsquare pixels displayed uncorrected on a square-pixel monitor
About capturing or adding various aspect ratios

Adobe Premiere Elements attempts to automatically compensate for pixel aspect ratios
and preserve the frame size of added images. Adobe Premiere Elements treats images you
add in the following ways:
When you capture or add video with either the D1 resolution of 720 x 486 or the DV
resolution of 720 x 480, Adobe Premiere Elements automatically sets the pixel aspect
ratio for that file to D1/DV NTSC (0.9). When you add footage with the D1 or DV
resolution of 720 x 576, Adobe Premiere Elements automatically sets the pixel aspect
ratio for that file to D1/DV PAL (1.067). However, it is always a good idea to make sure
that all files are interpreted correctly by looking in the Media window or the Interpret
Footage dialog box.
Adobe Premiere Elements automatically assigns pixel aspect ratios to files by using the
entries in the Interpretation Rules.txt file, which is located in the Adobe Premiere
Elements/Plug-ins folder. If a specific type of image is consistently misinterpreted
(distorted) when you add it, you can add or change the entries in the Interpretation
Rules.txt file by using a text editor, such as Notepad. If you want to override the pixel
aspect ratio interpretation for files already in a project, use the Interpret Footage
command.
If you want to change the size of an added clip in Adobe Premiere Elements and its pixel
aspect ratio is correct, select the clip and change the Scale property of the Motion
effect. The Motion effect is available when you view the Effect Controls window with
the clip selected in the Timeline window.
For more information, see Setting pixel aspect ratio on page 65.

Setting pixel aspect ratio

The preset you choose when you start a project sets the pixel aspect ratio for the project.
You cant change the aspect ratio after it is initially set. By ensuring that all files are inter-
preted correctly, you can combine footage with different ratios in the same project and
generate output that doesnt distort the source images.
To adjust the pixel aspect ratio of an added still image:
1 Select the still image in the Media window.
2 Choose File > Interpret Footage.
3 Select an option in the Pixel Aspect Ratio section, and click OK:
Use Pixel Aspect Ratio From File uses the original aspect ratio saved with the still image.
Conform To lets you choose from a list of standard aspect ratios.
To view a projects aspect ratio:
Choose Project > Project Settings > General.
To view or change the pixel aspect ratio used for individual source clips:
Choose File > Interpret Footage.
For information about options in the Conform To pop-up menu, see Common pixel
aspect ratios for added files on page 65.
Common pixel aspect ratios for added files

It is important to set the pixel aspect ratio for a file at its original ratio, not the ratio of the
final output. You can set pixel aspect ratios for clips and projects with these approximate
values:
Square Pixels Uses a 1.0 pixel aspect ratio. Use this setting if your source clip has a 640 x
480 or 648 x 486 frame size, or if the file was exported from an application that doesnt
support nonsquare pixels.
D1/DV NTSC Uses a 0.9 pixel aspect ratio. Use this setting if your source clip has a 720 x
480 or 720 x 486 frame size and you want it to maintain a 4:3 frame aspect ratio. This
setting can also be appropriate for clips that were exported from an application that works
with nonsquare pixels, such as a 3D animation application.
D1/DV NTSC Widescreen Uses a 1.2 pixel aspect ratio. Use this setting if your source clip
has a 720 x 480 or 720 x 486 frame size and you want it to maintain a 16:9 frame aspect
ratio.
D1/DV PAL Uses a 1.0666 pixel aspect ratio. Use this setting if your source clip has a 720 x
576 frame size and you want it to maintain a 4:3 frame aspect ratio.
D1/DV PAL Widescreen Uses a 1.4222 pixel aspect ratio. Use this setting if your source
clip has a 720 x 576 frame size and you want it to maintain a 16:9 frame aspect ratio.
Anamorphic 2:1 Uses a 2.0 pixel aspect ratio. Use this setting if your source clip was
anamorphically transferred from a film frame with a 2:1 aspect ratio.
D4/D16 Standard Uses a 0.9481481 pixel aspect ratio. Use this setting if your source clip
has a 1440 x 1024 or 2880 x 2048 frame size and you want it to maintain a 4:3 frame aspect
ratio.

D4/D16 Anamorphic 8:3 Uses a 1.8962962 pixel aspect ratio. Use this setting if your
source clip has a 1440 x 1024 or 2880 x 2048 frame size and you want it to maintain an 8:3
frame aspect ratio.
Using square-pixel footage for output to DV

You can use square-pixel footage in a DV project and generate output that does not
appear distorted. Adobe Premiere Elements either upsamples (increases) or downsamples
(decreases) the resolution of a file that does not match the project frame size. Because
downsampling results in a higher-quality image, it is best to create files that are larger
than the projects frame size so that Adobe Premiere Elements does not have to upsample
and enlarge the file.
To use square-pixel files in a D1 or DV project:
Prepare the file by using one of the following methods, and then capture or add the file to
Adobe Premiere Elements:
If your final output is DV (NTSC), create and save it at a 720 x 540 frame size to prevent
upsampling or 640 x 480 to prevent field distortion on a field-rendered file (such as a
3D animation).
If your final output is DV (PAL), create and save it at a 768 x 576 frame size to prevent
upsampling and field distortion on a field-rendered file (such as a 3D animation).
If your final output is D1 (NTSC), create and save it at a 720 x 540 frame size.
If your square-pixel file was created and saved at the frame size used by your project
(such as 720 x 480), but not at the pixel aspect ratio of the project, redesign your image
using a different frame size (such as 720 x 540). This is necessary when the application
you use to prepare the file doesnt support nonsquare pixels.
Using offline files

An offline file is a placeholder for a source file that is not currently available on disk. Offline
files remember information about the missing source files they represent, and they give
you flexibility when actual files are not available. If an offline file appears in the Timeline
window, a Media Offline message appears in the Program view and in the Timeline
window track. Adobe Premiere Elements provides Offline and Offline All buttons in this
case (see Opening an existing project on page 27).
To edit an offline file:
In the Media window, double-click the offline file, edit settings as needed, and then click
OK.

To replace an offline file with a file thats already on your hard disk:
1 In the Media window, select one or more offline files.
2 Choose Project > Locate Media.
3 Do one of the following, and click OK:
Locate and select the actual source file.
Click Cancel if you cant locate the file you wanted to link to.
Note: If you selected more than one offline file, the Attach Which Media dialog box
appears in turn for each file you selected. Pay attention to the offline file name in the title
bar of the dialog box so that you relink the correct source file to each offline file.

Adobe Premiere Elements Help Editing Movies
Editing Movies
About editing a movie
Typically when editing a movie, youll initially create a rough cuta complete yet
relatively crude version of the movie. You arrange the scenes of your movie in the Timeline
window. The Timeline window uses tracks and a time ruler to display the components of
your movie and their relationship to each other over time. It contains two default tracks for
video and still images, and two default tracks for audio. You can add additional tracks at
any time. Tracks let you layer your video or audio. You can place video or still images, such
as titles, on top of each other (superimposing), or add music to play in the background of
your soundtrack. The final movie combines all the video and audio tracks together.
Using the Timeline window, you place clips in the order you want them viewed. You can
trim and add scenes, indicate important frames with markers, add transitions, and control
how clips blend or superimpose.
A B C D
Timeline window
A. Selection tool B. Razor tool C. Time Stretch tool D. Time ruler E. Video tracks F. Audio tracks
Working with the Monitor window

You view individual clips or the assembled movie in the Monitor window. The full duration
of a clip or movie is represented graphically by the time ruler in the Monitor window. A
blue triangle called the current-time indicator marks the location of the current frame
within the clip or movie. Depending upon whether you are viewing an individual clip or a
movie, the ruler may also display markers and indicate the In and Out points of a clip.
The Monitor window contains two different views: the Clip view and the Timeline view.

Clip view Lets you play a single clip, set clip markers, and trim a clip by setting In and
Out points. The In and Out points define the portion of the clip that will appear in the
movie. When you view a clip in the Clip view, you can view the entire clipall the frames
placed in the movie, as well as its trimmed frames. The Clip view of the Monitor window is
independent of the Timeline window. The current-time indicator in the Clip view is not
linked to the current-time indicator in the Timeline window.
Timeline view Lets you play or view the movie assembled in the Timeline window, set
markers, and locate specific frames while editing. The Timeline view and the Timeline
window work in tandem. For example, as you move the current-time indicator in the
Timeline window, the Timeline view of the Monitor window displays the frames.
To preview a clip or movie in the Monitor window, see Previewing an individual clip in the
Monitor window on page 102 and Previewing a movie on page 103.
Adjusting the zoom level of the Monitor window time ruler

You can change the zoom level of the time ruler in the Monitor window so that you can
see the ruler in more or less detail. Just above the time ruler is a thin navigation bar. The
navigation bar controls both the zoom level of the ruler and the portion of you ruler you
view. When fully extended, you can see the entire time ruler. Using the navigation bar does
not affect the zoom level of the displayed clip or movie.
Drag the end of the navigation bar left in the Monitor window to zoom in or right to zoom out.
To zoom in or out of the Monitor window time ruler:

To zoom in on time ruler, drag either end of the navigation bar towards the center.
To zoom out on time ruler, drag either end of the navigation bar out towards the edge
of the ruler.
To view a different area of the time ruler, drag the middle of the navigation bar to
scroll the ruler right or left. When zoomed in, you may not see the slider shift
position, but you will see the ruler scroll as you drag right or left.

Working with the Timeline window

You arrange the clips of your movie in the Timeline window. Adobe Premiere Elements lets
you customize the Timeline window for your project. You can zoom in and out of the
Timeline window, change how the clips appear in the tracks, and resize the tracks and the
header area.
For information on changing the timecode used in the Timeline window (and throughout
the project), see Specifying General settings on page 43.
Moving through a movie in the Timeline window

The Timeline windows current-time indicator , a blue triangle in the time ruler, corre-
sponds with the frame displayed in the Monitor windows Timeline view. A vertical line
extends from this current-time indicator through all the tracks. The time display in the
upper left corner indicates the current time using the timecode format hours;minutes;
seconds;frames (for NTSC format video) or hours:minutes:seconds:frames (for PAL format
video).
A B
Time navigation controls in the Timeline window

A. Time display showing position of current-time indicator B. Current-time indicator
To position the current-time indicator in the Timeline window:

Drag the current-time indicator .
Click the time ruler where you want to position the current-time indicator.
Press Shift while dragging the current-time indicator to snap it to the edge of the
closest clip or marker.
Drag the time display (just above the left edge of the time ruler) to the desired time
value.
Click the time display (just above the left edge of the time ruler), type a valid time, and
then press Enter. (You dont need to type leading zeros, colons, or semicolons. However,
be aware that Adobe Premiere Elements interprets numbers under 100 as frames.)
In the Timeline view of the Monitor window, use any playback control.
You can use the Home or End keys on the keyboard to skip back to the beginning or
ahead to the end of the movie. In addition, the Right or Left Arrow keys on the
keyboard move the current-time indicator forward or back a frame, while pressing
Shift+Right Arrow or Shift+Left Arrow moves it in increments of five frames.

Adjusting the zoom level of the Timeline window

The zoom controls in the Timeline window let you change the scale of the time ruler and
view the tracks in more or less detail.
A B C
Timeline window zoom controls

A. Zoom-Out button B. Zoom slider C. Zoom-In button
To display the Timeline window in more detail:

Drag the Zoom slider to the right, or click the Zoom In button .
To display more of the movie in the Timeline window:
Drag the Zoom slider to the left, or click the Zoom Out button .
To zoom out so that the entire length of the movie is visible in the Timeline window,
make sure that the Timeline window active; then press the Backslash key (\) on the
keyboard. You can also zoom in and out by pressing the Plus (+) or Minus (-) keys on the
keyboard (not the numeric keypad).
Customizing track views

You can display clips in the Timeline window in different ways, depending on your
preference or the task at hand. You can choose to display a thumbnail image at just the
beginning of the clip, at the head and tail of the clip, or along the entire duration of the
clip. For an audio track, you can choose to display or hide the audio waveform of the audio
contents.
Set Display Style buttons control track display options in Timeline window.

Displaying thumbnail images across the duration of the clip gives you a sense of the
progression of the clip. However, do not confuse the boundary between thumbnails as the
actual boundary between frames. Think of the thumbnails as a storyboard or sketch of the
clips content.
To select a tracks display style:
Click the Set Display Style (video) or (audio) button at the left corner of the track.
Each time you click, the tracks display style toggles to a different view.
To see more volume detail when viewing an audio waveform in the Timeline window,
increase the track height. (See Resizing tracks on page 72.)
Note: For more information about viewing and adjusting keyframes in video and audio
tracks, see About animating effects on page 166.
Resizing tracks
Tracks have three preset sizes, Small, Medium, and Large. The Large view is helpful for
viewing the clip thumbnails and adjusting effects such as the opacity or volume of a clip.
You can also resize tracks manually and resize the width of the track header area to accom-
modate long track names. In addition, if your movie contains more tracks than can fit on
screen at one time, you can adjust the relative proportion of visible video and audio tracks
to favor the tracks you need to see.
To resize the height of a track:
Click the More button in the Timeline window and choose Track Size, and then choose
either Small, Medium, or Large.
In the track header area of the Timeline window, position the pointer 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).
Changing track height in Timeline window
Note: To resize either all video or all audio tracks at the same time, hold Shift while
resizing a video or audio track.
To resize the track header section of the Timeline window:
Position the pointer over the right edge of the track header (where track names are listed)
so that the Resize icon appears, and then drag the right edge. (The icons at the top of
the track header limit its minimum width. The maximum width is about double the
minimum width.)

To change the proportion of video and audio tracks visible in the Timeline window:
1 Either in the track header area on the left or between the scroll bars on the right,
position the pointer between the Video 1 and Audio 1 tracks.
2 When the Split Track icon , appears, drag up or down.
Adding clips to a movie

By default, when you capture video, Adobe Premiere Elements adds the video automati-
cally to the Timeline window. You can also drag video, still images, or audio clips from the
Media window directly to the desired track and location in the Timeline window, or you
can use the Create Slideshow command to place a group of clips into a movie. You place
video and still images on the video tracks and audio clips on audio tracks. When you drag
video files that include audio (called linked clips) to a track in the Timeline window, the
video and audio components appear separately in the appropriate type of tracks.
By default, when you add a clip to a movie, Adobe Premiere Elements inserts it into the
movie, automatically shifting adjacent clips over. By using keyboard modifiers, you can
override the default behavior when adding or moving clips. For example, pressing the Ctrl
key lets you overlay the clip, replacing existing frames with those in the clip.
About video that includes a soundtrack (linked clips)

Most video includes a soundtrack. In the Media window, clips that contain both video and
audio appear as a single item. When you add the clip to a movie, the video and audio
appear on separate tracks. However, the video and audio remain linkedwhen you drag
the video portion in the Timeline window, the linked audio moves with it, and vice versa.
For this reason, audio/video pairs are called linked clips. In the Timeline window, the names
of linked clips are underlined and identified with a [V] for video or [A] for audio.
Linked clips share same name with either [V] or [A] appended and are underlined.
All editing tasks (such as moving, trimming, or changing the clip speed) act on both parts
of a linked clip. You can temporarily override the link by pressing the Alt key when you
initiate editing tasks. You can also place the video or audio portion separately.
For information about working with linked clips, see the following:
Adding only the audio or video portion of a linked clip to a movie on page 78.
Selecting clips in the Timeline window on page 85.
Rearranging clips in the Timeline window on page 85.
Linking and unlinking video and audio clips on page 96.

Inserting clips into a movie

When you insert a clip into the Timeline window, adjacent clips on all tracks shift as
necessary to accommodate the new clip. By shifting all clips together, the audio and video
of the existing clips remain in sync.
There are times, however, when you dont want all clips to shift with each insertion, for
example, if youve added background music or a video that is to superimpose the entire
movie. In such instances, press the Alt key as you insert to shift the clips on a maximum of
two tracks: the track receiving the insertion and the track containing its linked audio or
video (if any). In this way, when you add a clip to a track containing linked audio or video,
the affected tracks shift together, remaining aligned, while clips on other tracks are
unaffected.
Clips after default insertion (top), and after Alt-drag insertion to target track (bottom).
Notice second audio track unaffected by Alt-drag insertion.
To insert a clip into a movie, shifting all tracks:

Drag the clip from the Media window or Clip view of the Monitor window to the desired
location in the Timeline window. When the pointer changes to the Insert icon ,
release the mouse.
Move the current-time indicator to the desired location in the Timeline window, select
the clip in the Media window, and then choose Clip > Insert.
To insert only the audio or video of linked clips, see Adding only the audio or video
portion of a linked clip to a movie on page 78.
To insert a clip into a movie, shifting clips only on the target and linked tracks:
Alt-drag the clip from the Media window or Clip view to the desired location in the
Timeline window. When the pointer changes to the Insert icon , release the mouse.
If you drag a clip into the blank space above the topmost video track (for video) or
below the lowest audio track (for audio), Adobe Premiere Elements creates a new
track for the clip. If the clip contains both audio and video, it creates both a new video and
new audio track.

Overlaying clips in a movie

The easiest way to replace a portion of a video is to overlay it with other footage. When
you overlay a clip, the clip you add replaces any existing frames starting at the location
you designate. If the new clip is 40 frames long, it overlays 40 frames of the existing clip.
The frames following the overlay, if any, remain in the same location in the track. Overlays
do not change the length of the movie unless the overlay extends beyond the end of the
movie.
Clips before an overlay edit (top) and after an overlay edit (bottom)
To overlay a clip in the movie:
Ctrl-drag the clip from the Media window or Clip view of the Monitor window to the
first frame you want to overlay. When the pointer changes to the Overlay icon ,
release the mouse.
Move the current-time indicator to the first frame you want to overlay, select the clip in
the Media window, then choose Clip > Overlay.
To overlay only the audio or video of linked clips, see Adding only the audio or video
portion of a linked clip to a movie on page 78.
Creating a slideshow or movie automatically

You can create a slideshow or assemble a rough cut of a movie automatically by using the
Create Slideshow command. This command places still images, video, or audio from the
Media window into the Timeline window on either the Video 1 or Audio 1 track. If you set
the Media window to its Icon view, you can use it like a storyboard and arrange the images
or clips in the order you want them to appear in the slideshow or movie. The Create
Slideshow command can add them either as you arranged them or in the order you select
them.

To control the placement of the slides or clips, you can add unnumbered markers to the
Timeline window and choose the option to place the media at those points. This feature is
especially useful for matching slides to the beats of a music track.
In the Media window, arrange images or clips as you want them to appear in the slideshow or movie.
This command can automatically apply the default transition to the cut between clips.
Initially, the default transitions are Cross Dissolve for video and Constant Power for audio.
You can set the default to any transition you want in the Effects window.
To change the default transition, see Changing the default transition used for Create
Slideshow command on page 77.
Note: The Create Slideshow command can add clips only at the same level in the Media
window; it cant add clips within different folders at the same time.
To add clips using Create Slideshow:
1 (Optional) If you want the media placed at specific points in the movie, add unnum-
bered markers to the Timeline window.
2 (Optional) In the Media window, open the folder containing the clips or images, click
the Icon button at the bottom of the Media window, and then arrange the media in the
order you want it to appear in the movie or slideshow.
For a slideshow with numerous clips, isolate the clips in their own folder in the Media
window before arranging or selecting them. (See Organizing clips in folders on
page 35.)
3 Select the clips you want to add to the movie either by Ctrl-clicking them or by
dragging a selection marquee around them. If you didnt arrange the clips in order in step
1, select them in the order you want them placed.
4 In the Media window, click the Create Slideshow button at the bottom of the window.
5 In the Create Slideshow dialog box, choose the Ordering option, which determines how
to place the slides or clips:
Sort Order adds clips in the order theyre arranged in the Media window: from top to
bottom in the List view or from left to right, top to bottom in the Icon view.

Selection Order adds clips according to the order in which you selected them in the
Media window.
6 (Video clips only) For Media, choose how you want to place the clips: with both the
video and audio, the video only, or the audio only.
7 (Optional) If youve used unnumbered markers to indicate where you want the media
placed, select Place Images/Clips At Unnumbered Markers.
8 Choose the other options in the Create Slideshow dialog box as appropriate,
and then click OK.
For information on arranging clips in the Media window, see Viewing lists or icons in the
Media window on page 35. For information on Create Slideshow options, see Create
Slideshow options on page 77.
Create Slideshow options

The Create Slideshow dialog box provides the following options:
Ordering Specifies the method used to arrange of the clips when they are added to the
movie. Sort Order adds clips in the order theyre listed in the Media window: from top to
bottom in List view or from left to right, top to bottom in Icon view. Selection Order adds
clips according to the order in which you selected them in the Media window.
Media Specifies how to place video that contains a soundtrack: video and audio, video
only, or audio only.
Place Images/Clips At Unnumbered Markers Places images or clips at unnumbered
timeline markers. Choosing At Unnumbered Markers makes the Transitions options
unavailable.
Note: The Create Slideshow command always places media on the Video 1 and Audio 1
tracks.
Image Duration Specifies the duration of any still images. A pop-up menu lets you set
the units to frames or seconds.
Apply Default Transition Places the default transition (initially set to Cross Dissolve) at
each edit (cut).
Transition Duration Specifies the duration of the transitions when Apply Default
Transition is selected. A pop-up menu lets you set the units to frames or seconds.
Changing the default transition used for Create Slideshow

command
The Create Slideshow command optionally applies transitions between each clip it places.
Initially, the default transitions are Cross Dissolve for video or still images and Constant
Power for audio. You can change the default to any transition you want. Changing the
default transition doesnt affect transitions already applied to a movie.
Note: The default transition is an application setting, not a project setting. When you
change the default transition, you change the default used for all projects.

To change the default transition:

1 Click the Effects button on the task bar. Adobe Premiere Elements displays the
Effects workspace.
2 In the Effects window, expand the Video Transitions or Audio Transitions folder.
3 Expand the folder containing the transition you want to use, and select the transition
that you want to make the default.
4 Click the More button, and choose Set Selected As Default Transition. A red outline
marks the icon of the default transition.
Adding only the audio or video portion of a linked clip to a movie

When you drag video that includes a soundtrack to the Timeline window, Adobe Premiere
Elements automatically places the audio and video components on separate tracks. It
maintains a link between the tracks so that the content remains in sync. If you want to add
only the audio or the video, you can use the Take Video/Take Audio toggle button in the
Clip view of the Monitor window to designate which portion of the clip you want to place.
To place audio or video only:
1 Open a clip in the Monitor windows Clip view.
2 In the bottom right of the Monitor window, click the Take Video/Take Audio button
repeatedly until it displays the appropriate icon:
Take Video And Audio icon sets clip to include both video and audio.
Take Video icon sets clip to include only video.
Take Audio icon sets clip to include only audio.
3 Add the clip to the movie by using one of the following techniques:
To insert a clip into a movie, shifting aside clips on other tracks as well, drag the clip to
the desired location in the Timeline window.
To insert the clip, shifting clips only in the target and linked tracks, Alt-drag the clip to
the desired location in the Timeline window.
To overlay a clip in the movie, Ctrl-drag the clip to the first frame you want to overlay.
To create a new track for the clip, drag the clip into the blank space above the topmost
video track.
Zooming into the Timeline window as you insert a clip

When you zoom in on the Timeline window, Adobe Premiere Elements magnifies the
Timeline window around the current-time indicator. However, you can also zoom in as you
add a clip to the Timeline window, magnifying the location around the pointer rather than
the current-time indicator. This technique lets you better see the placement of the
insertion before you release the mouse.
To zoom in or out of Timeline window while inserting:
Drag a clip to the Timeline window. Continue to hold down the mouse button and press
the Plus (+) key to increase the zoom factor or press the Minus (-) key to decrease it. Hold
down the mouse button until you have zoomed as far as you want to go.

Adding, renaming, and deleting tracks

Adobe Premiere Elements automatically inserts a new track if you drag and release a clip
above the topmost video track or below the bottommost audio track. However, at times
you may want to insert and name tracks before you begin adding clips. You can add or
delete tracks at any time and specify a custom name for each one. Each movie can contain
up to 99 video and 99 audio tracks. A movie must contain at least one of each type of track
(although the track can be empty). In the Timeline window, new video tracks appear
above existing video tracks, and new audio tracks appear below existing audio tracks.
You can specify the default number and type of tracks in new movies. (See Speci-
fying Default Timeline settings on page 45.)
To add tracks:
1 With the Timeline window active, choose Timeline > Add Tracks.
2 In the Add Tracks dialog box, type the number of tracks you want to add in the Add field
for video or audio tracks.
3 To specify the placement of added tracks, choose an option from the Placement pop-up
menu for each type of track added.
4 Click OK.
To rename a track:
1 Right-click the tracks name (for example, Video 1) in the Timeline window, and choose
Rename.
2 Type a new name for the track, and press Enter.
To delete empty tracks:
With the Timeline window active, choose Timeline > Delete Empty Tracks.

Trimming frames from a clip

There are several ways to build a movie, but all of them involve selecting the portions of
source clips you want to include. You rarely use an entire clip. In and Out points define the
first and last frame of the clip. Setting In and Out points does not actually delete frames,
but instead marks what portion of the clip you want included in the movie. They serve as a
window over the entire clip. You can move them as needed and regain the frames you
trim.
A B C D
In and Out points serve as a window over a clip

A. Trimmed frames B. In point C. Out point D. Trimmed frames
You always trim from either end of a clip. To trim frames from the middle of a clip, you
must first split the clip (which creates two instances of the original clip), and then trim the
unwanted frames from the ends of each. You can set In and Out points and trim clips in
several ways, by using buttons in the Monitor window, menu commands, or simply by
dragging the ends of a clip in the Timeline window.
Trimming frames from either end of a clip in the Timeline window

You can remove or regain trimmed frames from either end of a clip by dragging the clips
edge in the Timeline window. To help you locate the precise frame you want, the Timeline
view of the Monitor window displays the changing In or Out point of the clip as you drag.
If a clip has another clip immediately adjacent to the edge youre trimming, the Monitor
window displays the frames of both clips side-by-side. Subsequent clips in the Timeline
window shift as you drag the clips edge. When trimming frames, empty space adjacent to
the edge you trim shifts in time just as a clip would.

A pop-up window displays the number of frames you are trimming as you trim them. This
window displays a negative value if you drag the edge toward the beginning of the movie
and a positive number if you drag toward the end of the movie. You can tell whether you
have trimmed a clip by looking for a small gray triangle in the top corner at either end of
the clip in the Timeline window. The triangle indicates you have not trimmed that edge.
Timeline window during (above) and after (below) trimming.

Gray triangle in corner of clip disappears when you trim.
For linked clips (video that includes a soundtrack), dragging the edge of one, changes the
In or Out points of both clips. Sometimes you want to trim linked clips independently in
order to create split edits (also known as L-cuts and J-cuts). Pressing Alt when you trim
allows you set the In and Out points of the video and audio separately.
For information on trimming audio and video separately, see Trimming frames from
linked audio and video separately on page 82.
To change a clips In and Out points in the Timeline window:
1 In the Timeline window, click the Selection tool .
To trim only one clip of a linked pair, Alt-select the clip to temporarily unlink them.
Select them again to move them as a unit.
2 Position the pointer over the edge of the clip you want to trim until the correct icon
appears:
Trim-In icon to trim the beginning of a clip.
Trim-Out icon to trim the end of a clip.
3 Drag the edge to the desired frame. Notice that the Monitor window displays the
frames as you drag, showing the frame from the adjacent clip (if any). Subsequent clips in
the track shift in time to compensate for the edit, but their durations remain unchanged.
Note: You cannot drag the In point of a clip to the left past the edge of an adjacent clip.
(See Retrieving trimmed frames on page 83.)

Trimming frames from either end of a clip in the Monitor window

If you view a clip in the Monitor window before placing it in the Timeline window, you can
trim frames from either end of the clip. The Set In and Set Out buttons mark the start and
end frames of the clip. Once a clip is in a movie, you can reopen it in the Clip view to
change its In and Out points, either regaining frames previously trimmed or trimming
additional frames.
To trim frames from the beginning or end of a clip in the Clip view:
1 Double-click the video clip in the Media window or in the Timeline window to open the
clip in the Monitor window.
2 In the Clip view of the Monitor window, do one of the following:
Locate the frame you want to be the first frame of the clip, and click the Set In button
(or choose Marker > Set Clip Marker > In).
Locate the frame you want to be the last frame of the clip, and click the Set Out button
(or choose Marker > Set Clip Marker > Out).
Trimming frames from linked audio and video separately

At times, you may want the audio to begin before the video or to extend after the video
into the next clip (or vice versa). Trimming linked audio and video separately is called a
split edit. Usually, when you split edit one clip, it requires that you split edit the adjacent
clip so they dont overlap each other.
You can create two kinds of split edits:
A J-cut, or audio lead, in which audio starts before linked video.
An L-cut, in which audio continues after linked video.
A B
Two kinds of split edits

A. J-cut B. L-cut
To extend the audio before or after linked video:

2 Drag the audio clip down to a separate track so it is not adjacent to other clips.
3 (Optional) Move the current-time indicator to the video frame to which you want to
trim, and make sure Snap is turned on in the Timeline menu. (A check mark indicates it is
on.)
4 Position the pointer over the edge of the video clip you want to trim, and do one of the
following:.

If trimming the beginning of the clip, when the Trim-In icon appears, press Alt and
drag the edge to the desired frame. (You can release the Alt key once you begin
dragging.) Notice that the video stays aligned with the previous clip.
If trimming the end of the clip, when the Trim-Out icon appears, press Alt and drag
the edge to the desired frame. (You can release the Alt key once you begin dragging.)
Notice that subsequent clips in the track shift left.
Alt-dragging a clip temporarily unlinks the clips. When you want to move or edit
them together, select them again.
5 If you need to trim an adjacent clip so its audio doesnt overlap with the linked clips you
just trimmed, repeat step 4 on the adjacent audio clip.
Note: If the audio and video get out of sync in step 5 (a red number appears next to the
clip name in the track), right-click the number on the audio clip (not the video clip), and
choose Move Into Sync.
Retrieving trimmed frames

When you trim frames from a clip, youre actually just setting an In or Out point, which
indicates the portion of the original clip that you want in the movie. All trimmed frames
remain available. You can regain any frames you trim by resetting the In or Out points
again in either the Timeline window or the Clip view of the Monitor window.
It is important to note that when a clip is already placed in a movie, you cannot move the
In or Out point past the edge of an adjacent clip. You must make room for the frames
before resetting the In or Out point. The one exception is when dragging the Out point in
the Timeline window, which pushes adjacent clips over to make room for the previously
trimmed frames.
If youve trimmed frames from the source clip (the original clip in the Media window, not
an instance of the clip in the Timeline window), you can clear the In and Out points by
using a command in the Marker menu. However, changes you make to the source clip do
not affect instances of the clip that youve already placed in the Timeline window.
To retrieve frames in the Timeline window:
2 If moving the In point, make sure that you have sufficient blank frames to the left of the
clip to accommodate the previously trimmed frames.
3 Position the pointer over the edge of the clip you want to trim until the correct icon
appears:
Trim-In icon to retrieve frames from the beginning of a clip.
Trim-Out icon to retrieve frames from the end of a clip.
4 Drag the edge to the desired frame.
Note: To change the In or Out point of only one track of a linked clip, press Alt as you drag.
You do not need to hold down the Alt key once you start to drag.

To retrieve frames in the Clip view:

1 If the clip is in the Timeline window, make sure that you have sufficient blank frames
adjacent to the In or Out point you are changing.
2 Double-click the video clip in the Media window or Timeline window to open the clip in
the Monitor window.
3 In the Clip view of the Monitor window, do one of the following:
Move to the frame you want to be the first frame of the clip, and click the Set In button
(or choose Marker > Set Clip Marker > In).
Move to the frame you want to be the last frame of the clip, and then click the Set Out
button (or choose Marker > Set Clip Marker > Out).
Drag the In or Out point marker in the Clip view time ruler to the desired frame.
To remove In and Out points from a source clip:
1 Double-click the source clip in the Media window to open it in the Monitor window.
2 Choose Marker > Clear Clip Marker, and choose an option in the submenu:
In and Out resets both the In and Out point.
In resets the In point only.
Out resets the Out point only
You can also clear an In or Out point from a source clip (not the version in the
Timeline window) by Alt-clicking the Set In button or the Set Out button respec-
tively in the Clip view of the Monitor window.
Changing clip duration numerically

The duration of a video or audio clip is the length of time it plays from its first frame (In
point) to its last frame (Out point). The initial duration of a clip is the same as it was when
the clip was imported or captured. Most often, you change a clips duration by trimming
frames from either end. But you can also trim the end of a clip by designating a specific
duration.
Unlike video, still images are not limited to the length of the original clip. You can set their
duration to any length. (See Changing the duration of a still image on page 58.)
To set the duration of a clip to a specified amount:
1 In the Timeline window or Media window, select a clip.
2 Choose Clip > Time Stretch.
3 In the Time Stretch dialog box, click the Link button to unlink speed and duration.
When linked, changing the duration also changes the playback speed of the clip.
4 Type a new duration, and click OK.

Copying, pasting, moving, and deleting clips

Once youve created your rough cut, you may need to rearrange clips, copy and paste
scenes, and delete other clips.
Selecting clips in the Timeline window

Adobe Premiere Elements provides several techniques that let you select individual clips, a
range of clips, or only the audio or video portion of a linked clip.
To select one or more clips:
Using the Selection tool , do any of the following:
To select a single clip, click the clip in the Timeline window. If the clip is linked or
grouped, clicking one clip selects the other linked or grouped clips.
To select only the audio or video portion of linked clips, Alt-click the desired clip.
To select a single clip within a group, Alt-click the desired clip.
To select multiple clips, Shift-click each clip you want to select. (Shift-click a selected clip
to deselect it.)
To select sequential clips, drag a rectangle (marquee selection) that includes the clips
you want to select.
To add a range of clips to the current selection, Shift-drag a marquee around the clips.
Selecting a range of clips by dragging a marquee
Rearranging clips in the Timeline window

You can easily rearrange clips in the Timeline window by dragging. By using the same
techniques you use to add a clip, you can choose to insert or overlay clips when you move
them.
To move a clip and insert it so all tracks shift after insertion:
In the Timeline window, drag the clip to the desired location. When the pointer changes to
the Insert icon , release the mouse.
To move a clip, close the gap behind it, and shift only clips on destination tracks:
In the Timeline window, drag the clip to the desired location, and then press Alt. When the
Rearrange icon appears, release the mouse.
To move a clip and overlay another clip in the movie:
In the Timeline window, drag the clip to the first frame you want to overlay, and then press
Ctrl. When the pointer changes to the Overlay icon , release the mouse.

To move only one clip of a linked pair:

1 In the Timeline window, Alt-select the clip you want to move.
2 Drag it to the desired location, and do one of the following:
To shift clips only on the target tracks, release the mouse when the pointer changes to
the Insert icon .
To overlay another clip, press the Ctrl key, and when the pointer changes to the Overlay
icon , release the mouse.
Copying and pasting clips

You can rearrange clips in a movie by copying and pasting. You can copy and paste
multiple clips at a time, and either insert them between existing clips or overlay existing
frames. The clips maintain their relative spacing in time. Unless youve copied clips on
multiple tracks, Adobe Premiere Elements always pastes clips to the Video 1 or Audio 1
track at the location of the current-time indicator.
Pasting and inserting (middle), pasting and overlaying (below)
To determine the duration of clips before you copy or paste them, see Finding the
duration of several clips on page 87.
To copy and paste one or more clips:
1 Select one or more clips in the movie, or to select only the audio or video of linked clips,
Alt-click the desired clip.
2 Choose Edit > Copy.
3 In the Timeline window, position the current-time indicator at the point you want to
paste.
To overlay the clips and replace existing footage on the track, choose Edit > Paste.
To insert the pasted clips and shift existing footage, choose Edit > Paste Insert.

Duplicating clips in Media window

Each time you drag a source clip from the Media window to the Timeline window, you
create a clip instance, which shares the source clips default In and Out points. If you delete
the source clip in the Media window, all instances of it in the Timeline window are deleted.
To create clip instances with different default In and Out points, you must duplicate the
source clip in the Media window. As with source clips, if you delete a duplicate clip in the
Media window, all instances of it in the Timeline window are deleted.
To create a duplicate clip:
1 In the Media window, select a clip and choose Edit > Duplicate.
2 To rename the duplicate clip, select it, choose Clip > Rename, and type a new name.
You can also create a duplicate clip by copying and pasting or Ctrl-dragging a clip in
the Media window.
Finding the duration of several clips

The Info palette shows you the total duration of multiple clips selected in either the Media
window or the Timeline window. This information is often useful when editing a movie.
For example, you may want to find music to fit a scene or replace a few clips with different
footage. If you select clips in the Media window, the Info palette displays the total duration
of all the clips you select. If you select clips in the Timeline window, the Info palette
displays the total duration spanned by the clips, from the In point of the first selected clip
to the Out point of the last selected clip. If the clips are not contiguous in the tracks, the
duration my be longer than the total duration of the clips themselves.
Duration of multiple clips in Timeline window includes total time spanned by selected clips.
To view the total duration of selected clips:

1 Make sure that the Info palette is visible. If not visible, choose Window > Info.
2 In either the Media window or Timeline window, select the desired clips. The Info
palette displays the number of items selected and the total duration of those items.
You can view the duration of a single clip in a tool tip by positioning the cursor over a
clip in the Timeline window.

Deleting space between clips

You can quickly delete empty space between clips in the Timeline window by using the
Ripple Delete command or the Backspace key. Both techniques shift adjacent clips over to
fill the gap.
Ripple Delete shifts all subsequent clips over.
To delete empty space between clips:

Right-click the empty space, and choose Ripple Delete.
Select the space you want to delete, and press the Backspace key.
Note: If the gap is small and difficult to select, move the current-time indicator to the gap
and click the Zoom In button .
Deleting a clip from a movie

You can remove an entire clip from a movie in two ways:
Ripple deletion removes frames from the movie and closes the resulting gap, shifting
subsequent clips over.
Clearing removes the clip from the movie and leaves a gap of the same duration as the
frames you remove.
Ripple deletion removes frames, shifting adjacent clips over to fill in gap (middle).
Clearing removes frames, leaving a gap (bottom).
Note: Deleting a clip from a movie does not delete it from the project. The clip is still
available in the Media window.

To remove a clip and close the resulting gap (ripple delete):

To remove entire clips, select one or more clips in the movie, and choose Edit > Ripple
Delete, or press the Backspace key.
To delete a single clip of a linked pair, Alt-select the clip you want to delete, and then
choose Edit > Ripple Delete, or press the Backspace key.
To remove clips and leave a gap:
To remove entire clips, select one or more clips in the movie, and choose Edit > Clear.
Snapping clips to other clips, markers, or the current-time

indicator
To make it easier to align clips with one another or with particular points in time, you can
activate the Snap option. When you move a clip with the Snap option selected, it automat-
ically aligns with, or snaps to, the edge of another clip, a marker, the start and end of the
time ruler, or the current-time indicator. Snapping also helps to ensure that you dont
inadvertently perform an insert or overlay edit when dragging. As you drag clips, a pop-up
window displays the distance, in frames, that you have moved them (a negative number
indicates youve moved them toward the beginning of the movie).
To enable and disable the Snap option:
Choose Timeline > Snap. A check mark indicates that the option is enabled.
Splitting a clip
At times you may want to apply different effects to different parts of a clip, for example, to
speed up one scene or play it in reverse. You can split a clip in a movie by using the Razor
tool . Splitting a clip creates a new and separate instance of the original clip, and if linked
to another clip, a new instance of the linked clip as well. The resulting clips are full versions
of the original clip, but with the In or Out point changed to match the location marked by
the Razor tool.
The Razor tool splits clips into separate clips.
Note: If you want to change effect settings over time, you neednt split the clip; you can
apply keyframes to a single clip instead. (See About animating effects on page 166.)

To split a single clip or multiple clips:

1 In the Timeline window, click the Razor tool , and then do one of the following:
To split a single clip or linked clips, click the point in the track where you want to split
the clip or clips.
To split only the video or audio portion of a linked clip, Alt-click the point in the track
where you want to split the clip.
To split the clips across all tracks, Shift-click the point in the track where you want to
split the clips.
For a precise edit, use the Monitor window to locate where you want to split the clip.
Then position the Razor tool over the current-time indicator and click as described
above, or to split the clips across all tracks, choose Timeline > Razor At Current Time
Indicator.
Re-aligning linked clips

Adobe Premiere Elements automatically places video and its soundtrack on separate
tracks in the Timeline window but links the clips so that they remain in sync as you trim or
move them. If you Alt-drag one of the clips out of sync, Adobe Premiere Elements displays
the number of frames theyve been offset next to the clip name in the Timeline window.
Even if you unlink the clips, Adobe Premiere Elements keeps track of the offset, displaying
it again if you relink them. You can have Adobe Premiere Elements automatically resyn-
chronize the clips. Depending on the clips, you can choose between two methods of
synchronizing.
Move Into Sync shifts the video or audio clip to synchronize them. Adjacent clips are
overwritten as necessary to accommodate the shifting clips. If you have trimmed either
clip, Adobe Premiere Elements aligns them as originally shot, which means that their In
or Out points may not match.
Slip Into Sync performs a slip edit to synchronize the video and audio. A slip edit
maintains the position and duration of the clips in the tracks. It uses the trimmed
frames as needed to shift the content of the clips until aligned as originally shot. The
distance between the In and Out points and their location in the tracks remains the
same; but where those In and Out point are positioned in the original clip shifts. This
option is available only if the chosen clip contains a sufficient number of trimmed
frames to compensate for the offset.
Audio offset to right (top), audio slipped into sync (middle), audio moved into sync (bottom)

To automatically synchronize clips that were moved out of sync:

1 In the Timeline window, right-click the offset number of the clip you want to move or
adjust.
2 Choose either Move Into Sync or Slip Into Sync from the context menu that appears.
The clip you right-click moves or adjusts to align with the other clip, which remains in
place.
Finding the source of a clip

If you want to work on the original source clip, Adobe Premiere Elements can quickly find
the source of any clip in a movie and automatically select it in the Media window.
To select the original source file of a clip:
Right-click a clip in the Timeline window, and choose Reveal In Media.
Changing clip speed, direction, and volume

To emphasize a scene or add comedic touch, many editors slow down a clip, speed it up,
set it in reverse, or simply freeze a frame. Adobe Premiere Elements makes these
techniques easy to perform by providing the Time Stretch tool, the Time Stretch
command, and the Frame Hold video option. You apply these effects to an entire clip, so it
is important to first isolate the scene you want to affect. If the scene is part of a larger clip,
you need to first split the clip so that the scene is a clip unto itself. (See Splitting a clip on
page 89.)
Rarely is the volume of each clip the same. You can quickly adjust clip volume directly on
the audio track in the Timeline.
Changing a clips speed

Changing clip speed changes the clips duration. Speeding up a clip removes frames, thus
shortening the clip duration. In the same way, slowing down a clip repeats frames and
thus adds to the length of a clip. For audio clips, a change in speed also changes pitch. The
Time Stretch command includes an option to maintain the original pitch of an audio clip
at any speed.
Note: When you change the speed of a clip containing interlaced fields, you may need
to adjust how Adobe Premiere Elements treats the fields, especially when the speed drops
below 100% of the original speed.
For more information about interlaced video fields, see Processing interlaced video fields
on page 56.
To change a clips speed by using the Time Stretch tool:
1 If you plan to slow down the clip, drag it to the end of the movie, so you can stretch it
without bumping into an adjacent clip.
2 Click the Time Stretch tool in the top-left corner of the Timeline window.
3 Position the pointer over the edge of the clip you want to change until the correct icon
appears:
Time Stretch In icon to time stretch the clip to the right of the pointer.
Time Stretch Out icon to time stretch the clip to the left of the pointer.

4 Drag the edge of the clip, increasing its length to slow it down, or shortening it to speed
it up. (When slowing down a clip, you cannot stretch it past the edge of an adjacent clip.)
Changing clip speed by using the Time Stretch tool
Because you cannot stretch a clip past the edge of an adjacent clip, it is sometimes
easier to drag the clip to the end of the movie and adjust it there. When you are
satisfied with its speed, simply drag it back into position in the movie.
5 Preview your changes, and then make adjustments as necessary. (See Previewing a
movie on page 103.)
6 If you moved the clip in step 1, click the Selection tool, and then drag the clip back into
place in the movie.
To change a clips speed by using the Time Stretch command:
1 If you plan to slow down a clip that has another clip on its right in the Timeline window,
drag it to the end of the movie in the Timeline window so you can stretch it without
bumping into an adjacent clip.
2 Select the clip in the Timeline window.
Note: If you havent yet added the clip to the Timeline window, you can select it in the
Media window instead.
4 In the Time Stretch dialog box, type a percentage for Speed. A value less the 100%
slows the clip down; a value greater than 100% increases its speed.
5 (Optional) To keep the pitch of an audio clip unchanged, select Maintain Audio Pitch.
6 Click OK.
7 Preview your changes, and then make adjustments as necessary. (See Previewing a
movie on page 103.)
8 If you moved the clip in step 1, drag it back into place in the movie.
Freezing a video frame

You can freeze one frame of a clip so that only that frame appears for the duration of the
clip, as if you imported the frame as a still image. You can freeze on the clips In point, Out
point, or at a frame you designate with Marker 0 (zero) within the clip. If the video includes
linked audio, the audio still plays for the duration of the clip. You can delete the audio or
disable it if desired.
If you want the video to play and then appear to freeze, or to start out as a still image
and then begin to play, you can split the clip and freeze one of the resulting clips.
Another approach is to use the Export Frame icon in the Monitor window to create a still
image of a frame. You can then place the image in the Timeline window and set its

duration as you would any other clip. (See Exporting a frame as a still image on
page 219.)
To freeze a video frame:
1 Double-click a clip in the Timeline window to display it in the Clip view of the Monitor
window.
2 To freeze on a specific frame, rather than the In or Out point of the clip, locate the frame
you want displayed, and choose Marker > Set Clip Marker > Other Numbered. Then,
specify 0 (zero) for Set Numbered Marker, and click OK.
Important: You must set a Clip marker in the clip, not a Timeline marker in the movie.
4 Choose Clip > Video Options > Frame Hold.
5 In the Frame Hold Options dialog box, select Hold On.
6 Choose the frame you want to hold from the menu: In Point, Out Point, or Marker 0.
7 Specify the following options as desired, and then click OK:
Hold Filters prevents any keyframed effect settings (if any are present) from animating
during the duration of the clip. Effect settings use the values at the held frame.
Deinterlace removes one field from an interlaced video clip and doubles the remaining
field, so that interlace artifacts are not apparent in the freeze frame.
Note: If you set the hold frame on an In or Out point, changing the In or Out point doesnt
change the freeze frame. On the other hand, if set to hold on Marker 0, moving the marker
does change the frame displayed.
Playing clips in reverse

Reversing a clip plays the clip backwards, Out point to In point. You can also both reverse
the clip and change its speed.
To reverse the playback direction of a clip:
1 Select a clip in the Timeline window.
3 (Optional) To change the speed of the clip, type a percentage for Speed in the Time
Stretch dialog box. A value less the 100% slows the clip down; a value greater than 100%
increases its speed.
4 Select Reverse Speed, and click OK.
To both reverse the clip and change its speed with one action, type a negative
percentage for Speed, where -200 plays the clip in reverse at double its normal speed
and -50 plays the clip in reverse at half its normal speed.

Changing the volume of audio clips

The Volume graph on the audio track lets you change clip volume easily. You can make
levels more consistent among clips, adjust a clip that is too loud or quiet, or mute a clip.
If you combine particularly loud audio clips on multiple tracks, clipping (a staccato-like
distortion) may occur. To avoid clipping, view the Audio Meters window while playing the
movie. The Audio Meters window displays the overall volume level of the clips as you play
them. If the meters red clipping indicators turn on, lower the volume of one or more clips.
The peak indicators show the peak volume reached while playing the timeline. Generally,
you want the peak to be between 0 and -6 dB.
Audio Meters window

A. Clipping indicators B. Peak volume indicators
If you need to adjust the volume separately in different parts of a clip, for example, one
persons voice is faint, while later anothers is too loud, you can use keyframes to vary the
volume throughout the clip. (See Displaying, selecting, moving, and copying keyframes
on page 171.)
Note: If the original level of a clip is much too high or low, you can change the input level,
or gain. (See Changing the input level (gain) of audio clips on page 95.)
To change a clips volume:
1 In the Timeline window, select Volume > Level from the pop-up menu in the top-left
corner of the clip.
Volume pop-up menu
2 Position the pointer on the clips Volume graph; the pointer becomes a double-arrow
icon .
3 Drag to adjust the level uniformly (if keyframes have not been added) or to move
existing keyframes.
Dragging the Volume graph changes the clips volume.

To mute a clip:
1 If the clip is linked to video, Alt-click the clip in the Timeline window to select just the
audio clip.
2 Choose Clip > Enable. (When you disable a clip, the check mark disappears next to the
option in the clip menu, and the clip name dims in the track.)
To view the Audio Meters window:
Select Window > Audio Meters.
Changing the input level (gain) of audio clips

If the original level of a clip is much too high or low, you must change the input level, or
gain. Keep in mind that if the level of source audio was set too low when it was recorded,
increasing the gain might simply amplify noise. For best results, follow the standard
practice of recording source audio at the optimum level.
To change a clips input gain:
1 In the Timeline window, select the clip.
2 Choose Clip > Audio Options > Audio Gain.
3 Do one of the following, and then click OK:
Type a Gain value (0 dB equals the clips original gain).
Click Normalize to automatically optimize gain. Adobe Premiere Elements displays the
amount required to reach maximum gain without clipping.
Grouping, disabling, and linking clips

In the Timeline window, you can group clips so that you can move them as a single object,
disable a clip to view the movie without it, or link separate audio and video clips so they
always stay aligned.
Grouping clips
You can group clips so that you can move, disable, copy, or delete them together. When
you group a linked clip with other clips, both the audio and video portion of the linked clip
are included in the group. You can select an individual clip within the group by first Alt-
clicking the clip.
To group clips:
Select multiple clips, and choose Clip > Group.
To ungroup clips:
Click any clip in the group to select the group, and choose Clip > Ungroup.
To select one or more clips in a group of clips:
Alt-click a single clip in a group.
Shift+Alt-click to select additional clips in a group.

Linking and unlinking video and audio clips

You can link a video clip and an audio clip so that they act as a unit. When you select, trim,
split, delete, move, or change the speed of one, you affect the other clip as well. You can
temporarily override the link as needed. In the Timeline window, the names of linked clips
are underlined and identified with a [V] for video or [A] for audio.
Note: While you can unlink video and its original soundtrack, Adobe Premiere Elements
keeps track of the original connection between the two clips. If you move the clips out of
sync and then relink them, it displays the number of frames theyve been offset. (See Re-
aligning linked clips on page 90.)
To link video and audio clips:
1 Shift-click a video and audio clip to select them both.
2 Choose Clip > Link Audio And Video.
To unlink video and audio clips:
Select a linked clip and choose Clip > Unlink Audio And Video. (Though the audio and
video are unlinked, they are both still selected. Reselect either clip to use it separately.)
To select linked clips individually:
Alt-click the desired clip. Once selected individually, you can move or trim the clip
independent of its linked clip.
Enabling and disabling clips

You sometimes may want to disable a clip while you try a different editing idea or to
shorten processing time when working on a complex project. Disabling a clip essentially
hides it when you view the movie in the Monitor window or when you export the movie.
You can still move or change a disabled clip.
To enable or disable a clip:
Select one or more clips in the Timeline window, and choose Clip > Enable. The check
mark next to the command disappears when you disable a clip, and the clip appears
dimmed in the Timeline window.
Using markers
You can place markers to indicate important points in a clip or movie. Markers can help
you position and arrange clips. Each movie and each clip can individually contain up to
100 numbered markers (labeled from 0 to 99) and as many unnumbered markers as you
want. You can also add DVD markers for use in creating a DVD in Adobe Premiere
Elements. (See Working with DVD markers on page 199.)
Working with markers is much the same as working with In and Out points. However,
while In and Out points set the actual start and end point of a clip, markers are only for
reference and do not affect clips in the finished movie.

Adding markers to clips or a movie

You can add numbered or unnumbered markers to a clip in the Media window, an
instance of a clip in a movie, or to the movie itself. Whether numbered or unnumbered,
markers fall into two categories: clip markers and timeline markers. In general, you add clip
markers to a clip to signify important points within an individual clip (to identify a
particular action or sound, for example). You use timeline markers in a movie to mark
scenes, locations for titles, or other significant points within the entire movie. Timeline
markers can include comments or even URLs for linking to web pages. (See Using
timeline markers for comments and web links in a movie on page 100.)
In the Monitor window, markers appear in the time ruler as small icons. The Clip view
displays only the clip markers within a clip, while the Timeline view displays only timeline
markers. Clip markers appear as icons within the clip in the Timeline window, but timeline
markers appear in the Timeline window time ruler.
A B
Markers in the Timeline window

A. Timeline markers in movie B. Clip markers in clip
Markers you add to a clip placed in a movie appear only in that instance of the clip.
Markers you add to a source clip (opened from the Media window) appear in each
instance of the clip that you subsequently add to the movie. Adding markers to a source
clip doesnt affect instances of the clip already in a movie.
To add an unnumbered marker:
To add a clip marker to a source clip, double-click the clip in the Media window to open
it in the Clip view.
To add a clip marker to a clip in the movie, double-click the clip in the Timeline window
to open it in the Clip view.
To add a timeline marker to a movie in the Timeline window, click the Timeline button
at the top of the Monitor window.
2 Move to the frame where you want to set the marker.
In the Monitor window, click the Set Unnumbered Marker icon to add a marker to a
clip or movie.

(Movies only) In the Timeline window, either click the Set Unnumbered Timeline Marker
icon in the Timeline window or drag a marker from the icon to any point in the time
ruler.
You can insert markers while a movie or clip plays. Just click the Set Unnumbered
Marker icon in the Monitor window at the locations you want to mark.
To add a numbered or unnumbered marker:
To add a clip marker to a clip, open a clip in Clip view.
To add a timeline marker to the movie in the Timeline window, click the Timeline button
in the Monitor window.
2 Move to the frame you want to mark.
3 Depending on the type of marker you want to set, choose Marker > Set Clip Marker or
Marker > Set Timeline Marker, and choose an option from the submenu:
Unnumbered sets a blank marker.
Next Available Numbered sets a numbered marker using the lowest unused number.
Other Numbered opens a dialog box in which you can specify any unused number from
0 to 99.
To help position clips at a marker, make sure that the Snap command is selected in
the Timeline menu. (A check mark indicates it is selected.) Then, clips will snap to the
markers as you drag them into position in the Timeline window.
To go to a clip or timeline marker in the Timeline window:
To move to a clip marker in a clip, select the clip in the Timeline window.
To move to a timeline marker in a movie, make sure that no clips are selected in the
Timeline window.
2 Choose either Marker > Go To Clip Marker or Marker > Go To Timeline Marker, and
choose Next, Previous, or Numbered from the submenu.
Moving and deleting markers

You can drag markers in a movie in the time ruler within either the Monitor window or the
Timeline window. To change the clip markers in a clip already in the movie, you must open
that particular instance of the clip in Clip view and make changes there. You cant manip-
ulate clip markers in the Timeline window directly.
Timeline markers are not attached in any way to the frames they mark. When you insert a
clip, for example, the existing timeline markers do not shift, but remain in the time ruler
where originally placed. However, clip markers within a clip shift with the clip.
To move a marker:
In the time ruler in the Monitor window, drag the Marker icon to a new position.

In the Timeline windows time ruler, drag the marker to a new position. Dragging
beyond either edge of the time ruler scrolls the time ruler.
Note: You cant move a clip marker in the Timeline window; you must open the clip in the
Monitor window and drag the marker in the Monitor window time ruler.
To delete a timeline marker:
1 Make sure that no clips are selected in the Timeline window.
2 Move the current-time indicator to the timeline marker.
To place the current-time indicator precisely on a marker, either zoom in completely
on the time ruler so you can see its exact location or choose Marker > Go To Timeline
Marker, and choose Next, Previous, or Numbered from the submenu.
3 Choose Marker > Clear Timeline Marker, and choose an option from the submenu:
Timeline Marker At Current Time Indicator deletes the timeline marker at the current
time. (If the option is not available, you have not placed the current-time indicator
precisely on the marker.)
All Markers deletes all timeline markers from the movie.
Numbered deletes a numbered timeline marker from a list of all numbered markers.
Note: You cant remove a timeline marker by dragging it away from the time ruler.
To delete a clip marker:
2 Move the current-time indicator to the clip marker.
To place the current-time indicator precisely on a marker, either zoom in completely
on the time ruler so you can see its exact location or choose Marker > Go To Clip
Marker, and choose Next, Previous, or Numbered from the submenu.
3 Choose Marker > Clear Clip Marker, and choose an option from the submenu:
Current Marker deletes the marker at the current time. (If the option is not available, you
have not placed the current-time indicator precisely on the marker.)
All Markers deletes all clip markers from the clip.
Numbered deletes a numbered clip marker from a list of all numbered markers.
To clear all markers:
To clear all clip markers from a clip, select the clip in the Timeline window.
To clear all timeline markers from the Timeline window, make sure that no clips are
selected in the movie.
2 Choose either Marker > Clear Clip Marker > All Markers or Marker > Clear Timeline
Marker > All Markers.

Using timeline markers for comments and web links in a movie

In addition to indicating important frames of a movie, timeline markers can also contain
comments, chapter numbers, or URLs. You can include comments, chapter numbers, or
web links only in timeline markers, not clip markers.
If you intend to import your movie into Adobe Encore DVD, you can use timeline
markers to specify chapter links. Adobe Encore DVD automatically converts timeline
markers with text or numbers in the Chapter field to chapter points. It also places the
contents of the Comment field into the Description field of the chapter point.
If your movie is intended for the Web and you are comfortable designing frame-based
web pages, you can use timeline markers to change what appears in other parts of the
web page. Timeline markers can specify a URL and web-page frame. When you include the
movie in a frame-based web page, the browser displays each specified link in the specified
frame. So, as the movie plays, your web page can change as each marker is reached. For
example, in a family web page, as your vacation movie plays, you can populate the other
frames of the web page with commentary and still images about the vacation. This
advanced technique requires careful planning to coordinate the frames and content. You
must export the movie using a file type that supports web markers: QuickTime or
Windows Media.
You can set the markers to be longer than one frame in duration. In the Timeline window,
the right side of a timeline markers icon extends to indicate its duration.
To insert comments, chapter information, or URL link in a timeline marker:
1 In the time ruler in the Timeline window, double-click a timeline marker to open the
Marker dialog box.
2 Do any of the following:
To create a comment, type a message in the Comments field.
To change the duration of the marker, drag the duration value or click the value to
select it, type a new value, and press Enter.
To create a chapter point for Adobe Encore DVD, enter the chapter name or number in
the Chapter field.
To create a web link, enter a URL and Frame Target. The frame number must match a
frame in the web page containing the movie.
3 To enter comments or specify options for other timeline markers, click Prev or Next.
4 Repeat steps 1-3 until you are finished modifying timeline markers, and click OK.
To create a timeline marker and open a comment window simultaneously:
1 In the Timeline view of the Monitor window or in the Timeline window, navigate to the
frame where you want to place the marker.
2 Double-click the Set Unnumbered Timeline Marker icon .
3 Enter your marker comments, and click OK.

Editing a clip in its original application

Some files contain embedded information, called a project link, that indicates the appli-
cation in which they were created. Adobe Audition and Adobe After Effects both create
files with project links. If a file contains a project link, you can use the Edit Original
command to open the file in the original application, where you can make changes as
needed. Once you save the file, Adobe Premiere Elements automatically incorporates
those changes into the current project. You dont need to import the file again.
You can embed information into your movie that allows other applications, such as
Adobe After Effects or Adobe Encore DVD, to use the Edit Original command to open
the movie in Adobe Premiere Elements. (See General export settings on page 221.)
To edit a clip in its original application:
1 Select a clip in either the Media window or Timeline window.
2 Choose Edit > Edit Original.
3 When you have finished editing the clip, save and close. Your changes become incorpo-
rated into your project in Adobe Premiere Elements.
Previewing clips and movies

You preview a clip or movie in the Monitor window. While the Timeline window lets you
see how the clips are assembled in sequence, the Monitor window lets you play the clips
or movie.
D E F G H I J
Timeline view of Monitor window

A. View zoom level menu B. Timecode indicating position of current-time indicator
C. Time ruler. D Current-time indicator E. Go to previous edit point F. Go to next edit point
G. Step Back H. Play/Pause I. Shuttle J. Step Forward K. Set Unnumbered Timeline Marker
L. Export Frame

Previewing an individual clip in the Monitor window

You can view clips that are in the Media window or clips that are already placed into the
movie. For audio clips, the Monitor window displays the audio waveform of the right and
left channel.
Clip view of Monitor window displaying audio waveform,

left channel on top, right channel on bottom.
To view a larger version of the clip or more detail in the audio waveform, enlarge the
Monitor window. When viewing an audio waveform, the Monitor window automati-
cally resizes the waveform to fit the window. When viewing video, if you set the zoom level
to Fit, Adobe Premiere Elements resizes the clip.
To play a clip:
1 Double-click the clip in the Media or Timeline window, or drag the clip from the Media
window to the Clip view of the Monitor window. The clip appears in the Clip view.
Click the Play button . (To pause, click the Pause button . The Play button toggles
between Play and Pause.)
Press the Spacebar. (To pause, click the Spacebar again.)
Drag the shuttle to the right. The clip plays faster the further you drag the shuttle.
Drag the shuttle to the left to play in reverse. The clip plays faster the further you drag
the shuttle.
Press the letter L or Shift+L to play the clip. To play faster, press the letter repeatedly. For
most media types, pressing L increases the clip speed from one to two to three to four
times, while pressing Shift+L increases the speed in 0.1 increments.
Press the letter J or Shift+J to play the clip in reverse. To play faster, press the letter
repeatedly. For most media types, pressing J increases the clip speed from one to two
to three to four times, while pressing Shift+J increases the speed in 0.1 increments.
To view a different frame:
Click the current-time display, and type the new time. (You dont need to type colons or
semicolons. However, be aware that Adobe Premiere Elements interprets numbers
under 100 as frames.)

To go forward one frame, click the Frame Forward button .

To go forward five frames, Shift-click the Frame Forward button .
To go backward one frame, click the Frame Back button .
To go backward five frames, Shift-click the Frame Back button .
To go to the end of the previous clip (the cut or edit point), click the Previous Edit Point
button in the Timeline view.
To go to the beginning of the next clip, click the Previous Edit Point button in the
Timeline view.
For information about controlling playback in the Timeline window, see Moving through
a movie in the Timeline window on page 70.
Zooming in and out in the Monitor window

When viewing a clip or movie in the Monitor window, you can zoom in or out to see more
or less detail of the clip. If the zoom level is set to Fit, when you resize the Monitor window,
the preview expands or contracts to fit.
Zoom options in Monitor window
To zoom in or out in Monitor window:

In the Monitor window, choose the desired display size from the zoom menu.
Note: When viewing the audio waveform of an audio clip, the Monitor window does not
contain the zoom options, but instead it automatically resizes the waveform to fit the
window.
Previewing a movie
You can preview all or part of a movie at any time in the Monitor window. To preview a
movie, Adobe Premiere Elements must first prepare the clips on all the tracks for viewing,
applying effects, motion, opacity, and volume settings. Adobe Premiere Elements dynami-
cally adjusts video quality and frame rate in order to preview the movie in real time.
Whenever possible, it prepares the content while displaying the movie in the Monitor
window. Movies that consist of cuts between single tracks of video and audio generally
preview at normal speed.

More complex movies, movies with effects and layered video and audio, require more
processing time to display properly. If Adobe Premiere Elements cant display an area at
full speed and quality, it adds a thin, red line in the time ruler. To play these areas, you can
instead first render that area and subsequently preview it. Rendering processes the layers
and effects and saves the resultant preview into a file, which Adobe Premiere Elements
can use each time you preview the movie. (In the Timeline window, rendered areas are
marked with a green line.)
You designate the area to render by using the work area bar in the Timeline window.
A B C
Timeline window
A. Work area bar B. Green bar indicates fully rendered area C. Red bar indicates area needs
rendering for best quality preview
To preview a movie:
Click the Play button in the Timeline view of the Monitor window.
Press the spacebar when the Timeline window or the Timeline view is active.
Drag the shuttle to the right in the Timeline view of the Monitor window. The clip plays
faster the further you drag the shuttle.
To play in reverse, drag the shuttle to the left in the Timeline view of the Monitor
window. The clip plays faster the further you drag the shuttle.
2 To pause the preview, click the Pause button or press the spacebar. (The Play button
and the spacebar toggle between Play and Pause.)
To set the area to be rendered (the work area):
Drag the textured center of the work area bar over the section you want to preview.
Make sure that you drag the work area bar from its center; otherwise you move the
current-time indicator instead.
Grabbing the work area bar and dragging it over a section to preview

If the textured center is not visible, Alt-drag the work area bar over the section you want
to preview.
Dragging a work area marker to mark the end of the work area
Position the current-time indicator, and press Alt+[ to set the beginning
of the work area.
Position the current-time indicator, and press Alt+] to set the end of the work area.
Alt-double-click the work area bar to resize it to the width of the movie.
Double-click the work area bar to resize it to the width of the time ruler, or the length of
the entire movie, whichever is shorter.
Position the pointer over the work area bar to display a tool tip that shows the work
area bars start timecode, end timecode, and duration.
To render a preview:
Set the work area bar over the area you want to preview, and choose Timeline > Render
Work Area. (The rendering time depends on your systems resources and the complexity of
the segment.)
You can also render a preview by setting the work area bar and pressing Enter.
Understanding preview files

When you play a movie in the Timeline view of the Monitor window, Adobe Premiere
Elements combines the tracks and effects in the background, while playing the resultant
movie in the Monitor window. If you instead render the movie, Adobe Premiere Elements
creates preview files and saves them on your hard disk. Once rendered, Adobe Premiere
Elements neednt process the tracks and effects again and can play the preview files
directly. Similarly, preview files can save time when you export the final movie because
Adobe Premiere Elements can use the information stored in the preview files rather than
render again.
(You can specify the location, or scratch disk, for these preview files. See Using scratch
disks on page 40.)
Deleting preview files

If you need to delete preview files, it is important to delete them using the Delete Render
Files command rather than deleting them directly in Windows. Projects refer to preview
files in much the same way as source media. If you move or delete preview files without
using the command, the next time you open the project, Adobe Premiere Elements
prompts you to locate the files.
To delete preview files:
With the Timeline window active, choose Timeline > Delete Render Files. When prompted,
click OK.

Previewing on a television monitor

You can preview the movie on a television or video monitor via your IEEE 1394 connection
through many DV camcorders or other DV hardware devices. The Project Settings dialog
box contains options for previewing through a DV device. It is important to have the
hardware correctly configured before choosing these settings.
Note: Make sure that the TV or video monitor is connected to the DV camcorder (or other
DV hardware device), and that the DV camcorder (or other DV device) is properly
connected to your computer. In addition, set the camcorder or DV device to output to the
monitor. Some devices detect this automatically, while others require you choose a menu
option. (See the documentation provided with the device for more information.)
To preview on a monitor by using a DV camcorder or deck:
1 Choose Project > Project Settings > General, and click the Playback Settings button.
2 For Video Playback, select Play Video On DV Hardware if you want to preview video
through the DV device to a television monitor. Video displays in the Monitor window as
well, but it may look staggered. Leave the option deselected to view video in the Monitor
window only.
3 For Audio Playback, choose the options you want:
Play Audio On DV Hardware previews audio only through the DV device to
external speakers.
Play Audio On Audio Hardware plays the audio through the computers hardware and
speakers, including external speakers connected to your computers sound card.
4 For Real-Time Playback, choose an option:
Playback On Desktop Only displays real-time playback only on the computers monitor.
Playback On DV Hardware Only displays real-time playback only through the DV device
to a television monitor.
Playback On DV Hardware And Desktop displays real-time playback on the computers
monitor and through a DV device to a television monitor.
5 Leave the Desktop Display Mode options as set by Adobe Premiere Elements.
Note: If previews are jerky even after rendering the movie, your display card may not fully
support Direct3D. In that case, select Use GDI for Display Mode.
There can be a slight delay between the playback on the desktop and the playback
on a television by means of a camcorder. If the video and audio seem out of sync, try
to preview both video and audio through the same device.

Displaying safe zone margins

You can view safe zone margins (guides) in the Monitor window. Safe zone margins are for
your reference and are not included in previews or export. For more about safe zones, see
Using title-safe and action-safe margins on page 184.
Safe zones in the Monitor window

A. Action-safe margin B. Title-safe margin
To view safe zones in the Monitor window:

Click the More button in the Monitor window, and choose Safe Margins. A check mark
next to the name indicates the safe zone margins are on.
The standard action- and title-safe margins are 10% and 20%, respectively. However,
you can change the dimensions of the safe zones in the Project Settings dialog box.
(See Specifying General settings on page 43.)

Adobe Premiere Elements Help Applying Effects and Transitions
Applying Effects and Transitions

About working with effects
You use effects to add a special visual or audio characteristic or provide an unusual
attribute to a clip. For example, an effect can alter the exposure or color of footage, manip-
ulate sound, distort images, or add artistic effects. You can also use effects to rotate and
animate a clip or adjust its size and position within the frame. The intensity of an effect is
determined by values that you control. Most effects have one or more adjustable settings;
however, some effects, such as Black & White, do not. If you want to adjust an effects
settings, use the Effect Controls window.
Adobe Premiere Elements also includes several preset effects that you can use to quickly
alter your footage. For more information on presets, see Working with preset effects on
page 112.
For information on using the Effect Controls window and available effects, see Adjusting
effect properties in the Effect Controls window on page 116, Video effects included with
Adobe Premiere Elements on page 123, and Audio effects included with Adobe Premiere
Elements on page 143.
Understanding standard and fixed effects

You can apply any number or combination of effects from the Effect window to each
audio or video clip in the Timeline window. These effects add special characteristics to
your image or audio, or correct a deficiency, such as low light in video clips or hiss in audio
clips.
You can also use the fixed effects Motion, Opacity, and Volume. Adobe Premiere Elements
automatically applies these fixed effects to every clip in the Timeline window, and you
cant delete them or reorder them. Fixed effects dont alter the clip until you change their
settings in the Effect Controls window. The Motion effect lets you animate, rotate, and
scale your clips. The Opacity effect lets you create fades and dissolves for special effects or
transitions. The Volume effect lets you control the volume for all audio clips.
For more information about the fixed effects, see Adjusting opacity on page 160,
Changing the volume of audio clips on page 94, and Adjusting position, scale, rotation,
and anchor point on page 121.
Using effects from other products

In addition to the dozens of effects included with Adobe Premiere Elements, many effects
are available in the form of plug-ins, which you can purchase from Adobe or third-party
vendors, or acquire from other compatible applications. For example, you can copy many
Adobe After Effects plug-ins into the Adobe Premiere Elements Plug-ins folder to use in
your video work. Adobe provides technical support only for compatible plug-ins from
other Adobe products.

Any effect is available to Adobe Premiere Elements when its plug-in file is present in the
Plug-ins folder, which is located in the Adobe Premiere Elements folder by default. If you
purchase additional effects, purchased Adobe Premiere Elements as part of a hardware
package, or remove files from the Plug-ins folder, you may have a different set of effects
than those described in Adobe Premiere Elements Help.
You can find a complete list of third-party plug-in vendors on the Adobe website,
www.adobe.com.
Note: If you use effects not included with Adobe Premiere Elements and you want to open
your project on another Adobe Premiere Elements system, you must install the same
effects on that system. When you open a project with references to missing effects, Adobe
Premiere Elements removes the corresponding effects from the project.
Working with third-party VST effects

If you own third-party VST effects, you can apply and edit them just like standard audio
and video effects. (See About working with effects on page 108.) Adobe Premiere
Elements will detect any compatible VST plug-ins that you have installed on your
computer, and add them to the Effects window.
Some third-party VST effects provide unique control interfaces, which you can access in
the Effects Controls window. The control layout and processed audio are the responsibility
of the plug-in developer. Adobe Premiere Elements simply presents the effect controls
and results.
If a VST effect supports presets, you can access them from the Reset button in the
Effect Controls window.
Using effects with GPU cards

If you have a PCI-based video card, you likely have a GPU (Graphics Processing Unit).
(Laptops and motherboard-based video cards may not support a GPU.) If your GPU
supports Direct3D, Pixel Shader (PS)1.3/1.4, and Vertex Shader (VS) 1.1 (see your video
card specifications for information on GPU and supported components), you can use
three special effects that take advantage of the added video processing capabilities of
GPU cards and of 3D shading. These effects are Ripple (Circular), Page Curl, and Refraction,
and they reside in the GPU Effects folder in the Effects palette. All of these effects provide
added three-dimensional realism to your image.
Note: Some effect options may not be available if your graphics card doesnt have Pixel
Shader 2.0 and Vertex Shader 2.0.
The GPU-accelerated effects, appended with (GPU), are only visible if your card supports
GPU. (See Ripple (Circular) (GPU) on page 138.)

Applying and organizing effects

By default, when you apply an effect to a clip, the effect is active for the duration of the
clip. You can make an effect start and stop at specific times or change the values of the
effect over time by using keyframes.
For information about using keyframes, see About animating effects on page 166.
Using the Effects window

All available effects are listed in the Effects window and are organized into two main
folders, Video Effects and Audio Effects. Within each folder, effects are grouped by type in
nested folders. For example, the Blur And Sharpen folder contains effects that defocus an
image, such as Gaussian Blur and Directional Blur. You can add folders to store your
favorite or most frequently used effects.
You click the Effects button in the task bar or choose Window > Effects to open the Effects
window.
H
I
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B
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F
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Effects window
A. Presets folder B. Effects folders C. Favorites folder D. Audio effect E. Audio transition
F. Video effect G. Video transition H. Effects window menu I. Search text box J. Transitions
folders K. New Custom folder L. Delete Custom Item
Searching for effects in the Effects window

If you know the name of an effect but dont remember where its located, or if you just
need to locate it quickly, you can search for it by using the search text box in the Effects
window.
To search for an effect:
In the Effects window, type the name of the effect that you are looking for. The list displays
all effects with names that match the letters you type.

Applying standard effects

You can apply multiple effects to a clip; however, the more effects you add, the more time
it may take for Adobe Premiere Elements to create the final movie. You can also easily
delete effects that you decide are not suitable for your project.
For information on applying preset effects, see Applying preset effects on page 112. For
information about creating complex animations, see About animating effects on
page 166.
To apply an effect to a clip:
1 Click the Effects button in the task bar to open the Effects workspace. The Effects
window opens in the Media window.
2 In the Effects window, expand the Video Effects or the Audio Effects folder, or type the
effect name in the Contains box.
3 Drag the effect to a video or audio clip in the Timeline window. You can only apply a
video or audio effect to its respective clip type.
4 Press Enter to render and preview the effect.
You can drag the Effects window tab to the Media window to dock the two windows
and save screen space.
To delete an effect:
Select the clip containing the effect that you want to delete and do one of the following:
To delete an effect by name, use the Effect Controls window. Choose Window > Effect
Controls, select the effect that you want to delete, and press Delete.
To immediately delete an effect that you just applied, use the History palette. Choose
Window > History, select Apply Filter, and click the Delete Redoable Actions button .
You can select any previous Apply Filer entry as well, but note that if you performed
other actions after the Apply Filter action, deleting the Apply Filter action also deletes
the actions below it. If your screen cannot easily accommodate the History palette, you
can choose Edit > Undo to delete effects.
Creating folders of favorite effects

You can create and use favorites folders to group together your most commonly used
effects or to organize effects more efficiently for your workflow.
To create folders of favorite effects:
1 In the Effects window, click the New Custom Folder button , or choose New Custom
Folder from the Effects window menu. A directory labeled Custom Folder [folder
number] appears in the Effects window.
2 Drag effects to Custom Folder directory. A copy of the effect appears in the Favorites
folder. You can create additional Favorites folders, which are numbered.
3 To rename the custom folder, double-click the name and type the new name.
To remove a Favorites folder:
In the Effects window, select a Favorites folder, and click the Delete Custom Items
button . Click OK.
Note: You can remove Favorites folders only from the Effects window.

Working with custom and preset folders

Use custom folders to store your favorite effects, transitions, and presets in one place. You
can create any number of custom and preset folders. As a result, you can also use the
folders to reorganize the effects, transitions, and presets into categories that are intuitive
to you or more appropriate for your project workflow.
You create and store custom and preset folders in the Effects palette. New preset folders
reside inside the root Presets folder.
Note: If you have placed the same item in several different custom folders and you delete
that item from one folder, Adobe Premiere Elements deletes each occurrence of the item
from the custom and preset folders and deletes each item from all clips that it affects.
For information on working with preset effects, see Working with preset effects on
page 112.
To create a custom or preset folder:
1 Click the Effects tab to display the Effects palette, and then do one of the following:
To create a custom folder, click the New Custom folder button , or choose New
Custom folder from the More menu.
To create a presets folder, choose New Presets folder from the More menu. Adobe
Premiere Elements creates a directory called Preset Folder [folder number] and nests
this and any other new presets folder in the root Presets folder.
2 Locate the effect, transition, or preset that you want to store in a folder. You may want
to resize the palette so that you can see both the item that you want to locate and the
folder you want to place it in.
3 Drag the item to the appropriate folder. Adobe Premiere Elements creates a shortcut to
the item.
To rename a folder:
1 Select the folder that you want to rename, and then click the folder name to select it.
2 Type a new name for the folder, and press Enter.
To delete a folder or an item in a folder:
1 Select the folder or folder item that you want to delete.
2 Click the Delete Custom Items button at the bottom of the Effects window.
Working with preset effects

In addition to the effects in the Effects window, Adobe Premiere Elements includes several
effect presets in the Presets folder. Effect presets are common, preconfigured effects that
you can apply to your clips. For instance, the Tint Blue preset adds a light blue tint to your
entire image. In many cases, these presets will quickly provide you with good results.
Applying preset effects

You can choose from any of the included presets or create your own effect presets. Once
you apply them, if you wish, you can change the effect parameters to your liking.
For information on changing effect parameters, see Using the Effect Controls window on
page 115.

If you apply an effect preset to a clip and the preset contains settings for an effect that is
already applied to the clip, Adobe Premiere Elements modifies the clip using the following
rules:
If the effect preset contains a fixed effect (motion, opacity, or volume), applying the
preset replaces the existing effect settings.
If the effect preset contains a standard effect, the effect is added to the bottom of the
current list of effects. However, if you drag the effect into the Effect Controls window,
you can place the effect anywhere in the hierarchy.
To apply an effect preset:
1 Click the Effects button in the task bar to open the Effects window.
2 Expand the Presets folder, and drag the effect preset onto the clip in the Timeline
window.
Note: You can also drag the preset to the Effect Controls window to apply it. For more
information, see Using the Effect Controls window on page 115.
For more information on creating your own presets, see Creating and saving effect
presets on page 114 and Working with custom and preset folders on page 112.
Effect preset categories

Adobe Premiere Elements includes effect presets in the following categories:
Bevel Edges Create thick or thin edges that resemble picture frames.
Blurs Create blurs of varying degrees at the In or Out points of a clip.
Color Effects Create tints of varying color and intensity.
Drop Shadows Create either static or animated shadows. Shadow presets have suffixes
that indicate the direction that the shadow is cast or the direction that it moves. For
example, LL indicates that the shadow is cast to the lower left. For moving shadows, the
appendix is hyphenated, so LR-LL indicates that the shadow moves from the lower right to
the lower left. To ensure that shadows are visible, apply shadows to images that are
smaller than the projects frame size and make sure that the background image is not
black.
Horizontal/Vertical Image Pans Create animations in which the entire image moves left
and right or up and down as the video plays. For example, an L-R horizontal pan moves the
image from left to right.
Horizontal/Vertical Image Zooms Create animated zoom effects.
Mosaics, Solarizes, and Twirls Create animated effects that either decreases in intensity
from the beginning of the clip, or increases in intensity as the clip ends.
PiPs Create Picture-in-Picture effects by scaling the target clip so that you can super-
impose it onto a full-sized clip. You can also apply this effect to several clips in order to
create a montage.
For complete descriptions of the effects used in the preset, see Video effects included
with Adobe Premiere Elements on page 123.

Creating and saving effect presets

Adobe Premiere Elements stores effect presets in the Presets folder in the Effects window.
You can organize them within the Presets folder by using folders. (See Working with
custom and preset folders on page 112.)
To view preset properties:
Select the preset in the Effects palette, and choose Preset Properties from the Effects
palette menu.
To create and save an effect preset:
1 Display and select the clip that uses the effect you want to save as a preset.
2 In the Effect Controls window, select the effect you want to save, and choose Save
Preset from the More menu. You can only save one effect at a time as a preset.
3 In the Save Preset dialog box, specify a name for your preset.
4 (Optional) Enter a description for the preset.
5 Select one of the following preset types to specify how Adobe Premiere Elements will
handle keyframes when you apply the preset to a target clip, and then click OK:
Scale Scales the source keyframes proportionally to the length of the target clip. This
action deletes any existing keyframes on the target clip.
Anchor To In Point Positions the presets first keyframe at the same distance from the
target clips In point as it was from the original clips In point. For example, if the first
keyframe was 1 second from the In point of the source clip when you saved the preset, this
option adds the keyframe at 1 second from the In point of the target clip, and adds all
other keyframes relative to that position without any scaling.
Anchor To Out Point Positions the presets last keyframe at the same distance from the
target clips Out point as it was from the original clips Out point. For example, if the first
keyframe was 1 second from the Out point of the source clip when you saved the preset,
this option adds the keyframe at 1 second from the Out point of the target clip, and adds
all other keyframes relative to that position without any scaling.
Adjusting and removing effects

To customize your effect settings or remove an effect, you use the Effect Controls window.
(To apply an effect, see Applying and organizing effects on page 110.) The Effect
Controls window includes a time ruler, current-time indicator, zoom controls, controls for
playing and looping audio clips, and a navigator area similar to those found in the Monitor
and Timeline windows. In the Effect Controls window, you can view the entire length of
the clip to which you are applying the effect. Under the Effect Controls windows time
ruler is the keyframe area, where you can adjust how the effect changes over time.
For more information on using keyframes, see About animating effects on page 166.

Using the Effect Controls window

You can access the Effect Controls window quickly from the task bar. All clips in the
Timeline window automatically have the fixed effects applied (theyre the first effects
listed in the window). All of the standard effects that you add to a clip appear in the order
that you add them. The Effect Controls window displays only the effects for the clip you
select.
For information on the properties and options available for individual effects, see Video
effects included with Adobe Premiere Elements on page 123 and Audio effects included
with Adobe Premiere Elements on page 143.
A B C D E F G H
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Effect Controls window

A. Clip name B. Reset Effect button C. Show/Hide Effects button D. Show/Hide Timeline button
E. Keyframe area F. Currently selected clip (in the keyframe area) G. Current-time indicator
H. More menu I. Effect button J. Toggle Animation button K. Effect properties L. Effect values
M. Current time N. Zoom controls O. Play Audio P. Loop Audio
To quickly optimize your workspace for effects editing, choose Windows >
Workspace > Effects.
To view the Effect Controls window and all of effects applied to it:
1 In the Timeline window, select the clip with the effects you want to view.
Click and hold the Effects button in the task bar, and choose Advanced Effects from the
menu that appears.
Choose Window > Effect Controls.
To play audio in the selected clip:
In the Effect Controls window, click the Play Audio button . To play audio as a continuous
loop, click the Loop Audio button before you click Play Audio.
Note: Audio playback controls are available only if the selected clip contains audio.

Changing display options in the Effect Controls window

When creating your final movie, Adobe Premiere Elements first applies all effects in the
order that they appear in the Effect Controls window. Sometimes, changing the order in
which Adobe Premiere Elements applies the effects can lead to an interesting effect in
itself. Fixed effects (Motion, Opacity, and Volume) must remain in their default order in the
window; however, you can apply similar standard effects from the Effects window if you
want to change the order. For example, use the Transform effect in place of the Motion
effect, the Alpha Adjust effect in place of the Opacity effect, and the Volume effect in place
of the fixed Volume effect, and then rearrange them in the Effect Controls window until
you achieve the desired result.
As you adjust controls in the Effect Controls window, you can show or hide certain areas of
the window to make it easier to work. You can hide the keyframe area, and you can show
areas of the timeline beyond a clips Out point to see the context in which you are
applying an effect.
To reorder the effects:
In the Effect Controls window, click an effect name, and drag it to a new location in the list.
A black line appears when the effect is above or below another effect. When you release
the mouse, the effect appears in the new position.
Note: You cannot reorder fixed effects, Motion, Opacity, and Volume.
To show or hide the keyframe area:
In the Effect Controls window, click the Show/Hide Timeline View button to the left of
the time ruler. (See About animating effects on page 166 for information on keyframes.)
To show or hide the timeline beyond a clips In and Out points:
In the Effect Controls window, click the More button and deselect Pin To Clip from the
menu. When this option is selected, the timeline displays only the time between the clips
In and Out points.
Adjusting effect properties in the Effect Controls window

The Effect Controls window displays all of the controls that you use to change property
values for an effect. Controls can include underlined values, sliders, effect point icons,
angle controls, menus, color swatches, eyedroppers, and graphs.
Note: The Effect Controls window will not display effects if multiple clips are selected in
the Timeline window.
To adjust a value:
Drag the underlined value left or right.
Click the underlined value, enter a new value, and press Enter.
Drag inside the angle control area.Once you have clicked inside the angle control, you
can drag outside of it to quickly change the values.
Expand the property by clicking the triangle next to the property name (if available),
and then drag the slider or angle control (depending on the property).

To adjust a color value:

Click the color swatch, select a color in the Color dialog box, and then click OK.
Click the eyedropper, position it on the desired color anywhere on the screen, and then
click to select the color.
Resetting, disabling, and removing effects

You can reset an effect to return it to its default value. You can also disable an effect so that
you can preview the movie without the effect applied.
When you reset an effect, all properties that dont contain keyframes are reset to their
default values. If a property contains keyframes, that property is reset to the default at the
current time only. Keyframes that occur at the current time are reset to the default value. If
no keyframes occur at the current time, new keyframes are created using the default
values.
To reset an effect to its default values:
Click the Reset button next to the effect.
Note: The Reset button does not deactivate keyframing for the property. If you accidently
click Reset, restore your work by choosing Edit > Undo.
To temporarily disable or enable an effect in a clip:
Click the Effect button . To disable or enable all the effects on a clip, hold down Alt as
you click the Effect button.
Select the effect, and then click the More button and choose Effect Enabled so that a
check mark doesnt appear next to it.
To remove effects from a clip:
2 In the Effect Controls window, select the effects you want to remove, and then do one
of the following:
Press Delete or Backspace.
Click the More button and choose Delete Selected Effect or Delete All Effects From Clip.
Note: You cannot remove the fixed effects, Motion, Opacity, and Volume.

Copying and pasting effects

You can copy and paste one or more effects from one clip (source clip) to another (target
clip) by using the Effect Controls window (see Adjusting and removing effects on
page 114). You can also copy all effect values (including keyframes for effects) from one
clip to another by using the Paste Attributes command.
If the effect includes keyframes, the keyframes appear at comparable positions in the
target clip, starting at the beginning of the clip. If the target clip is shorter than the source
clip, keyframes are pasted beyond the target clips Out point. To view these keyframes,
move the clips Out point to a time later than the keyframes placement or deselect the Pin
To Clip option. For information on how to copy and paste effect keyframes, see Copying
keyframes on page 174.
To copy and paste one or more effects:
1 In the Timeline window, select the clip that contains the effect you want to copy.
2 In the Effect Controls window, select the effect you want to copy or Shift-click to select
multiple effects, and then choose Edit > Copy.
3 In the Timeline window, select the clip to which you want to copy the effect, and
choose Edit > Paste.
To copy and paste all effects by using Paste Attributes:
1 In the Timeline window, select the clip that contains the effects you want to copy.
3 In the Timeline window, select the clip you want to paste the effects to, and choose Edit
> Paste Attributes.
You can customize individual effect settings and save them as presets. You can then
apply the presets to other clips in any project. When you save an effect as a preset,
you also save the keyframes you created for the effect.

Selecting colors for effects and mattes

You can select colors for effects and mattes by using either the eyedropper or the Adobe
Color Picker.
Using the eyedropper and Adobe Color Picker

The eyedropper lets you select a color by sampling the color of a single pixel or a range of
pixels anywhere on your computer screen. The Adobe Color Picker lets you select a color
from a color spectrum or specify colors numerically.
A B
C
E
Adobe Color Picker dialog box

A. Picked color B. Original color C. Color filed D. Color slider triangles
E. Color components F. Hexidecimal color value
For more information, see Color components in the Adobe Color Picker on page 120.
To select a color with the eyedropper:
1 Click a features eyedropper button , and move the eyedropper pointer anywhere on
the screen. The color next to the eyedropper button dynamically changes to reflect the
color that appears underneath the eyedropper.
To select the color of a single pixel, click the pixel.
To sample the color average of a 3 x 3-pixel area, Ctrl-click.
To sample a range of adjacent pixels, Shift-drag over the pixels.
To visually select a color with the color picker:
1 Select the component used to display the color spectrum. For example, select R for red.
2 To adjust the colors displayed in the spectrum, drag the triangles along the color slider,
or click inside the color slider.
3 To select a color, click or drag inside the large square color spectrum.
As you adjust the color, the top rectangle to the right of the color slider displays the new
color; the bottom rectangle displays the original color.

To numerically specify a color with the color picker:

Enter color values in any of the boxes:
For HSB, specify hue (H) as an angle, from 0 to 360, that corresponds to a location on
the color wheel. Specify saturation (S) and brightness (B) as percentages.
For RGB, specify red, green, and blue values from 0 to 255 (0 is black, and 255 is the pure
color).
For HSL, specify hue (H) as an angle, from 0 to 360, that corresponds to a location on
the color wheel. Specify saturation (S) and luminance (L) as percentages.
For YUV, specify a luminance (Y) value from 0 to 255. Specify blue (U) and red (V) values
from 127 to -128.
For the # box, enter a color value in hexidecimal form.
Color components in the Adobe Color Picker

In the color picker, you can select from the following color components:
H displays all hues in the color slider. Selecting a hue in the color slider displays the
saturation and brightness range of the selected hue in the color field, with the
saturation increasing from left to right and brightness increasing from bottom to top.
S displays all hues in the color field with their maximum brightness at the top of the
color field, decreasing to their minimum at the bottom. The color slider displays the
color that's selected in the color field with its maximum saturation at the top of the
slider and its minimum saturation at the bottom.
B in the HSB section displays all hues in the color field with their minimum saturation at
the top of the color field, increasing to their maximum saturation at the bottom. The
color slider displays the color that's selected in the color field with its minimum
brightness at the top of the slider, and its maximum luminance at the bottom.
L displays similar data to B. However, luminance values replace brightness values in the
color slider.
R displays the red color component in the color slider with its maximum brightness
(255) at the top of the slider and its minimum brightness (0) at the bottom. When the
color slider is set to minimum brightness, the color field displays colors created by the
green and blue color components. Using the color slider to increase the red brightness
mixes more red into the colors displayed in the color field.
G displays the green color component in the color slider with its maximum brightness
(255) at the top of the slider and its minimum brightness (0) at the bottom. When the
color slider is set to minimum brightness, the color field displays colors created by the
red and blue color components. Using the color slider to increase the green brightness
mixes more green into the colors displayed in the color field.
B in the RGB section displays the blue color component in the color slider with its
maximum brightness (255) at the top of the slider and its minimum brightness (0) at
the bottom. When the color slider is set to minimum brightness, the color field displays
colors created by the green and red color components. Using the color slider to
increase the blue brightness mixes more blue into the colors displayed in the color
field.

Y displays the luminance component in the color slider with the minimum value (0) at
the top and the maximum (255) at the bottom. The color field displays the full range of
U- and V-axis colors at the current luminance value.
U displays the U axis in the color slider. The color field displays the full range of
luminance (Y) and V-axis colors at the current U value.
V displays the V axis in the color slider. The color field displays the full range of
luminance (Y) and U-axis colors at the current V value.
Adjusting position, scale, rotation, and anchor point

Every clip in the Timeline window automatically has the Motion effect applied. You use the
Motion effect to position, rotate, or scale a clip within the video frame. By default, a clip
appears at 100% of its original size in the center of the Monitor window. Position, Scale,
and Rotation values are calculated from the anchor point, which lies at the clips center.
(The anchor point of a clip is not the same as the anchor points created with the Pen tool
in Adobe Title Designer.)
Because the Position, Scale, and Rotation properties are spatial in nature, its best to adjust
them directly in the Monitor window. When you select the Motion effect in the Effect
Controls window, handles appear on the clip in the Monitor window that allow you to
directly manipulate the clip and adjust the Motion effect properties.
Standard effects that allow direct manipulation of clips in the Monitor window
include Corner Pin, Crop, Garbage Matte, Mirror, Transform, and Twirl. The direct
manipulation capability is indicated by the Transform icon in the Effect Controls
window.
To animate clips, you must set keyframes for Motion properties. (See About animating
effects on page 166.)
To adjust a clips position:
1 In the Monitor window, select the clip.

2 Drag the clip in the Monitor window (making sure not to drag a handle) to reposition it.
To make the clip move over time, set keyframes as you manipulate the clip in the
Monitor window.
Effect Controls window with the Motion effect selected
To adjust a clips scale:

1 Select the clip in the Monitor window.
To scale freely, drag a corner clip handle.
To scale one dimension only, drag a side (not a corner) clip handle.
To scale proportionally, Shift-drag any handle.
Note: Scaling video and low-resolution images over 100% can make them look blocky or
pixelated. Adobe Premiere Elements continuously rasterizes scaled EPS files to prevent
pixelization.
To adjust a clips rotation:
2 In the Monitor window, position the pointer slightly outside any of the eight handles
surrounding the clip, so that the pointer changes into the Rotate icon .
To rotate the clip, drag.
To create multiple rotations, drag in a circular motion until the clip rotates the number
of times you want.

To adjust a clips anchor point:

2 In the Effect Controls window, select the Motion effect.
3 Drag the underlined values for Anchor point. Note the changes in the Monitor window.
Note: Although the anchor point also appears in the Monitor window, you can adjust it
only in the Effect Controls window. However, the Monitor window updates changes to the
anchor point as you make them.
Video effects included with Adobe Premiere Elements

Adobe Premiere Elements includes a variety of video effects designed to alter or enhance
the appearance of video images.
To view a gallery of images that show how the video effects can alter your footage, see
Gallery of video effects on page 145.
Alpha Adjust
Use the Alpha Adjust effect in place of the Opacity effect when you need to change the
default render order of fixed effects. Change the opacity percentage to create levels of
transparency. The following controls allow you to interpret the alpha channel in the clip:
Note: This effect ignores or inverts the alpha channel of only a single instance of a clip. To
adjust the alpha channel of every instance of the clip, you need to use the Interpret
Footage command. See Inverting or hiding alpha channels on page 164.
Ignore Alpha Ignores the alpha channel of the clip.
Invert Alpha Reverses the transparency and opaque areas of the clip.
Mask Only Displays only the alpha channel.
A B C D
A. Clip with alpha channel B. Ignore Alpha C. Invert Alpha D. Mask Only
Alpha Glow
The Alpha Glow effect adds color around the edges of a masked alpha channel. You can
specify that a single color either fades out or changes to a second color as it moves away
from the edge.
Glow slider Controls how far the color extends from the alpha channel edge. Higher
settings produce larger glows (and can cause very slow processing before playback or
export).
Brightness slider Controls the initial opacity of the glow.
Start Color Shows the current glow color. Click the swatch to choose another color.
End Color Lets you add an optional color at the outer edge of the glow.
Fade Out Specifies whether the colors fade out or stay solid.

Antialias
The Antialias effect blends the edges between areas of highly contrasting colors. When
blended, colors create intermediate shades that make transitions between dark and light
areas appear more gradual.
A B
A. Antialias off B. Antialias on
Auto Color, Auto Contrast, and Auto Levels

Use Auto Color, Auto Contrast, and Auto Levels to make quick global adjustments to a clip.
Auto Color adjusts the contrast and color of a clip by neutralizing the midtones and placing
a limit on the range of the white and black pixels. Auto Contrast adjusts the overall contrast
and mixture of colors without introducing or removing color casts. Auto Levels automati-
cally corrects the highlights and shadows. Because Auto Levels adjusts each color channel
individually, it may remove or introduce color casts, which are tints to an image. Each
effect has one or more of the following properties:
Temporal Smoothing Specifies the range of adjacent frames that Adobe Premiere
Elements analyzes to determine the amount of correction needed for each frame, relative
to its surrounding frames. For example, if you set Temporal Smoothing to 1 second, Adobe
Premiere Elements analyzes the frames 1 second before the displayed frame to determine
the appropriate adjustments. If you set Temporal Smoothing to 0, Adobe Premiere
Elements analyzes each frame independently without regard for surrounding frames.
Temporal smoothing can result in smoother-looking corrections over time.
Scene Detect Specifies that Adobe Premiere Elements ignores scene changes when you
have enabled Temporal Smoothing.
Snap Neutral Midtones (available for Auto Color only) Specifies that Adobe Premiere
Elements finds an average nearly neutral (gray) color in an image and adjusts the gamma
values of that color to make it neutral.
Black Clip and White Clip Specify how much the effect clips the shadows and highlights
to the new extreme shadow (level 0) and highlight (level 255) colors in the image. Larger
values produce an image with greater contrast.
Blend With Original Specifies the percentage of the effect to apply to the image.

Basic 3D
The Basic 3D effect manipulates a clip in an imaginary three-dimensional space. You can
rotate your image around horizontal and vertical axes and move it toward or away from
you. You can also create a specular highlight to give the appearance of light reflecting off a
rotated surface. The light source for the specular highlight is always above, behind, and to
the left of the viewer. Because the light comes from above, the image must be tilted
backward to see this reflection. Specular highlights enhance the realism of the three-
dimensional appearance.
A B C
Basic 3D controls
A. Swivel B. Swivel and Tilt C. Swivel, Tilt, and Distance
Swivel Controls horizontal rotation (rotation around a vertical axis). You can rotate past
90 to see the back side of the image, which is the mirror image of the front.
Tilt Controls vertical rotation (rotation around a horizontal axis).
Distance to Image Specifies the images distance from the viewer. As the distance gets
larger, the image recedes.
Specular Highlight Adds a glint of light that reflects off the surface of the rotated layer,
as though an overhead light were shining on the surface. When Draw Preview Wireframe is
enabled, the specular highlight is indicated by a red plus sign (+) if it is not visible on the
layer (the center of the highlight does not intersect the clip) and a green plus sign (+) if the
highlight is visible. You must render a preview before the Specular Highlight effect
becomes visible in the Monitor window.
Preview Draws a wireframe outline of the three-dimensional image. Because manipu-
lating an image in three-dimensional space can be time consuming, the wireframe
renders quickly so you can manipulate the controls to get the rotation you want. Deselect
the Preview control when you finish manipulating the wireframe image to see your final
results.
Bend
The Bend effect distorts a clip by producing the appearance of a wave traveling both verti-
cally and horizontally through the clip. You can produce a number of different wave
shapes at various sizes and rates.
Direction Specifies the direction of the wave. The In setting specifies that waves move
toward the center of the clip. The Out setting specifies that waves start in the center and
move to the edge of the clip.
Wave Specifies the shape of the wave. Choose from a sine wave, circle, triangle, or square.
Intensity Specifies the height of the wave.
Rate Specifies the frequency of the wave. To produce a wave only vertically or horizon-
tally, move the Rate slider all the way to the left for the direction you do not want.

Width Specifies the wave width.
Bevel Alpha
The Bevel Alpha effect adds a beveled edge and lights to the alpha boundaries of an
image, often giving two-dimensional elements a three-dimensional appearance. (If the
clip has no alpha channel or its alpha channel is completely opaque, the effect is applied
to the edges of the clip.) The edge created in this effect is somewhat softer than that of the
Bevel Edges effect. This effect works well with text containing an alpha channel.
Bevel Edges
The Bevel Edges effect gives a chiseled and lighted three-dimensional appearance to the
edges of an image. Edge locations are determined by the alpha channel of the source
image. Unlike Bevel Alpha, the edges created in this effect are always rectangular, so
images with nonrectangular alpha channels do not produce the proper appearance. All
edges have the same thickness.
Black & White

The Black & White effect converts any color clip to grayscale; that is, colors appear as
shades of gray. You cannot keyframe this effect.
Blue Screen Key

The Blue Screen Key effect makes all image pixels that are similar to a standard bluescreen
transparent.
Brightness & Contrast

The Brightness & Contrast effect adjusts the brightness and contrast of the entire clip. The
value 0.0 indicates that no change is made.
Using the Brightness & Contrast effect is the easiest way to make simple adjustments to
the tonal range of the image. It adjusts all pixel values in the image at oncehighlights,
shadows, and midtones. Brightness & Contrast does not work on individual color channels.
Camera View
The Camera View effect distorts a clip by simulating a camera viewing the clip from
different angles. By controlling the location of the camera, you distort the shape of the
clip.
Latitude Moves the camera vertically. The effect makes the clip appear to be flipping
vertically.
Longitude Moves the camera horizontally. The effect makes the clip appear to be flipping
horizontally.
Roll Rolls the camera, thus appearing to rotate the clip.
Focal length Changes the focal length of the camera lens. Shorter lengths provide wider
views, whereas longer focal lengths provide narrower but closer views.
Distance Sets the distance between the camera and the center of the clip.
Zoom Enlarges or reduces the view of the clip.
Fill color Specifies the background color.

Fill alpha channel When checked, makes the background transparent (useful if the clip
with the effect is superimposed). To access this check box from the Effect Controls
window, click Setup.
Channel Mixer
Using the Channel Mixer effect, you can modify a color channel by using a mix of the
current color channels. Use this effect to make creative color adjustments not easily
achieved with the other color adjustment tools. Create high-quality grayscale images by
choosing the percentage contribution from each color channel, create high-quality sepia-
tone or other tinted images, and swap or duplicate channels.
Red, Green, Blue Specifies the contribution of the individual source channel to the
output channel.
Constant Specifies the base amount of the input channel to be added to the output
channel.
To mix channels in an image:
1 Apply the effect and drag any channels value to the left (or expand the channel name
and drag the slider) to decrease the channels contribution to the output channel and to
the right to increase it. Or, click an underlined value, type a value between -200% and
+200% in the value box, and click OK. Using a negative value inverts the source channel
before adding it to the output channel.
2 (Optional) Drag or type a value for the channels constant value. This value adds a base
amount of a channel to the output channel.
3 (Optional) Select Monochrome to apply the same settings to all the output channels,
creating a color image that contains only gray values.
Monochrome is useful for images that you plan to convert to grayscale. If you select this
option, adjust the channel values, and then deselect this option, you can modify the blend
of each channel separately, creating a hand-tinted appearance.
Chroma Key
The Chroma Key effect keys out all image pixels that are similar to a specified key color.
When you key out a color value in a layer, that color or range of colors becomes trans-
parent for the entire layer. Control the range of transparent colors by adjusting the
tolerance level. You can also feather the edges of the transparent area to create a smooth
transition between the transparent and opaque areas.
A B C D
Chroma Key
A. Original image B. Blue color keyed out C. Image on second track D. Final composite image

Clip
The Clip effect trims rows of pixels off the edges of a clip and replaces the trimmed areas
with a specified background color. If you want Adobe Premiere Elements to automatically
resize the trimmed clip to its original dimensions, use the Crop effect instead of the Clip
effect.
Left, Top, Right, Bottom Crops each edge of the clip separately.
Units Sets the units specified by the sliders, either pixels or the percentage of the frames.
Fill Color Specifies the color that replaces the trimmed areas. The default color is black.
Color Balance (RGB)

The Color Balance effect changes colors in the clip by adjusting the RGB levels. Drag the
Red, Green, and Blue sliders to adjust the level of each color.
Color Balance (HLS)

The Color Balance (HLS) effect alters an images levels of hue, lightness, and saturation.
Hue Specifies the color scheme of the image.
Lightness Specifies the brightness of the image.
Saturation Specifies the intensity of the colors in the image.
Note: You can convert a movie to grayscale by setting the Saturation to -100.
Color Emboss
The Color Emboss effect sharpens the edges of objects in the image but doesnt suppress
any of the images original colors.
Direction Specifies the apparent direction in which the highlight source is shining, in
degrees. A setting of 45 causes the shadow to be cast in the northeast direction.
Relief Specifies the apparent height of the embossing, in pixels. The Relief setting
actually controls the maximum width of highlighted edges.
Contrast Specifies the sharpness of the image contents edges. At lower settings, only
distinct edges show the effect. As you increase the setting, the highlight becomes more
extreme.
Blend with Original Adds a percentage of the original source clip to the final result.
Color Match
The Color Match effect allows you to match the colors from one source clip to another by
adjusting hue, saturation, and luminance.
Method Specifies the method by which colors are adjusted including HSL, RGB, or
Curves.
Use Sample eyedroppers to sample shadows, midtones, and highlights from the sample or
color you are trying to match. Use Target eyedroppers to sample shadows, midtones, and
highlights of the clip you are trying to adjust.

Color Pass
The Color Pass effect converts a clip to grayscale, with the exception of a single specified
color. Use the Color Pass effect to highlight a particular area of a clip. For example, in a clip
of a basketball game, you could highlight the basketball by selecting and preserving its
color, while keeping the rest of the clip displayed in grayscale. Note, however, that with the
Color Pass effect, you can isolate only colors, not objects within the clip.
To specify Color Pass settings:
1 Apply the effect. Then, click the Setup button to the right of the effect name.
2 Then, in the Color Pass Settings dialog box, select the color you want to preserve by
clicking a color in the Clip Sample area on the left (the pointer becomes an eyedropper), or
by clicking the Color swatch and clicking a color in the Color Selection window.
3 Drag the Similarity slider to increase or decrease the range of the specified color.
4 To reverse the effect, so that all colors except the specified color are preserved, select
the Reverse option.
5 Click OK when you are done.
Color Replace
The Color Replace effect replaces all occurrences of a selected color with a new color,
preserving any gray levels. Using this effect, you could change the color of an object in an
image by selecting it, and then adjusting the controls to create a different color.
To replace a color:
1 Choose the color to be replaced by clicking a color in the Clip Sample view, or by
clicking the Target Color swatch and clicking a color in the Selection window.
2 Choose the replacement color by clicking the Replace Color swatch.
3 Broaden or reduce the range of the color youre replacing by dragging the Similarity
slider.
4 Select the Solid Colors property to replace the specified color without preserving any
gray levels.
Corner Pin
The Corner Pin effect distorts an image by changing the position of each of its four
corners. Use it to stretch, shrink, skew, or twist an image, or to simulate perspective or
movement that pivots from the edge of a layer, such as a door opening.
A B C
Corner Pin
A. Original image B. Corner moved C. Final image

Crop
The Crop effect trims rows of pixels from the edges of a clip and, if you select the Zoom
option, automatically resizes the trimmed clip to its original dimensions. Use the slider
controls to crop each edge of the clip separately. You can crop by pixels or image
percentage.
Crystallize
The Crystallize effect creates a distorted mosaic pattern by clumping adjacent pixels into a
solid-colored polygon shape, or cell. You can set the cell size from 3 pixels to 300 pixels.
Drop Shadow
The Drop Shadow effect adds a shadow that appears behind the clip. The shape of the
Drop Shadow is determined by the clips alpha channel. Unlike most other effects, Drop
Shadow can create a shadow outside the bounds of the clip (the dimensions of the clips
source).
Since Drop Shadow uses the alpha channel, it works well with 32-bit footage files from
drawing programs and three-dimensional rendering programs that support the alpha
channel.
Note: Because Drop Shadow works best when it is the last effect rendered, apply this effect
after applying all other effects. You can create a more realistic-looking shadow on
animated clips by applying and animating the Motion or Basic 3D effect prior to applying
Drop Shadow instead of animating the fixed Motion effect because fixed effects are
rendered after standard effects.
Echo
The Echo effect combines frames from many different times in a clip. It has a variety of
uses, from a simple visual echo to streaking and smearing effects. This effect is visible only
when there is motion in the clip. By default, any previously applied effects are ignored
when you apply the Echo effect.
A B C
Echo
A. Original image B. Image with low echo values C. Image with increased number of echoes
Echo Time Specifies the time, in seconds, between echoes. Negative values create echoes
from previous frames; positive values create echoes from upcoming frames.
Number of Echoes Specifies the number of frames to combine for the Echo effect. For
example, if two echoes are specified, Echo will make a new image out of [current time],
[current time + Echo Time], and [current time + 2 x Echo Time].
Starting Intensity Specifies the intensity, or brightness, of the starting frame in the echo
sequence. For example, if this is set to 1, the first frame is combined at its full intensity. If
this is set to 0.5, the first frame is combined at half intensity.

Decay Specifies the ratio of intensities of subsequent echoes. For example, if the decay is
set to 0.5, the first echo will be half as bright as the Starting Intensity. The second echo will
then be half that, or 0.25 times the Starting Intensity.
Echo Operator Specifies the operations to be performed between echoes. Add combines
the echoes by adding their pixel values. If the starting intensity is too high, this mode can
quickly overload and produce streaks of white. Set the Starting Intensity to 1.0 per number
of echoes and the Decay to 1.0 to blend the echoes equally. Maximum combines the
echoes by taking the maximum pixel value from all the echoes. Minimum combines the
echoes by taking the minimum pixel value from all the echoes. Screen emulates
combining the echoes by sandwiching them optically. This is similar to Add, but it will not
overload as quickly. Composite in Back uses the echoes alpha channels to composite them
back to front. Composite in Front uses the echoes alpha channels to composite them front
to back.
Four-Point, Eight-Point and Sixteen-Point Garbage Mattes

Use these effects to apply a garbage matte (see Hiding unwanted objects with Garbage
Matte keying effects on page 164) with either four, eight, or 16 adjustment points for
more detailed keying. Once you apply the effect, click the effect name in the Effect
Controls window to display the garbage matte handles in the Monitor window. To adjust
the matte, drag the handles in the Monitor window or drag the values in the Effect
Controls window.
Emboss
The Emboss effect sharpens the edges of objects in the image and suppresses colors. The
effect also highlights the edges from a specified angle.
Direction Specifies the apparent direction in which the highlight source is shining, in
degrees. A setting of 45 causes the shadow to be cast in the northeast direction.
Relief Specifies the apparent height of the embossing, in pixels. The Relief setting
actually controls the maximum width of highlighted edges.
Contrast Specifies the sharpness of the image contents edges. At lower settings, only
distinct edges show the effect. As you increase the setting, the highlight becomes more
extreme.
Extract
The Extract effect removes colors from a video clip, creating a textured grayscale
appearance. Control the clips appearance by specifying the range of gray levels to convert
to white or black.
To specify Extract settings:
1 Apply the effect, then, in the Effect Controls window, click the Setup button to the
right of the effect name.
2 In the Extract Settings dialog box, drag the two triangles underneath the histogram (a
diagram showing the number of pixels at each brightness level in the current keyframe) to
specify the range of pixels converted to white or black. Pixels between the triangles are
converted to white. All other pixels are converted to black.
3 Drag the softness slider to introduce levels of gray into the pixels that have been
converted to white. Higher softness values produce more gray.

4 Select the Invert option to reverse the range that is converted to white and black.
5 Click OK when you are done.
Facet
The Facet effect clumps pixels of similar color values in cells for a painterly effect.
Keyframes cannot be applied to this effect.
Fast Blur
Use the Fast Blur effect to specify how much to blur an image. You can specify that the blur
is horizontal, vertical, or both. Fast Blur blurs areas more quickly than Gaussian Blur.
Find Edges
The Find Edges effect identifies the areas of the image that have significant transitions and
emphasizes the edges. Edges can appear as dark lines against a white background or
colored lines against a black background. When the Find Edges effect is applied, images
often look like sketches or photographic negatives of the original.
Invert Inverts the image after the edges are found. When Invert is not selected, edges
appear as dark lines on a white background. When Invert is selected, edges appear as
bright lines on a black background.
Gamma Correction
The Gamma Correction effect lightens or darkens a clip without substantially changing
the shadows and highlights. It does this by changing the brightness levels of the midtones
(the middle-gray levels), while leaving the dark and light areas unaffected. The default
gamma setting is 1.0. In the effects Settings dialog box, you can adjust the gamma from
0.1 to 2.9.
Gaussian Blur
The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify
that the blur is horizontal, vertical, or both. (Gaussian refers to the bell-shaped curve that is
generated by mapping the color values of the affected pixels.)
Gaussian Sharpen
The Gaussian Sharpen effect sharpens a clip by a large amount; the effect is similar to that
of choosing the Sharpen effect several times. Keyframes cannot be applied to this effect.
Ghosting
The Ghosting effect overlays transparencies of the immediately preceding frames on the
current frame. This effect can be useful, for example, when you want to show the motion
path of a moving object, such as a bouncing ball. Keyframes cannot be applied to this
effect.
Ghosting effect

Green Screen Key

The Green Screen Key effect keys out all image pixels that are similar to a standard green-
screen, so that they become transparent.
Horizontal Flip
The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip
still plays in a forward direction.
Horizontal Hold
The Horizontal Hold effect skews the frames to the left or to the right; the effect is similar
to the horizontal hold setting on a television set. Drag the slider to control the clips slant.
Invert
The Invert (video) effect inverts the color information of an image.
Channel Specifies which channel or channels to invert. Each group of items operates in a
particular color space, inverting either the entire image in that color space or just a single
channel. RGB consists of three additive color channels: red, green, and blue. HLS consists
of three calculated color channels: hue, lightness, and saturation. YIQ is the NTSC
luminance and chrominance color space, where Y is the luminance signal, and I and Q are
the in-phase and quadrature chrominance signals. Alpha, not a color space, provides a
way to invert the alpha channel of the image.
Blend with Original Combines the inverted image with the original. You can apply a fade
to the inverted image.
Lens Distortion
The Lens Distortion effect simulates a distorted lens through which the clip is viewed.
Curvature Changes the curvature of the lens. Specify a negative value to make the image
concave, or a positive value to make the image convex.
Vertical and Horizontal Decentering Displaces the focal point of the lens, making the
image bend and smear. At extreme settings, the image wraps in on itself.
Vertical and Horizontal Prism FX Creates a result similar to vertical and horizontal
decentering, except that at extreme values the image doesnt wrap in on itself.
Fill color Specifies the background color.
Fill alpha channel When selected, makes the background transparent so that underlying
tracks are visible. To access this check box from the Effect Controls window, click Setup.
Lens Flare
The Lens Flare effect simulates the refraction caused by shining a bright light into the
camera lens.
Brightness Specifies the percentage of brightness. Values can range from 10% to 300%.
Flare Center Specifies a location for the center of the flare.
Lens Type Selects the type of lens to simulate.

Lightning
The Lightning effect creates lightning bolts and other electrical effects, including a Jacob's
Ladder effect (an effect that depicts a small lightning bolt bridging two metal spikes, often
seen in Frankenstein movies) between two specified points in a clip image. The Lightning
effect is automatically animated without keyframes across the clips time range.
Start Point, End Point Specify where the lightning begins and ends.
Segments Specifies the number of segments that form the main lightning bolt. Higher
values produce more detail but reduce the smoothness of motion.
Amplitude Specifies the size of undulations in the lightning bolt as a percentage of the
layer width.
Detail Level, Detail Amplitude Specify how much detail is added to the lightning bolt
and any branches. For Detail Level, typical values are between 2 and 3. For Detail
Amplitude, a typical value is 0.3. Higher values for either control are best for still images
but tend to obscure animation.
Branching Specifies the amount of forking that appears at the ends of bolt segments. A
value of 0 produces no branching; a value of 1.0 produces branching at every segment.
Rebranching Specifies the amount of branching from branches. Higher values produce
tree-like lightning bolts.
Branch Angle Specifies the size of the angle between a branch and the main lightning
bolt.
Branch Seg. Length Specifies the length of each branch segment as a fraction of the
average length of the segments in the lightning bolt.
Branch Segments Specifies the maximum number of segments for each branch. To
produce long branches, specify higher values for both the branch segment length and the
branch segments.
Branch Width Specifies the average width of each branch as a fraction of the width of
the lightning bolt.
Adjust the following controls for the Lightning effect:
Speed Specifies how fast the lightning bolt undulates.
Stability Determines how closely the lightning undulates along the line defined by the
start and end points. Lower values keep the lightning bolt close to the line; higher values
create significant bouncing. Use Stability with Pull Force to simulate a Jacobs Ladder
effect and cause the lightning bolt to snap back to a position along the start line after it
has been pulled in the Pull Force direction. A Stability value that is too low does not let the
lightning stretch into an arc before it snaps back; a value that is too high lets the lightning
bolt bounce around.
Fixed Endpoint Determines whether the end point of the lightning bolt remains fixed in
place. If this control is not selected, the end of the bolt undulates around the end point.
Width, Width Variation Specify the width of the main lightning bolt and how much the
width of different segments can vary. Width changes are randomized. A value of 0
produces no width changes; a value of 1 produces the maximum width changes.
Core Width Specifies the width of the inner glow, as specified by the Inside Color value.
The Core Width is relative to the total width of the lightning bolt.

Outside Color, Inside Color Specify the colors used for the lightning bolts outer and
inner glows. Because the Lightning effect adds these colors on top of existing colors in the
composition, primary colors often produce the best results. Bright colors often become
much lighter, sometimes becoming white, depending on the brightness of colors
beneath.
Pull Force, Pull Direction Specify the strength and direction of a force that pulls the
lightning bolt. Use the Pull Force control with the Stability control to create a Jacobs
Ladder appearance.
Random Seed Specifies a starting point for randomizing the lightning effects you have
specified. Because random movement of the lightning may interfere with another image
or layer, typing another value for the Random Seed starts the randomizing at a different
point, changing the movement of the lightning bolt.
Blending Mode Specifies how the lightning is added to the layer.
Rerun at Each Frame Controls the frame-by-frame generation of the lightning. Selecting
this control regenerates the lightning at each frame. To make the lightning behave the
same way at the same frame every time you run it, do not select this control. Selecting this
control may increase rendering time.
Mirror
The Mirror effect splits the image along a line and reflects one side onto the other. The
reflection angle determines which side is reflected and where the reflection appears. You
can make the line and reflection angle change over time.
Reflection Center Specifies the position of the line. Click the box and drag the resulting
cross hair to the spot in the image where you want to place the line.
Reflection Angle Specifies the angle of reflection, and therefore where the reflection
appears on the clip. An angle of 0 reflects the left side on the right. An angle of 180
reflects the right side on the left. An angle of 90 reflects the top on the bottom. An angle
of 270 reflects the bottom on the top.
Mosaic
The Mosaic effect fills a layer with solid color rectangles. It is useful for creating a highly
pixelated image.
Horizontal/Vertical Blocks Specifies the number of mosaic divisions in each direction.
Sharp Colors Gives each tile the color of the pixel in its center in the unaffected clip.
Otherwise, the tiles are given the average color of the corresponding region in the
unaffected clip.
Noise
The Noise effect randomly changes pixel values throughout the image.
Amount of Noise Specifies the amount of noise, and therefore the amount of distortion,
through random displacement of the pixels. The range is 0% (no effect) to 100% (the
image may not be recognizable).
Noise Type Randomly changes the red, green, and blue values of the images pixels
individually when Use Color Noise is selected. Otherwise, the same value is added to all
channels.

Clipping Determines whether the noise causes pixel colors to wrap around. When the
color value of a pixel gets as large as it can be, clipping makes it stay at that value. With
unclipped noise, the color value wraps around or starts again at low values. When Clipping
is selected, even 100% noise leaves a recognizable image. If you want a completely
randomized image, turn off Clipping and turn on Color Noise.
Non Red Key

The Non Red Key effect makes the clips nonred pixels transparent.
Page Curl (GPU)

Use Page Curl to simulate a page slowly turning. As the page turns, you see the back of
the image mapped to the opposite side of the curl. The back of the image is actually a
mirror image of the front. This effect is most useful as a transition where you would like to
have a high-quality, textured page peel effect to reveal an underlying frame. Page Curl
includes controls that function identically to the controls in the Ripple Effect (Circular).
(See Ripple (Circular) (GPU) on page 138 for an explanation of those controls.) Page Curl
adds the following controls not in the Ripple Effect (Circular). However, the Ripple Center
and Ripple Amount controls, which appear in the Ripple Effect (Circular) effect, are not
available for the Page Curl effect.
Angle Of Curl Specifies where on the image edge the curl begins.
Curl Amount Specifies how far into the image that the curl extends.
Pinch
The Pinch effect distorts a clip by stretching the image toward the center from the edges.
You can set the percentage of pinching.
Pointillize
The Pointillize effect breaks up the color in a clip into dots, like a pointillist painting, and
uses a white background as a canvas area between the dots. In the Pointillize dialog box,
you can set the cell (dot) size from 3 pixels to 300 pixels.
Polar Coordinates
The Polar Coordinates effect distorts a clip by moving each pixel in the clips x,y coordinate
system to the corresponding position in the polar coordinate system, or the reverse. This
effect produces unusual and surprising distortions that can vary greatly depending on the
image and the controls you select. The standard coordinate system specifies points by
measuring the horizontal distance (x-axis) and the vertical distance (y-axis) from the
origin. The polar coordinate system specifies points by measuring the length of a radius
from the origin and its angle from the x-axis.
Interpolation Specifies the amount of distortion. At 0% there is no distortion.
The following two options are available from the Type of Conversion pop-up menu:
Rect to Polar Moves pixels by using the standard x,y coordinates from each pixel as polar
coordinates. For example, an x,y coordinate of 2,3 becomes a polar coordinate with a
radius of 2 and a degree of 3. Horizontal lines distort into circles and vertical lines into
radial lines.

Polar to Rect Moves pixels by using the polar coordinates from each pixel as the standard
x,y coordinates. For example, a polar coordinate of radius 10 and 45 becomes an x,y
coordinate of 10,45.
Posterize
The Posterize effect specifies the number of tonal levels (or brightness values) for each
channel in an image and maps pixels to the closest matching level. For example, if you
choose two tonal levels in an RGB image, you get two tones for red, two tones for green,
and two tones for blue. Values range from 2 to 255. Although the results of this effect are
most evident when you reduce the number of gray levels in a grayscale image, Posterize
also produces interesting effects in color images.
Use Level to adjust the number of tonal levels for each channel to which Posterize will map
existing colors.
Posterize Time
The Posterize Time effect locks a clip to a specific frame rate. Posterize Time is useful on its
own as a special effect, but it also has more subtle uses. For example, 60-field video
footage can be locked to 24 fps (and then field-rendered at 60 fields per second) to give a
film-like look. This effect is sometimes called Strobe in hardware devices.
Animating the value of the Frame Rate slider can give unpredictable results. For this
reason, the only interpolation of the frame rate allowed is Hold.
ProcAmp
The ProcAmp effect emulates the processing amplifier found on standard video
equipment. This effect adjusts the hue, saturation, and luminance of a clips image.
Ramp
The Ramp effect creates a color gradient, blending it with the original image contents.
Create linear or radial ramps and vary the position and colors of the ramp over time. Use
the Start and End of Ramp properties to specify the start and end positions. Use the Ramp
Scatter control to disperse the ramp colors and eliminate banding.
Note: Traditionally, ramps do not broadcast well; serious banding occurs because the
broadcast chrominance signal does not contain sufficient resolution to reproduce the
ramp smoothly. The Ramp Scatter control disperses the ramp colors, eliminating the
banding apparent to the human eye.
Reduce Interlace Flicker

The Reduce Interlace Flicker effect reduces high vertical frequencies to make images more
suitable for use in an interlaced medium (such as NTSC video). For example, images with
very thin horizontal lines can flicker annoyingly when broadcast. Reduce Interlace Flicker
softens horizontal edges to reduce the flickering.
Note: Flicker may result from fields that have not been separated.

Refraction (GPU)
Use this effect to create a ripple and add a refractive look to the surface of your image. This
simulates how an object distorts when it is just beneath the surface of moving water or
behind a refractive object, such as frosted glass.
Ripple Amount Specifies the size of the ripples. Animating this property creates the
effect of moving water.
Refractive Index Specifies the ratio of the lights velocity as it passes from a rarer to a
denser medium.
Bump Specifies the grain amount on the surface.
Depth Specifies the depth of the surface through which you are viewing the image. For
example, in the case of simulating an underwater object, adjusting this value changes
how deep an object appears to be in the water.
Replicate
The Replicate effect divides the screen into tiles and displays the whole image in each tile.
Set the number of tiles per column and row by dragging the slider.
Ripple
The Ripple effect produces an undulating pattern on a clip, like ripples on the surface of a
pond. The shape, severity, and direction of the ripple pattern are adjustable, as well as the
background color.
Ripple (Circular) (GPU)

Use Ripple (Circular) to create an effect similar to concentric ripples on the surface of
water.
Surface Angle X and Y Specifies the degree of rotation on the designated Cartesian axis.
Ripple Center Specifies the x and y location of the ripple center. You can also change the
Ripple Center values directly in the Monitor view.
Ripple Amount Specifies the size of the ripples.
Key Light Angle A and B Specifies angular location of light source in polar coordinates.
Angle A is on the Z axis, and angle B is formed on XY plane.
Light Distance Specifies the distance between the light source and the center of the
ripple surface.
Bump Specifies the amount of the perturbations mapped onto the ripple surface.
Adjusting this property can lend a veined or knobby appearance to the surface,
depending on the value you choose.
Gloss Specifies the glossiness of the surface.
Noise Specifies the amount of grain or imperfections on the surface.
Roll
The Roll effect rolls a clip to the left or to the right, or up or down, as if the image were on a
cylinder.

Shadow/Highlight
Use the Shadow/Highlight effect to brighten shadowed subjects in an image or to reduce
the highlights in an image. This effect does not apply a global darkening or lightening of
an image, but rather it adjusts the shadows and highlights independently, based on the
surrounding pixels. You can also adjust the overall contrast of an image. The default
settings are optimized to fix images with backlighting problems.
Auto Amounts Specifies that Adobe Premiere Elements automatically analyzes and
corrects highlight and shadow problems stemming from backlighting issues. This option
is selected by default. Deselect it to activate manual controls for shadow and highlight
correction.
Shadow Amount Lightens the shadows in the image. This control is active only if you
deselect Auto Amounts.
Highlight Amount Darkens the highlights in the image. This control is active only if you
deselect Auto Amounts.
Temporal Smoothing Specifies the range of adjacent frames that Adobe Premiere
Elements analyzes in order to determine the amount of correction needed for each frame,
relative to its surrounding frames. For example, if you set Temporal Smoothing to 1
second, Adobe Premiere Elements analyzes the frames 1 second before the displayed
frame to determine appropriate shadow and highlight adjustments. If you set Temporal
Smoothing to 0, Adobe Premiere Elements analyzes each frame independently, without
regard for surrounding frames. Temporal Smoothing can result in smoother-looking
corrections over time. This control is active only if you select Auto Amounts.
Scene Detect Specifies that Adobe Premiere Elements ignores scene changes when you
have enabled Temporal Smoothing.
Blend with Original Specifies the percentage of the effect to apply to the image.
Expand the More Options category to reveal the following controls:
Shadow Tonal Width and Highlight Tonal Width Specify the range of adjustable tones
in the shadows and highlights. Lower values restrict the adjustable range to only the
darkest and lightest regions, respectively. Higher values expand the adjustable range.
These controls are useful for isolating regions to adjust. For example, to lighten a dark area
without affecting the midtones, set a low Shadow Tonal Width value so that when you
adjust the Shadow Amount, you are lightening only the darkest areas of an image.
Shadow Radius and Highlight Radius Specify the size (in pixels) of the area around a
pixel that the effect uses to determine whether the pixel resides in a shadow or a
highlight. Generally, this value should roughly equal the size of the subject of interest in
your footage.
Color Correction Specifies the degree of color correction that the effect applies to the
adjusted shadows and highlights. The higher the value, the more saturated the colors
become. The more significant the correction that you make to the shadows and
highlights, the greater the range of color correction available.
Note: If you want to change the color over the whole image, use the Hue/Saturation effect
after applying the Shadow/Highlight effect.
Midtone Contrast Specifies the degree of contrast that the effect applies to the
midtones. Higher values increase the contrast in the midtones alone, while concurrently
darkening the shadows and lightening the highlights.

Black Clip and White Clip Specify how much the effect clips the shadows and highlights
to the new extreme shadow (level 0) and highlight (level 255) colors in the image. Larger
values produce an image with greater contrast.
Sharpen
The Sharpen effect increases the contrast where color changes occur.
Sharpen Edges
The Sharpen Edges effect finds the areas in the clip where significant color changes occur
and sharpens them. Keyframes cannot be applied to this effect.
Shear
The Shear effect distorts a clip along a curve. Drag the band in the middle of the dialog
box to form a curve that indicates how you want the image distorted. You can adjust any
point along the curve. Specify how to treat areas of the image left undefined by the shear:
Wrap Around Wraps the image to fill the undefined space so that the area is filled with
content from the opposite side of the image.
Repeat Edge Pixels Extends the colors of the pixels along the edge of the clip in the
direction specified. This creates a banding effect if the edge pixels are different.
Solarize
The Solarize effect creates a blend between a negative and positive image, causing the
image to appear to have a halo. This effect is analogous to briefly exposing a print to light
during developing.
Spherize
The Spherize effect wraps a clip around a spherical shape and is useful for giving objects
and text a three-dimensional effect. You can set the intensity (amount) from 100 (a
concave appearance) to 100 (a convex appearance). You can also select the direction in
which the effect is applied: Horizontal Only, Vertical Only, or Normal (in all directions).
Strobe Light
The Strobe Light effect performs an arithmetic operation on a clip at periodic or random
intervals. For example, every five seconds a clip could appear completely white for one-
tenth of a second, or a clips colors could invert at random intervals.
Blend with Original Specifies the intensity, or brightness, of the effect. A value of 0
causes the effect to appear at full intensity; higher values diminish the intensity of the
effect.
Strobe Duration Specifies in seconds how long a strobe effect lasts.
Strobe Period Specifies in seconds the duration between the start of subsequent
strobes. For example, if the Strobe Duration is set to 0.1 second and the Strobe Period is
set to 1.0 second, the clip has the effect for 0.1 second and then is without the effect for 0.9
second. If this value is set lower than the Strobe Duration, the strobe effect is constant.
Random Strobe Probability Specifies the probability that any given frame of the clip will
have the strobe effect, giving the appearance of a random effect.

Strobe Specifies how the effect is applied. Operates on Color Only performs the strobe
operation on all color channels. Make Layer Transparent makes the clip transparent when
a strobe effect occurs.
Strobe Operator Specifies the arithmetic operator to use when Operates on Color Only is
selected from the Strobe menu. The default setting is Copy.
Texturize
The Texturize effect gives a clip the appearance of having the texture of another clip. For
example, you could make the image of a tree appear as if it had the texture of bricks, and
control the depth of the texture and the apparent light source.
Texture Placement Specifies how the effect is applied. Tile Texture applies the texture
repeatedly over the clip. Center Texture positions the texture in the middle of the clip.
Stretch Texture to Fit stretches the texture to the dimensions of the selected clip.
Tiles
The Tiles effect breaks up a clip into a series of tiles. In the effects dialog box, you specify
the number of vertical tiles you want, the maximum distance you want a tile to be offset
from its original position, and how you want to fill the area between tiles. You can fill this
area with white (the background color), with black (the foreground color), with an inverse
(negative) version of the image, or with the unaltered image. You can also make the area
between the tiles transparent by applying Transparency, selecting Alpha Channel, and
then selecting either Background color or Foreground color.
Tint
The Tint effect alters an images color information. For each pixel, the luminance value
specifies a blend between two colors. Map Black To and Map White To specify to which
colors dark and bright pixels are mapped. Intermediate pixels are assigned intermediate
values. Amount To Tint specifies the intensity of the effect.
Track Matte Key

The Track Matte Key effect creates transparent areas in a clip that correspond to the
luminance levels of another clip. Transparent areas reveal the image produced by clips in
lower tracks. Exclude the matte clip from the output by selecting the clip and choosing
Clip > Enable.
Transform
The Transform effect applies two-dimensional geometric transformations to a clip. Use the
Transform effect to skew a clip along any axis. Apply the Transform effect instead of using
a clips fixed effects if you want to render anchor point, position, scale, or opacity settings
before other Standard effects are rendered.
Anchor Point Specifies the point, in an x,y coordinate, around which the image will be
scaled or skewed.
Position Specifies the location, in an x,y coordinate, of the center (anchor point) of the
clip.
Scale Height Scales height up or down as a percentage of the source clip height.
Scale Width Scales width up or down as a percentage of the source clip width.
Uniform Scale Scales height and width proportionately.

Skew Specifies skew amount.

Skew Axis The axis on which the skew is based. Changing the axis has no effect if Skew
is 0.
Rotation Specifies the number of complete rotations and degree that the clip rotates.
Opacity Specifies the degree of transparency of the image, in percentages.
Note: Transform is an Adobe After Effects effect that includes the Shutter Angle control
and the Use Composition option; both of which apply only in Adobe After Effects.
Twirl
The Twirl effect rotates a clip around its center. The image is rotated more sharply in its
center than at the edges. You can set the twirl angle from 999 to +999.
Vertical Flip
The Vertical Flip effect flips a clip upside down. You cannot apply keyframes to this effect.
Vertical Hold
The Vertical Hold effect scrolls the clip upward; the effect is similar to adjusting the vertical
hold on a television set. You cannot apply keyframes to this effect.
Wave
The Wave effect distorts a clip to make it wave-shaped.
Number of Generators Specifies the number of waves, which can range from 1 to 999.
Wavelength Specifies the distance from one wave crest to the next, using values from 1
to 999.
Amplitude Specifies the height of the wave, using values from 1 to 999.
Randomize Randomly selects a value between the minimum and maximum wavelength
and amplitude values; otherwise, the waves are of a uniform amplitude and frequency.
Scale Controls the magnitude of the distortion, both horizontally and vertically. A setting
of 0 provides an undistorted image.
Type Specifies Sine (rolling), Triangle (pointed crests), or Square (square crests).
Undefined Areas Specifies how to treat blank portions of the frame where the clip was
pulled away from the edges. The Wrap Around option wraps the image from the opposite
side of the frame to fill the space; the Repeat Edge Pixels option extends the colors of the
pixels along the edge of the clip.
Wind
The Wind effect distorts a clip to make it look as though wind were blowing pixels off the
surface of the clip. You can select the amount of distortion by selecting the Wind, Blast, or
Stagger method. You can also change the direction of the wind.
Zig Zag
The Zig Zag effect distorts a clip radially.
Amount Represents the magnitude of distortion; type a value from -100 to +100.
Ridges Represents the number of direction reversals of the zigzag from the center of the
clip to its edge; type a value from 1 to 20.

Style Specifies how to displace the pixels in the clip. Pond Ripples displaces pixels to the
upper left or lower right; Out from Center displaces pixels toward or away from the center
of the clip; Around Center rotates pixels around the center of the clip.
Audio effects included with Adobe Premiere Elements

Adobe Premiere Elements includes a variety of audio effects designed to alter or enhance
the properties of audio clips. Most audio effects can be applied to either clips or tracks,
unless specified otherwise.
Note: Each audio effect includes a bypass option that lets you turn the effect on or off as
specified by the keyframes that you set.
Balance
The Balance effect lets you control the relative volumes of the left and right channels.
Positive values increase the proportion of the right channel; negative values increase the
proportion of the left channel.
Bass
The Bass effect lets you increase or decrease lower frequencies (200 Hz and below). Boost
specifies the number of decibels by which to increase the lower frequencies.
Channel Volume
The Channel Volume effect lets you independently control the volume of each channel in
a stereo clip or track. Each channels level is measured in decibels.
DeNoiser
The DeNoiser effect automatically detects tape noise and removes it. Use this effect to
remove noise from analog recordings, such as magnetic tape recordings.
Noise floor Specifies the level (in decibels) of the noise floor as the clips plays.
Freeze Stops the noise floor estimation at the current value. Use this control to locate
noise that drops in and out of a clip.
Reduction Specifies the amount of noise to remove within a range of -20 to 0 dB.
Offset Sets an offset value between the automatically detected noise floor and the value
that you specify. This is limited to a range between -10 and +10 dB. Offset allows
additional control when the automatic denoising is not sufficient.
Delay
The Delay effect adds an echo of the audio clips sound that plays after a specified amount
of time.
Delay Specifies the amount of time before the echo plays. The maximum is 2 seconds.
Feedback Specifies a percentage of the delayed signal to be added back into the delay to
create multiple decaying echoes.
Mix Controls the amount of echo.

Fill Left, Fill Right

The Fill Left effect duplicates the left channel information of the audio clip and places it in
the right channel, discarding the original clips right channel information. The Fill Right
effect duplicates the right channel information and places it in the left channel, discarding
the existing left channel information.
Highpass, Lowpass
The Highpass effect removes frequencies below the specified Cutoff frequency. The
Lowpass effect eliminates frequencies above the specified Cutoff frequency.
Invert
The Invert effect inverts the phase of all channels.
Notch
The Notch effect removes frequencies that are near the specified center. The Center
control specifies the frequency to be removed. If you are removing power-line hum, type a
value that matches the power-line frequency used by the electrical system where the clip
was recorded. For example, in North America and Japan type 60 Hz, and in most other
countries type 50 Hz.
PitchShifter
The PitchShifter effect adjusts the pitch of the incoming signal. Use this effect to deepen
high voices or vice versa. You can adjust each property by using graphical controls in the
Custom Setup view, or by changing the Individual Parameters values.
Pitch Specifies the change in pitch in semitone steps. The adjustable range is between
-12 and +12 semitones.
FineTune Fine tunes the semitone grid.
FormantPreserve Prevents formants in the audio clip from being affected. For example,
use this control when increasing the pitch of a high voice to prevent it from sounding
cartoon-like.
Reverb
The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of
the audio playing in a room.
PreDelay Specifies the time between the signal and the reverberation. This setting corre-
lates to the distance a sound travels to the reflecting walls and back to the listener in a live
setting.
Use the graphical controls in the Custom Setup view, or adjust the Individual Parameters
values.
Absorption Specifies the percentage in which the sound is absorbed.
Size Specifies the size of the room as a percentage.
Density Specifies the density of the reverb tail. The Size value determines the range in
which you can set Density.
Lo Damp Specifies the amount of dampening for low frequencies (in decibels).
Dampening lower frequencies prevents the reverb from rumbling or sounding muddy.

Hi Damp Specifies the amount of dampening of high frequencies (in decibels). Low
settings make the reverb sound softer.
Mix Controls the amount of reverb.
Swap Channels
The Swap Channels effect switches the placement of the left and right channel infor-
mation.
Treble
The Treble effects lets you increase or decrease higher frequencies (4000 Hz and above).
The Boost control specifies the amount, measured in decibels, to increase or decrease.
Volume
Use the Volume effect in place of the Fixed Volume effect if you want to render Volume
before other Standard effects.The Volume effect creates an envelope for a clip so that you
can increase the audio level without clipping. Clipping occurs when the signal exceeds the
dynamic range thats acceptable for your hardware, often resulting in distorted audio.
Positive values indicate an increase in volume; negative values indicate a decrease in
volume. The Volume effect is available for clips only.
Note: You can make most volume changes by using the fixed Volume effect. You can apply
this additional Volume effect if other effects (such as Reverb or Bass) overly increase or
decrease clip volume.
Gallery of video effects

The samples below illustrate just some of the video effects included with Adobe Premiere
Elements. To preview an effect not in this gallery, apply it and preview it in the Monitor
window.
Original image Alpha Glow Bend Bevel Alpha
Bevel Edges Brightness & Contrast Channel Mixer Clip
Color Balance RGB Color Pass Color Replace Crop

Drop Shadow Edge Feather Emboss Extract
Original image Fast Blur Find Edges Gaussian Blur
Horizontal Flip Horizontal Hold Invert Lens Distortion
Lens Flare Lightning Mirror Mosaic
Noise Polar Coordinates Posterize Ramp
Original image Replicate Ripple Roll
Shadow/Highlight Sharpen Sharpen Edges Solarize

Spherize Texturize Tint Transform
Twirl Vertical Flip Vertical Hold Wave Warp
About transitions
Placing two clips next to each other on a track in the Timeline window results in a cut. A
simple cut, where one clip immediately follows the next, is the most common technique
used to move from scene to scene. Using transitions, you can phase out one clip while
phasing in the next. A transition can be as subtle as a cross fade or dissolve, or quite
stylized, such as a page turn or spinning pinwheel. While you generally place a transition
on a cut, so it includes both clips, you can also apply a transition to just the beginning or
end of a clip.
Page Peel transition between two clips (left) and Cross Dissolve transition at end of clip (right)
Understanding how transitions use trimmed frames

For a transition to shift from one clip to the next, the transition must overlap frames from
both clips for a certain amount of time. Because the clips actually abut each other to
achieve the overlap, transitions either use frames previously trimmed from the clips, if any
exist (frames just past the In or Out point at the cut), or repeat the frames on either side of
the cut. It is important to remember that when you trim a clip, you do not delete frames.
The In and Out point serve as a window over the original clip. Trimming just resizes that
window, it doesnt remove content. A transition uses the trimmed content to create the
transition effect.

If either of the clips do not have trimmed frames, then the transition must repeat frames.
For more information, see Placing transitions between clips (double-sided transitions)
on page 149.
Transition uses trimmed frames to shift to the next scene

A. First clip with trimmed frames at end B. Movie containing both clips and transition
C. Second clip with trimmed frames at beginning
Transition repeats frames for clips without trimmed frames

A. First clip showing last frame repeated B. Movie containing both clips and transition
C. Second clip showing first frame repeated
Understanding single- versus double-sided transitions

Transitions are typically double-sidedthey reside at the cut between two adjacent clips
and use an effect to shift from one clip to the next. However, you can place a transition so
that it affects only the beginning or end of a single clip. In this way, regardless of whether a
clip is adjacent to another clip or by itself, you can use a transition to change how it begins
or ends. For example, you may want the end of a scene to fade to black rather than fade
into the next scene.
You can quickly tell if a transition that you placed is double-sided or single-sided by
looking at the transitions icon in the Timeline window or the Effect Controls window: a
double-sided transition has a dark diagonal line through it, while a single-sided transition
is split diagonally with one half dark and one half light.

Note: If a double-sided transition must repeat frames (rather than use trimmed frames),
the transition icon contains additional diagonal lines. The lines span the area where it has
used the repeated frames. (See Understanding how transitions use trimmed frames on
page 147.)
A B C
Types of transitions
A. Double-sided transition using duplicate frames B. Double-sided transition
C. Single-sided transition
Applying transitions
You can apply transitions between two clips (called a cut) or to a single clip. When you
apply a transition to a cut, also known as a double-sided transition, you can control its
alignment to the cut. When you apply a transition to a single clip, you place it at the
beginning or end of the clip. To add several clips to the Timeline window at once, and
automatically add a transition between them all, try using the Create Slideshow
command. (See Creating a slideshow or movie automatically on page 75.)
Transitions are available in the Video Transitions folder or the Audio Transitions folder in
the Effects window. Transitions are organized by kind, but you can customize the Effects
window to group transitions together in folders to help you to organize the transitions
however you like. (See Creating folders of favorite effects on page 111.)
Adobe Premiere Elements includes two audio transitions in the Crossfade category,
Constant Power and Constant Gain. Though both provide fades, they do so in a
slightly different manner. Constant Power creates the smoothest, most gradual transition,
while Constant Gain, though mathematically linear, often sounds abrupt.
Placing transitions between clips (double-sided transitions)

To place a transition between two clips, the clips must be on the same track, with no space
between them. The existence or lack of trimmed frames determines how you can align the
transition between the clips as you place it. The pointer changes to indicate the alignment
options as you move it over the cut:
If both clips contain trimmed frames at the cut, you can center the transition over the
cut or you can align it on either side of the cut so that it either starts or ends at the cut.
If neither clip contains trimmed frames, the transition automatically centers over the cut
and repeats the last frame of the first clip and the first frame of the second clip to fill the
transition duration. (Diagonal bars appear on transitions that use repeated frames.)
If only the first clip contains trimmed frames, the transition automatically snaps to the in
point of the next clip. In this scenario, Adobe Premiere Elements uses the first clips
trimmed frames for the transition and does not repeat frames in the second clip.
If only the second clip contains trimmed frames, then the transition snaps to the out
point of the first clip. In this scenario, Adobe Premiere Elements uses the second clips
trimmed frames for the transition and does not repeat frames in the first clip.

The default duration of a transition is initially set to 1 second for video and 1 second for
audio. If a transition contains trimmed frames, but not enough to fill the transition
duration, Adobe Premiere Elements adjusts the duration to match the frames. You can
adjust the duration and alignment of a transition after you place it.
For more information, see Fine-tuning transitions on page 151.
To place a transition on a cut:
1 Click the Effects button in the task bar. Adobe Premiere Elements displays the Effects
workspace, which includes the Effects window.
2 In the Effects window, expand the Video transitions folder, then expand the folder
containing the transition you want to use.
3 Drag the transition to the cut between two clips, and release the mouse when one of
the following icons appears:
End At Cut icon , to align the end of the transition to the end of the first clip.
Center At Cut icon , to center the transition over the cut.
Start At Cut icon , to align the beginning of the transition to the beginning of the
second clip.
4 If a dialog box appears containing transition settings, specify options and click OK.
5 To preview the transition, play the movie in the Monitor window or drag the current-
time indicator through the transition.
Applying transitions to a single clip (single-sided transitions)

You can apply a transition to an individual clip rather than to the cut between two clips. A
transition applied to a single clip is called single-sided transition. The clip can be immedi-
ately adjacent to another clip or by itself on a track, although the technique you use to
apply the transition is different in each case.
If you want the clip to transition to black, it must be on track 1 or have no clips beneath it.
When you create a single-sided transition, whatever is below the transition in the Timeline
window appears in the transparent portion of the transition (the portion of the effect that
normally displays frames from the adjacent clip). If the clip is on track 1 or has no clips
beneath it, the transparent portions display black. If the clip is on a track above another
clip, the other clip displays in the transition, making it look like a double-sided transition.
Single-sided transition with clip beneath it (left), single-sided transition with

nothing beneath it (right)

To create a single-sided video transition for one of two adjacent clips:

2 In the Effects window, expand the Video transitions folder, and then expand the folder
containing the transition you want to use.
If the clip does not have another clip immediately next to it, drag the transition from the
Effects palette to the edge of the clip.
If the clip is adjacent to another clip, Ctrl-drag the transition from the Effects palette to
the edge of the desired clip.
Replacing transitions
You can replace a transition by simply dropping a new transition onto the old one in the
Timeline window. When you replace a transition, Adobe Premiere Elements maintains the
alignment and duration of the original transition; however, it discards the settings of the
original transition and instead uses the default settings of the new transition. (See
Changing transition settings on page 155.)
To replace a transition:
2 In the Effects window, open the folder containing the new transition you want to use.
3 Drag the new transition from the Effects window onto the existing transition in the
Timeline window.
Fine-tuning transitions
A transition appears in the Timeline window just above the cut between two clips or just
above the In or Out point of a single clip. You can adjust the length of a transition and, for
double-sided transitions, change its position over the cut. Some transitions have other
settings as well, such as a center point of the effect or the width and color of a border.
Adjusting transition alignment

You can change the alignment of a transition placed between two clips in either the
Timeline window or the Effect Controls window. A transition need not be centered or
strictly aligned to the cut. You can drag the transition to reposition it over the cut as
desired. The Effect Controls window also contains options to specify alignment.
For more information on alignment options, see Placing transitions between clips
(double-sided transitions) on page 149.
To change the alignment of a transition in the Timeline window:
1 In the Timeline window, position the current-time indicator over the transition, and
then zoom into the transition so that you can clearly see the transition.

2 Drag the transition over the cut to reposition it.
Dragging the transition in the Timeline window to reposition it
To align a transition using the Effect Controls timeline:

1 Double-click the transition in the Timeline window to open the Effect Controls window.
2 If the Effect Controls timeline is not visible, click the Show/Hide Timeline View button
just below the More menu in the Effect Controls window.
3 In the Effect Controls timeline, position the pointer over the center of the transition
until the Slide Transition icon appears; then drag the transition as desired. For finer
control, magnify the timeline.
Dragging the transition in the Effect Controls timeline
To change the transitions position using an alignment option:

1 In the Timeline window, double-click the transition to open the Effect Controls window.

2 In the Effect Controls window, choose an option from the Alignment pop-up menu.
Note: The Custom Start option appears only when you drag the transition to a custom
location over the cut.
Alignment pop-up menu in the Effect Controls window
Moving the cut and transition together

You can adjust the location of the cut in the Effect Controls window. Moving the cut
changes the In and Out points of the clips, but does not effect the length of the movie. As
you move the cut, the transition moves with it.
Note: You cant move the cut beyond the end of a clip. If both clips do not have trimmed
frames extending beyond the cut, you cannot reposition the cut.
To simultaneously reposition both the transition and the cut:
3 In the Effect Controls timeline, position the pointer over the transition, placing it on the
thin vertical line that marks the cut. The pointer changes from the Slide Transition icon
to the Ripple Edit icon .
4 Drag the cut as desired. (You cant move the cut beyond either end of the clip.)
Changing transition duration

You can edit a transitions duration in either the Timeline window or the Effect Controls
window by simply dragging the end of the transition as desired.
The Effect Controls window also lets you designate a specific value for the duration. When
you specify a value, how the transition changes length depends on the alignment option
currently selected:
Center At Cut or Custom Start: The transitions start and end points move equally.
Start At Cut: Only the end of the transition moves.

End At Cut: Only the beginning of the transition moves.

Note: Lengthening a transitions duration requires that one or both clips have enough
trimmed frames to accommodate a longer transition. (See Understanding how transi-
tions use trimmed frames on page 147.)
To change the duration of a transition in the Timeline window:
In the Timeline window, position the pointer over the end of the transition until the Trim-
In icon or the Trim-Out icon appears; then drag.
To change the duration of a transition by dragging:
3 In the Effect Controls timeline, position the pointer over the transition until the Trim-In
icon or the Trim-Out icon appears; then drag.
To change the duration of a transition by specifying a value:
1 In the Timeline window, double-click the transition to open the Effect Controls window
for the selected transition.
2 In the Effect Controls window, drag the Duration value, or select it and type a new
value.
Setting the default duration for transitions

The default duration for transitions is initially set to 1 second for video and 1 second for
audio. You can change the default duration to a value that better suites your movies.
Although the new setting has no affect on transitions already placed in the movie, all
transitions you subsequently place will default to this value.
To set the default duration for transitions:
1 Choose Edit > Preferences > General.
2 Change the value for the Video Transition Default Duration or Audio Transition Default
Duration; then click OK.

Changing transition settings

You can use the Effect Controls window to change settings for a transition you placed in
the movie. Settings vary from transition to transition. Common transition settings are the
location of the center point, the start and end values, the border, and anti-aliasing quality
setting. The Effect Controls window provides a small preview thumbnail where you can
view the transition. You can choose to display the actual clips in the preview or the default
images (the letters A and B).
A G
H
B
I
C
J
D

A. Preview button B. Transition preview C. Edge selector D. Start and End frames
E. Start and End sliders F. Options G. Clip A (first clip) H. Transition I. Clip B (second clip)
J. Current-time indicator
To preview the transition or adjust transition settings in the Effect Controls window:
3 To view frames from the actual clip or clips in the Effect Controls window, select Show
Actual Sources. (You may need to expand the window to locate this option.)
To play the transition in the Effect Controls window (not the Monitor window), click the
Preview button just above the small preview. Click the button again to stop the
preview.
To see a particular frame of the transition in the small preview, drag the current-time
indicator in the Effect Controls timeline.
To display all of the settings, you may need to lengthen the Effect Controls window.
Adjust settings. (See Transition settings on page 156.)

To reposition the center of a transition:

2 In the A preview area in the Effect Controls window, drag the small circle to reposition
the transition center. (Not all transitions have an adjustable center point.)
Default center (left) and repositioned center (right)
Transition settings
Many transitions have settings in common. (To view the settings in the Effect Controls
window, see Changing transition settings on page 155.) The following list describes the
settings youll find in many transitions:
Edge selectors Change the orientation or direction of the transition. Click an Edge
selector arrow on the transitions thumbnail. For example, the Barn Doors transition can be
oriented vertically or horizontally. A transition doesnt have Edge selectors if it has one
orientation or if orientation isnt applicable.
Start and End sliders Set the percentage of the transition that is complete at the start
and end of the transition.
Show Actual Sources Displays the starting and ending frames of the clips.
Border Width Adjusts the width of the optional border on the transition. The default
Border is None. Some transitions do not have borders.
Border Color Specifies the color of the transitions border. Double-click the color swatch
or use the eyedropper to choose the color.
Reverse Plays the transition backward. For example, the Clock Wipe transition plays
counterclockwise.
Anti-Aliasing Quality Adjusts the smoothness of the transitions edges.
Custom Changes settings specific to the transition. Most transitions dont have
custom settings.
Using GPU transitions

If you have a GPU (Graphics Processing Unit) card that supports Direct3D and PS 1.3 or
later, you can use five additional transitions that take advantage of the added video 3D
processing capabilities of GPU cards. These transitions are Center Peel, Page Curl, Page
Roll, Sphere, and Spiral Flip. These transitions will not be available if your system does not
support GPU.
For information on GPU support, see Using effects with GPU cards on page 109.

Using the Image Mask transition

You can use a black-and-white bitmap image as a transition mask. The first clip replaces
the black area in the image, and the second clip replaces the white areas in the image. If
you use a grayscale image for the mask, pixels containing 50% or more gray convert to
black, and pixels containing less than 50% gray convert to white.
Image serves as mask to create transition
To use an image as a transition mask:

1 In the Effects window, open the Video Transitions folder, and then open the Special
Effect folder.
2 Drag the Image Mask transition from the Special Effect folder to the cut between clips
in the Timeline window.
3 In the Image Mask Settings dialog box, click Select Image.
4 Locate and select the image file you want to use as a transition mask, and click Open.
The image appears in the Image Mask Settings dialog box.
5 Click OK. To preview the transition, drag the current-time indicator through the
transition in the Timeline window.
To change the image used for an Image Mask transition:
2 In the Effect Controls window, click the Custom button.
3 In the Image Mask Settings dialog box, click Select Image.
4 Locate and select the image file you want to use, and click Open. The image appears in
the Image Mask Settings dialog box.
5 Click OK.
Using the Gradient Wipe transition

Adobe Premiere Elements can use any importable grayscale image as a gradient wipe. In a
gradient wipe, the second clip fills the black area of the grayscale image and then shows
through each level of gray as the transition progresses until the white area becomes trans-
parent. When you create a Gradient Wipe transition, you can specify the softness of the
transitions edges.
To create a Gradient Wipe transition:
1 In the Effects window, expand the Video Transitions folder, and then expand the Wipe
folder.
2 Drag the Gradient Wipe transition to a cut between clips in the Timeline window.
3 In the Gradient Wipe Settings dialog box, click Select Image.

4 Locate and select the image file you want to use in the transition, and click Open.
The image appears in the Gradient Wipe Settings dialog box.
5 Adjust the softness of the transitions edges by dragging the Softness slider. As you drag
the slider to the right, the first clip increasingly shows through the second clip.
6 Click OK. To preview the transition, drag the current-time indicator through the
transition in the Timeline window.
The gradient wipe source image (far left) and resulting transition
To change the image used for a Gradient Wipe transition:

2 In the Effect Controls window, click the Custom button.
3 In the Gradient Wipe Settings dialog box, click Select Image.
4 Locate and select the image file you want to use in the transition, and click Open.
The image appears in the Gradient Wipe Settings dialog box.
5 Adjust the softness of the transitions edges by dragging the Softness slider. As you drag
the slider to the right, the first clip increasingly shows through the second clip.
6 Click OK.
About superimposing and transparency

Superimposing describes the process of overlaying and combining multiple images.
Because video clips are completely opaque by default, superimposing them requires
transparency. When you make clips on upper video tracks transparent, they reveal clips on
the tracks below.
In Adobe Premiere Elements, you can quickly and easily make entire clips transparent by
using the Opacity effect. In addition, you can apply any combination of opacity, masks,
mattes, and keying to modify a files alpha channel, which defines the transparent areas in a
clip. More advanced keying effects let you make specific colors or shapes transparent. For
more information, see Adjusting opacity on page 160 and About keying effects on
page 160.
You can also import files with predefined transparent areas. Applications such as
Adobe After Effects, Adobe Photoshop, Adobe Photoshop Elements (PSD files), and
Adobe Illustrator can save transparency. See the respective user guides for information
on saving with transparency.
Adobe Premiere Elements uses the following transparency terms:
Alpha channel A channel that defines transparent areas for a clip. This invisible channel
exists in addition to the visible color channels (such as RGB).

Opacity A setting that determines the overall transparency of a clip. (For example, 75%
opacity equals 25% transparency.)
Lowering opacity of upper video clip (left) reveals lower video clip (center), combining the two
images (right)
Mask Sometimes used as another word for alpha channel; also describes the process of
modifying an alpha channel.
Separated color channels (left), the alpha channel or mask (center), and all color channels viewed
together (right)
Matte A file or channel that defines the transparent areas of a clip. The value of the matte
determines the level of transparency in the resulting image. In Adobe Premiere Elements,
you use mattes in conjunction with the Track Matte Key. (See Using the Track Matte Key
effect on page 162.)
A matte (left) defines transparent areas in upper clip (center), revealing lower clip (right).
Keying Defining transparent areas with a particular color (color key) or brightness value
(luminance key). Pixels matching the key become transparent. Keying is commonly used to
remove a background with a uniform color, such as a blue screen. (In television, for
example, blue screens behind weather reporters are replaced with weather maps.)
A B C D
Replacing a background color with another image

A. Upper clip B. Blue Screen Key effect defines transparent areas C. Lower clip D. Combined clips

Adjusting opacity
By default, clips appear at full (100%) opacity, obscuring any clips on the tracks below. To
reveal lower clips, simply specify an opacity value below 100%. At 0% opacity, a clip is
completely transparent. If no clips are below a transparent clip, the movies black
background becomes visible.
To fade a clip in or out over time, animate its opacity. If you simply want to fade to
black, consider applying a transition, such as Cross Dissolve, so that you dont have to
animate keyframes manually. For more information, see Applying transitions on
page 149 and About animating effects on page 166.
To change a clips opacity in the Timeline window:
1 From the pop-up menu on the upper left corner of the clip, choose Opacity > Opacity.
You may need to zoom into you clip in the Timeline window to see this menu.
2 Click the Selection tool , and position it over the clips Opacity graphthe cursor
becomes a double-arrow icon .
3 Drag the Opacity graph up or down.
Changing opacity in the Timeline window
You can also adjust opacity by using keying effects. For more information, seeAbout
keying effects on page 160.
About keying effects

To make specific areas in a clip transparent, apply a keying effect based on color, matte, or
alpha channel. Pixels that match the specified key become transparent.
Color-based keying effects (Blue Screen Key, Chroma Key, Green Screen Key, and Non
Red Key) Add transparency wherever a particular color occurs in a clip. For example, you
can use color-based keying effects to remove a background with a uniform color, such as a
blue screen.
Matte-based keying effects (Four-, Eight-, and Sixteen-Point Garbage Matte Keys, and
Track Matte Key) Let you mask out areas of a clip with another clip or with areas you
specify manually. You can add transparency according to the shape of a mask you position
in the clip, or according to the grayscale tones in a file that you use as a matte. You can also
use the Track Matte Key effect to make creative composites.
Alpha channel-based keying effect The Alpha Adjust Key effect lets you invert or turn
off a clips alpha channel or convert areas without transparency to a mask.

Adding transparency with color-based keying effects

To create transparency wherever a specific color occurs in a clip, apply a color-based
keying effect. These effects are commonly used to remove a colored background.
A B C D
Replacing a background color with another image

A. Upper clip B. Blue Screen Key effect defines transparent areas C. Lower clip D. Combined clips
To apply a color-based keying effect to a clip:

1 In the Effects window, expand the Video Effects folder and the Keying subfolder.
2 Drag a color-based keying effect to a clip in the Timeline window.
3 In the Effect Controls window, expand the effect name to view and edit the effects
options.
About the Chroma Key effect

Use the Chroma key to select a color or range of colors to be transparent. You can use this
key for a scene shot against a screen that contains a range of one color, such as a shadowy
blue screen. Select a key color by clicking the Color swatch or by dragging the eyedropper
to a color in the Monitor window. Release the mouse button when the eyedropper is over
the color you want, as indicated by the swatch next to the eyedropper.
Adjust the following Chroma key settings as needed:
Similarity Broadens or reduces the range of color that will be made transparent. Higher
values increase the range.
Blend Blends the clip you are keying out with the underlying clip. Higher values blend
more of the clip.
Threshold Controls the amount of shadows in the range of color you keyed out. Higher
values retain more shadows.
Cutoff Darkens or lightens shadows. Drag to the right to darken shadows, but do not
drag beyond the Threshold slider; doing so inverts gray and transparent pixels.
Smoothing Specifies the amount of anti-aliasing that Adobe Premiere Elements applies
to the boundary between transparent and opaque regions. Anti-aliasing blends pixels to
produce softer, smoother edges. Choose None to produce sharp edges with no anti-
aliasing. This option is useful when you want to preserve sharp lines, such as those in titles.
Choose Low or High to produce different amounts of smoothing.
Mask Only Displays only the clips alpha channel, as modified by the key settings.

About the Blue Screen Key and Green Screen Key effect
The Blue Screen and Green Screen keys create transparency from true chroma blue and
true chroma green. Use these keys to key out well-lit blue or green screens when creating
composites.
Adjust the following Blue Screen Key and Green Screen Key settings as needed:
Threshold Drag to the left until the blue or green screen becomes transparent.
Cutoff Drag to the right until the opaque area reaches a satisfactory level.
Smoothing Specifies the amount of anti-aliasing (softening) that Adobe Premiere
Elements applies to the boundary between transparent and opaque regions. Choose
None to produce sharp edges with no anti-aliasing. This option is useful when you want to
preserve sharp lines, such as those in titles. Choose Low or High to produce different
amounts of smoothing.
To fine-tune edges, drag Threshold and Cutoff sliders in small increments.
About the Non Red Key effect

The Non Red Key creates transparency from green or blue backgrounds. It is similar to the
Blue Screen Key and Green Screen Key, but it also lets you blend two clips. In addition, it
helps reduce fringing around the edges of opaque objects. Use the Non Red Key to key
out green screens when you need to control blending, or when the Blue Screen Key or
Green Screen Key dont produce satisfactory results.
Adjust the following settings as needed:
Threshold Drag to the left until the blue or green screen becomes transparent.
Cutoff Drag to the right until the opaque area reaches a satisfactory level.
Defringing Removes residual green or blue screen color from the edges of the opaque
areas of a clip. Choose None to disable defringing. Choose Green or Blue to remove a
residual edge from green-screen or blue-screen footage, respectively.
Smoothing Specifies the amount of anti-aliasing (softening) that Adobe Premiere
Elements applies to the boundary between transparent and opaque regions. Choose
None to produce sharp edges with no anti-aliasing. This option is useful when you want to
preserve sharp lines, such as those in titles. Choose Low or High to produce different
amounts of smoothing.
Using the Track Matte Key effect

Use the Track Matte Key effect to show one clip through another, using a third file as a
matte that creates transparent areas in the superimposed clip. This effect requires two
clips and a matte, each placed on its own track. You may want to set aside an entire track
for the matte, because you must disable that track. Depending upon the value of the
matte, you can create transparencies of varying levels.
You can create mattes in various ways:

Use the Adobe Title Designer to create text or shapes (use only grayscale images if you
plan to key using luma information), save the title, and then import the file as your
matte.
Create a matte from any clip by using the Chroma Key, Blue Screen Key, Green Screen
Key, or Non Red Key keying effect; then choose the effects Mask Only option.
Use Adobe Illustrator or Adobe Photoshop to create a grayscale image and import it
into Adobe Premiere Elements.
To apply the Track Matte Key effect:
1 If the Effect Controls window is not visible, click and hold the Effects button in the task
bar and choose Advanced Effects.
2 If you havent already done so, add the matte file to the Media window by clicking the
Add Media button, navigating to the matte file, and clicking Open. The matte file should
preferably be only a single shape, for example, a star or a flower shape.
3 Add a background clip to a track in the Timeline window.
4 Add the clip you want to superimpose over the background clip to any track higher
than the background clip. This is the clip revealed by the track matte.
5 On a third track, add the clip that serves as the matte. (If you need to add a third track,
drag the matte to an empty area in the Timeline window above the highest video track; a
new track is automatically created.)
6 Right-click the matte clip and choose Enable to remove the check from it, which
disables the matte clip. Disabling the matte clip makes it invisible in the project and
prevents it from causing any artifacts in the image.
7 In the Effects window, expand the Video Effects folder and the Keying subfolder, and
drag the Track Matte effect to the superimposed clip (the clip above the background clip).
8 In the Effect Controls window, click the triangle next to the Track Matte name to
expand it.
9 For Matte, choose the video track that contains the matte.
10 Adjust options as needed:
Composite Using Select Matte Alpha to composite using the values in the alpha channel
of the track matte. Select Matte Luma to composite using the images luminance values
instead.
Reverse Inverts the values of the track matte.
To retain the original colors in the superimposed clip, use a grayscale image for the
matte. Any color in the matte removes the same level of color from the superim-
posed clip.

Hiding unwanted objects with Garbage Matte keying effects

Sometimes a color-based keying effect properly removes a background, but undesired
objects still appear, such as a microphone or cable. Use a garbage matte keying effect to
mask out those objects.
The Effect Controls window provides options for shaping garbage mattes. Each option
represents the position of an individual point on the edge of the garbage matte,
measured in x and y pixel coordinates from the top left corner of the frame. You can
reshape the matte by changing the numeric values in the Effect Controls window or by
dragging the point handles in the Monitor window. The name of each garbage matte
effect reflects the number of handles it provides: Four-Point Garbage Matte, Eight-Point
Garbage Matte, and Sixteen-Point Garbage Matte.
The unwanted background (left) is masked out by reshaping the Four-Point Garbage Matte in the
Monitor window (center); then the Green Screen Key effect is applied (right) to superimpose the boy
over the underlying track.
To create a garbage matte:

1 Place a clip in a track.
2 In the Effects window, expand the Keying folder, and drag a garbage matte effect to the
clip.
3 In the Effect Controls window, click the triangle next to the effects name to expand it.
4 Do one of the following to reshape the matte:
Click the effect name to display the garbage matte effects point handles in the Monitor
view, and drag the handles.
Change the garbage matte effects values in the Effect Controls window.
Inverting or hiding alpha channels

You can use the Interpret Footage command to change how Adobe Premiere Elements
interprets a clips alpha channel throughout a project.
Note: To ignore or invert the alpha channel of only a single instance of the clip, apply the
Alpha Adjust keying effect instead. (See Alpha Adjust on page 123.)
To change how Adobe Premiere Elements interprets a clips alpha channel:
1 Select a clip in the Media window.
2 Choose File > Interpret Footage, specify Alpha Channel options as needed,
and click OK.

Ignore Alpha Channel Ignores the alpha channel included with the clip.
Invert Alpha Channel Reverses the light and dark areas of the alpha channel, which
reverses the transparent and opaque areas of the clip.
If you have difficulty identifying which parts of a clip are transparent, temporarily add
a bright color matte on a track below the image you are keying. (See Creating
colored background clips on page 61.)

Adobe Premiere Elements Help Animating Effects
Animating Effects
About animating effects
You can animate effects with either automatic presets or manually-created keyframes.
Presets provide a quick, easy way to apply common animation effects. (See Applying
preset effects on page 112.) For more precise and complex animation, manually create
keyframes.
When you create a keyframe, you specify the value of an effect property for a specific point
in time. When you apply different values to keyframes, Adobe Premiere Elements
automatically calculates the values between the keyframes, a process called interpolation.
For example, to add a blur effect that increases and decreases over time, you would set
three keyframesthe first with no blur, the second with blur, and the third with no blur.
Because Adobe Premiere Elements automatically interpolates the blur values between
each keyframe, the blur gradually increases between the first and second keyframes and
then gradually decreases between the second and third keyframes.
Animating with keyframes involves the following basic steps:
1 Apply an effect to a clip. (See Applying and organizing effects on page 110.)
2 Add multiple keyframes for that effect. (See Adding and deleting keyframes on
page 167.)
3 Specify keyframe values for effect properties. (See Specifying keyframe values on
page 170.)
Note: Some effects cannot be animated with keyframes. For more information, see the
documentation for individual effects.
Highlighted frames indicate where Twirl effect keyframes are placed in the timeline:
A. Original video B. Video with animated Twirl effect, interpolated for in-between frames

Choosing an animation work area

You can view and edit keyframes in either the Timeline window or the Effect Controls
window. In general, the Timeline window is more appropriate for quickly viewing and
adjusting keyframes for a single effect. The Effect Controls window is more appropriate for
detailed changes to multiple keyframe values.
If you want to animate a clips Motion effect, you can work directly in the Monitor
window, while adding keyframes in the Effect Controls or Timeline window. (See
Animating motion in the Monitor window on page 175.)
Use the following guidelines to help you choose the appropriate window to work in:
The Timeline window is best for editing the keyframes of effects that have a single, one-
dimensional value, such as Opacity or Volume.
The Effect Controls window is best for editing the keyframes of effects that have
multiple or two-dimensional values, such as Motion or Perspective.
The Effect Controls window displays all effect properties, keyframes, and interpolation
methods at once, but only for a single clip thats selected in the Timeline window. The
Timeline window can display the keyframes for multiple clips at once, but it can display
the keyframes of only one property per clip.
You save space on your computer screen when you keep the Effect Controls window
closed and edit keyframes in the Timeline window.
Adding and deleting keyframes

In the Timeline window, adding keyframes and specifying precise values are separate
tasks. In the Effect Controls window, you can combine both tasks in one step; likewise, you
can delete all keyframes for a property in one step.
Adding and deleting keyframes in the Timeline window

In the Timeline window, you can add and delete keyframes by using the Add/Remove
Keyframe button or the Selection tool.
A B C D E F
Keyframe controls in the Timeline window

A. Previous Keyframe button B. Add Keyframe button C. Next Keyframe button D. Current-time
indicator E. Effect properties menu F. Add Keyframe pointer

To add a keyframe with the Selection tool:

1 From the effect properties menu in the upper-left corner of the clip, choose the
property you want to animate.
2 Ctrl-click the orange property graph at the point in time where you want the keyframe.
(The Add Keyframe pointer icon appears when you press Ctrl and hold the pointer over
a property graph.)
To add a keyframe with the Add/Remove Keyframe button:
1 In the Timeline window, move the current-time indicator to the point in time where you
want the keyframe to reside.
2 Choose the property you want to animate from the effect properties menu for the clip.
3 Click the Add/Remove Keyframe button in the Timeline window.
If the current-time indicator is after the last keyframe for a property, a new keyframe
acquires the same value as the preceding keyframe. Otherwise, the new keyframe's value
is interpolated based on the previous and next keyframe values.
To delete a keyframe with the Selection tool:
1 From the clips effect properties menu, choose the property that contains the keyframe.
Right-click the keyframe and choose Delete.
Select the keyframe, and choose Edit > Clear or press Delete on the keyboard.
To delete a keyframe with the Add/Remove Keyframe button:
1 From the clips effect properties menu, choose the property that contains the keyframe.
2 Using the Selection tool , click the keyframe that you want to delete.
3 Click the Add/Remove Keyframe button in the Timeline window.
Adding and deleting keyframes in the Effect Controls window

In the Effect Controls window, Adobe Premiere Elements creates keyframes automatically
when you change the current time and property value. You can also create keyframes
manually by using the Add/Remove Keyframe button. You must create at least two
keyframes at different values to vary an effect across the timeline.

If you decide that you no longer need a keyframe, you can easily delete it from an effect
property. You can remove selected keyframes or all keyframes for an effect property.
Clicking the Toggle Animation button to activate keyframes for a property. To the right of property
settings, the Add/Remove Keyframe button becomes available, and a keyframe is added to the
timeline.
To add one or more keyframes:

1 In the Timeline window, select the clip that contains the effect you want to animate.
2 In the Effect Controls window, expand the effect to which you want to add keyframes.
3 Click the Toggle Animation button to activate keyframes for the effect property.
4 Move the current-time indicator to the point in time where you want to add a keyframe.
Click the Add/Remove Keyframe button.
Adjust the value for the effect property.
6 Repeat steps 4 and 5 as needed.
Note: If the current-time indicator is after the last keyframe for a property, a new keyframe
acquires the same value as the preceding keyframe. Otherwise, the new keyframe's value
is interpolated based on the previous and next keyframe values.
To delete selected keyframes:
1 To show the Timeline View in the Effect Controls window, click the Show/Hide Timeline
View button .
Select one or more keyframes and press Delete or Backspace.
Drag the current-time indicator in the Effect Controls window to the keyframe and click
the Add/Remove Keyframe button.

To delete all keyframes for an effect property:

1 Click the Toggle Animation button to the left of the name of the effect or property.
2 When prompted to confirm your decision, click OK.
Note: When you deactivate the Toggle Animation button, keyframes for that property are
permanently removed and the value of that property becomes the value at the current
time. You cannot restore deleted keyframes by reactivating the Toggle Animation button.
If you accidentally delete keyframes, choose Edit > Undo.
Specifying keyframe values

To animate an effect property, you must specify different values for adjacent keyframes. In
the Timeline window, you can change keyframe values by dragging keyframe icons up or
down. This method works best for simple Opacity and Volume adjustments. In the Effect
Controls window, you can make more detailed changes to multiple properties.
Specifying keyframe values in the Timeline window

In the Timeline window, you use the Selection tool to specify keyframe values. You
increase or decrease values by vertically dragging individual keyframes or entire keyframe
graphs. As you drag, a tool tip displays a keyframes location and value. Note that the effect
property determines the units and values displayed on the vertical axis. For example:
Opacity is measured from 0% at the bottom of the scale to 100% at the top of the scale,
and the center of the graph is 50%.
Rotation is measured in rotations and degrees, and the center of the graph represents
no rotation (0). Clockwise rotation values are above the center, and counterclockwise
values are below the center.
Audio balance is measured from -100 to 100, with 0 at the center (neutral balance).
Dragging above the center moves balance toward the left channel and sets a negative
value, and dragging below the center moves balance toward the right channel and sets
a positive value.
To specify keyframe values in the Timeline window:
1 In the properties pop-up menu in the upper-left corner of the clip, select the property
you want to adjust. If you cant see the pop-up menu, try increasing the magnification of
the Timeline window. (See Zooming into the Timeline window as you insert a clip on
page 78.)
2 With the Selection tool , do any of the following:
To change an individual keyframe, drag it. (The pointer changes to the keyframe-
editing icon .)
To change multiple or nonadjacent keyframes, Shift-click them, and drag. (As above, the
pointer changes to the keyframe-editing icon .)
To change a clips entire keyframe graph, drag a segment of the graph that contains no
keyframes. (The pointer changes to the graph-editing icon .)

Specifying keyframe values in the Effect Controls window

In the Effect Controls window, you drag or enter property values to adjust keyframes. To
change the value of an existing keyframe, you must position the current-time indicator at
the keyframe; changing a property value where no keyframe exists creates a new
keyframe.
To specify keyframe values in the Effect Controls window:
1 Expand the effect property that contains keyframes you want to adjust.
2 Click the Previous Keyframe button or the Next Keyframe button to select the
keyframe.
3 Drag or enter the property value. (For information about a particular effect property,
search for the effect name in Help.)
Displaying, selecting, moving, and copying keyframes

To adjust a keyframe, you first need to display the appropriate effect property. Then you
can use the keyframe navigator to move the current-time indicator from one keyframe to
the next and adjust property values. Or, you can use the Selection tool to select and adjust
a specific keyframe. After you select a keyframe, you can change its values, move it, or
copy it.
A B C D
Keyframe navigator
A. Keyframe navigator in the Effect Controls window B. Current-time indicator
C. Keyframe navigator in the Timeline window D. Current-time indicator

Displaying keyframes in the Timeline window

For video and audio effects, the Timeline window displays the keyframes specific to each
clip; however, within an individual clip, only one propertys keyframes can be displayed at
a time. You specify which propertys keyframes are currently displayed by using the pop-
up menu in the upper-left corner of every clip.
A B C
Keyframe controls in the Timeline window

A. Keyframe graph B. Effect property menus C. Keyframes
To display keyframes for a specific property:

Right-click the clip in the Timeline window and choose Show Clip Keyframes > [property
category name] > [property name].
In the Timeline window, choose the property from the effect properties pop-up menu,
which appears after the name of the clip. If you cant see the pop-up menu, try
increasing the magnification of the Timeline window. (See Zooming into the Timeline
window as you insert a clip on page 78.)
Note: The effect properties menu lists only the effects already applied to that clip. (See
Applying and organizing effects on page 110.)
Displaying keyframes in the Effect Controls window

You can view any keyframe in timeline of the Effect Controls window. Any effect that
contains animated properties displays the summary keyframe icon when the effect is
collapsed. Summary keyframes appear across from the effects heading in the timeline and
correspond to all the individual property keyframes contained in the effect. You cant
manipulate summary keyframes; they appear for your reference only.
To display keyframes in the Effect Controls window:
Click the Show/Hide Timeline View button .

Selecting keyframes
In both the Timeline and Effect Controls windows, you can select keyframes either sequen-
tially with the keyframe navigator, or specifically with the Selection tool. The Effect
Controls window also offers two keyframe-related features that the Timeline window
lacks: You can snap the current-time indicator to keyframes and select all keyframes for a
property.
Keyframes look different in the two windows. In the Timeline window, unselected
keyframes are hollow ; selected keyframes are colored . In the Effect Controls window,
unselected keyframes are partially shaded ; selected keyframes are full shaded .
To move the current-time indicator to the previous or next keyframe:
In the keyframe navigator, click the Previous Keyframe button or the Next Keyframe
button .
The keyframe navigator is below the track name in the Timeline window and to the
right of the property name in the Effect Controls window.
To select a specific keyframe:
Using the Selection tool , click a keyframe. (In the Timeline window, when you position
the tool over a keyframe, the pointer changes to the keyframe-editing icon .)
To select multiple keyframes:
Using the Selection tool , hold down Shift and select the keyframes.
To select all keyframes for a property:
In the Effect Controls window, click the property name. (For example, click Position to
select all the Position keyframes for a clip.)
To snap the current-time indicator to a keyframe:
In the Effect Controls window, Shift-drag the current-time indicator to a keyframe.
Moving keyframes
You can move any keyframe to a different point in time. When you move keyframes, you
move the values and settings they contain. Moving keyframes makes it easy to change the
speed of animations.
You can move selected keyframes over and past surrounding keyframes. In addition, you
can drag them beyond the In and Out points of the clip, but they are constrained to the
limits of the source media.
Note: The first keyframe always uses the Start Keyframe icon , and the last keyframe
always uses the End Keyframe icon . If you move a middle keyframe beyond the first or
last keyframe, the icon for the middle keyframe changes accordingly.
To move a keyframe to another time:
Drag the keyframe icon to the desired time.
To move multiple keyframes to another time:
Drag any selected keyframes to the desired time. When you drag more than one keyframe
at one time, the selected keyframes maintain their relative distance.

Copying keyframes
To quickly apply the same keyframe values to another clip or point in time, copy and paste
the keyframes. When you paste, the first keyframe appears at the current time, and the
other keyframes follow in relative order. The keyframes remain selected after pasting, so
you can immediately move them if needed.
Adobe Premiere Elements pastes keyframes to only the currently selected clip. That clip
must display the same property as the copied keyframes.
Note: If the target clip is shorter than the source clip, keyframes pasted after the target
clips Out point dont appear unless you disable the Pin To Clip option in the Effect Controls
window. (See Adjusting and removing effects on page 114.)
To copy and paste keyframes in the Timeline window:
1 In the Timeline window, display the property containing the keyframes you want to
copy.
2 Select one or more keyframes.
4 In the Timeline window, select the clip where you want to paste the keyframes.
5 From the clips pop-up menu, select the property of the copied keyframes. If the
property isnt available from the menu, first apply the effect containing the property. (See
Applying and organizing effects on page 110.)
6 Move the current-time indicator to the point in time where you want the keyframes to
appear.
7 Choose Edit > Paste.
To copy and paste keyframes in the Effect Controls window:
1 In the Effect Controls window, expand the effect to reveal its properties and keyframes.
2 Select one or more keyframes.
Move the current-time indicator to where you want the first keyframe to appear, and
Select another clip, expand the appropriate property in the Effect Controls window,
move the current-time indicator to where you want the first keyframe to appear, and

Animating motion in the Monitor window

You can create animations, insets, and split screens by manipulating a clip directly in the
Monitor window and setting keyframes for the Motion effect. By adjusting a clips position
and scale in the Monitor window, you can reveal clips in the tracks below it and create
interesting compositions.
When you animate a clips position, the clips motion is represented by a motion path in
the Monitor window. Small white Xs represent keyframed positions, dotted lines represent
positions at interpolated frames, and the circular anchor point symbol represents the
center of the clip at the current frame. The spacing between dots indicates the speed
between keyframes: wide spacing shows fast motion, while tightly spaced dots show
slower motion.
A B
Motion path in Monitor window

A. Fast motion B. Slow motion
Animating Motion properties for a clip

You can adjust a clips Motion properties directly in the Monitor window. To create an
animation, you set keyframes for these properties in the Timeline or Effect Controls
window.
To animate a clip in the Monitor window:
1 Select a clip in the Timeline window.
2 In the Timeline view of the Monitor window, click the clip; handles appear around its
perimeter.
Note: If you dont see the clip handles, change the zoom level in the Monitor window to a
smaller percentage so that the gray work area around the video frame appears.
3 Move the current-time indicator to the time where you want to start the animation
any frame between the clips current In point to its Out point.
4 In the Effect Controls window, expand the Motion effect and click the Toggle Animation
button next to each property you want to define at that point in time. A keyframe icon
appears at the current-time indicator for that property.
5 In the Monitor window, change the keyframe value by positioning the pointer near any
of the clips eight square handles to use any of the following pointers:
The selection pointer to set the position value.
The rotate pointer to set the rotation value.
The scale pointer to set the scale value.
Note: If clip handles disappear, reselect the Motion effect in the Effect Controls window.

6 In the Timeline or Effect Controls window, move the current-time indicator to the
location where you want to define a new value for the property and create a new
keyframe.
7 Manipulate the clip in the Monitor window to set a new value for each property for
which you set keyframes in step 4. A new keyframe appears at the current-time indicator.
8 Repeat steps 6 and 7 as needed.
When you animate a clip, it can be useful to reduce the Monitor windows magnifi-
cation level. This way, you can see more of the pasteboard area outside the visible
area of the screen and can use it to position the clip off screen.
Modifying a motion path

You can change the value of a Position keyframe, and thereby adjust your motion path,
simply by dragging the Position keyframe (indicated by a white X) in the Monitor window.
To change Position keyframes in the motion path:
1 Select a clip that has Motion effect keyframes.
2 In the Timeline view of the Monitor window, click the clip; its motion path appears.
To move an existing keyframe, drag the keyframe handle in the Monitor window.
To create a new position keyframe, set the current time between existing keyframes
and drag the image in the Monitor window. A new keyframe appears in the timeline.
Note: This procedure changes the position value at a keyframe. To change the timing of
keyframes, move keyframes in the Effect Controls window. (See Moving keyframes on
page 173.)
Accelerating or decelerating keyframes

You can accelerate or decelerate keyframe changes with spatial and temporal interpo-
lation methods. Interpolation methods can vary with each keyframe so that a property can
accelerate from the starting keyframe and decelerate into the next keyframe. Interpolation
methods are particularly useful for changing the speed of motion for an animated clip.
About keyframe appearance and interpolation

In the Effect Controls window, a keyframes appearance indicates the type of interpolation
it uses:
The default Linear method displays a diamond-shaped icon , indicating that values
interpolate in a mathematically even manner across time.
The Hold method displays a partially square icon , indicating that values dont inter-
polate but instead stay the same until the next keyframe.
The Auto Bezier method displays a circular icon , indicating that values automatically
interpolate smoothly and naturally when approaching and exiting a keyframe.
The remaining methods display an hourglass icon , indicating that you manually
specify the smoothness of interpolation using either a Bezier handle or the Ease In or
Ease Out command. (These commands change values more slowly when approaching
or exiting a keyframe.)

Changing keyframe interpolation

When you change the interpolation method for a keyframe, you may not notice a signif-
icant difference if the rate of change is low between that keyframe and neighboring
keyframes. For more dramatic results, decrease distance between keyframes and increase
the value differences. (For a description of the interpolation methods, see About
keyframe appearance and interpolation on page 176.)
To change a keyframes interpolation method:
In either the Effect Controls window or the Timeline window, right-click a keyframe and
choose an interpolation method. To choose an interpolation method for the second half of
the keyframe, right-click the keyframe a second time.
Controlling the smoothness of animation

By default, Adobe Premiere Elements uses Linear interpolation for keyframes. Linear inter-
polation creates a uniform rate of change between keyframes, adding a rhythmic or
mechanical look to animations. To control how smoothly effects properties change from
one keyframe to the next, use Bezier interpolation.
When you select a Bezier interpolation method, you can drag Bezier handles on a
keyframe. These handles are two-directional controls that change the curve of the line
segment between keyframes. The farther you pull a handle from its vertex (center point),
the more the segment bends or curves. The curve that you create determines how
smoothly a property changes between keyframes.
Understanding how Adobe Premiere Elements displays Bezier

handles
When youre working with the first or last keyframe in an animation, Bezier handles appear
only on the right or left side of the keyframe. You can adjust only the outgoing curve of the
first keyframe and the incoming curve of the second.
When youre working with an intermediate keyframe (called a standard keyframe) in an
animation, Bezier handles appear on both sides of the keyframe. You can adjust both the
outgoing and incoming curves for each standard keyframe.
A B C D
Appearance of Bezier handles according to keyframe location

A. Start keyframe B. Standard keyframe C. Keyframe handle D. End keyframe

About spatial and temporal interpolation

Keyframe interpolation falls into two categories: temporal, which occurs over time, and
spatial, which occurs in space. All keyframes in Adobe Premiere Elements use temporal
interpolation. To adjust the smoothness of temporal interpretation, you can use the Bezier
handles in the Timeline window.
Spatial interpolation occurs along motion paths. For example, you animate the Position
property using spatial interpolation. In order for position to change, the image must move
along a motion path. To adjust the smoothness of spatial interpolation, you use the Bezier
handles in the Monitor window.
A B
Adjusting keyframe interpolation

A. Adjusting the smoothness of temporal interpolation in the Timeline window
B. Adjusting the smoothness of spatial interpolation in the Monitor window
Types of Bezier interpolation

You have varying levels of control over Bezier curves depending upon what Bezier inter-
polation type you use. In Adobe Premiere Elements, you can create three types of Bezier
interpolation: Bezier, Auto Bezier, and Continuous Bezier.
Bezier interpolation Provides the most precise control because you manually adjust the
shape of the path segments on either side of the keyframe. Unlike other interpolation
methods, the two direction handles on a Bezier keyframe operate independently so you
can create a curving motion path that suddenly turns into a corner. This interpolation
method is ideal for drawing a motion path that follows a complex shape.
If you apply Bezier interpolation to the keyframe of an effect property, Adobe Premiere
Elements creates a smooth transition on both sides of the keyframe. The initial position of
the direction handles is calculated using the same method used in Auto Bezier interpo-
lation.
Auto Bezier interpolation Creates a smooth rate of change through a keyframe. You
might use Auto Bezier spatial interpolation to create the motion of a car turning on a
curving road.

As you change an Auto Bezier keyframe value, the positions of the direction handles
change automatically to maintain a smooth transition between keyframes. These adjust-
ments change the shape of the segments on both sides of the keyframe. If the previous
and next keyframes also use Auto Bezier interpolation, the shape of the segments on the
far side of the previous or next keyframe also changes. If you adjust an Auto Bezier
direction handle manually, you convert it to a Continuous Bezier keyframe.
Continuous Bezier interpolation Like Auto Bezier interpolation, Continuous Bezier
interpolation creates a smooth rate of change through a keyframe. However, you set the
positions of Continuous Bezier direction handles manually. Adjustments change the
shape of segments on either side of the keyframe. If you apply Continuous Bezier interpo-
lation to all keyframes of a property, the values at each keyframe are adjusted to create
smooth transitions. Smooth transitions are maintained as you move a Continuous Bezier
keyframe.
Adjusting Bezier keyframe interpolation

By adjusting keyframe interpolation, you gain precise control over the changes in your
animations. You can either choose an interpolation type from a context menu or you can
directly change one keyframe type to another by manually adjusting the keyframe or the
handles.
To quickly adjust keyframe interpolation, use the Ease In and Ease Out commands.
A B
Changing keyframe interpolation

A. Linear spatial keyframe B. Bezier interpolation
To add Bezier handles to a keyframe:

Right-click the keyframe you want to adjust, and choose a keyframe interpolation method
from the menu. (See Types of Bezier interpolation on page 178.)
To change a keyframe from one interpolation type to another:
If the keyframe uses Linear interpolation, Ctrl-click the keyframe to change it to Auto
Bezier. If you later drag the handles in the Timeline window, the keyframe changes to
Continuous Bezier.
If the keyframe uses Auto Bezier interpolation, Ctrl-click the keyframe to change it to
Bezier. Bezier interpolation lets you control each direction handle independently. To
convert it to Continuous Bezier, just drag a handle.
If the keyframe uses Bezier, Continuous Bezier, or Auto Bezier, Ctrl-click the keyframe to
change it to Linear. The Bezier handles disappear.

To adjust Bezier handles:

1 Display the Bezier keyframe you want to adjust. (See Understanding how Adobe
Premiere Elements displays Bezier handles on page 177.)
2 With the Selection tool, do one of the following:
To adjust the slope of the curve, drag the Bezier handle up or down.
To adjust the range of the curves influence, drag the Bezier handle to the left or right.

Adobe Premiere Elements Help Adding Titles
Adding Titles
Creating titles using the Adobe Title Designer
In Adobe Premiere Elements, you can design custom titles and logos with the Adobe Title
Designer. You can create titles using any font installed on your computer, and you can
embellish the fonts with styles like strokes and colors. You can create logos from any
graphic or photograph on your computer and use them to further customize and enhance
your movies.
With the Adobe Title Designer, you can either create your titles and logos from scratch by
using the text and shape tools, or you can use one of the included templates, preset text
styles, and images to quickly create an attractive title.
A B C D
E
F
G
I J
Adobe Title Designer window

A. Text adjustment tools B. Alignment tools C. Color Properties button D. Background video
controls E. Selection tool F. Rotate tool G. Type tools H. Shape tools I. Add Image button
J. Styles palette
Creating new titles

When you create a new title in the Adobe Title Designer, Adobe Premiere Elements
displays a list of templates for you to choose from. You can choose a template or create a
title from scratch. For information about templates, see About using templates on
page 183.

You can work with multiple title windows at once. Each time you click the Title button, a
new, separate Templates dialog box opens. When you save a title, Adobe Premiere
Elements creates an independent title file, which automatically appears in the open
projects Media window and is saved to your hard disk for use in other projects. Deleting
the file from your hard disk removes it from the project.
Title templates dialog box
To create a new title:

1 Click the Title button in the task bar.
2 In the Templates dialog box, click the triangle next to a category name to expand it.
3 Select a template to preview it in the Templates dialog box. Transparent areas in the
templates are depicted by dark gray and light gray squares.
4 When you find the template you want to use, select it and click OK.
To save a title:
Click Save Title As to enter a new name for the title, and then continue your work in the
newly named title.
Click Save Title to save the current title and to continue working in it.
Opening and editing existing titles

Any title that you save in Adobe Premiere Elements is available for you to use in any
project. In addition, if you created a title in an existing, or previous project, you can open it
again in the Adobe Title Designer and modify it.
Note: Adobe Title Designer only opens titles that have a .PRTL extension.
To open an existing title in a project:
1 With the project open, click the Add Media button in the task bar.
2 In the Add Media dialog box, select a title file and click Open.
To open a title for editing:
Double-click the title in the Media window or the Timeline window.

Adding a title to a project

When youve completed and saved a title, Adobe Premiere Elements automatically adds it
to the open Media window. The title becomes a clip in the project, using the original title
file as its source.
If you want to superimpose a title over a clip, add the title to the track directly above the
clip. By default, titles have transparent backgrounds so that clips beneath them in the
Timeline window are visible.
To add a title to a project:
1 Save the title. The title appears in the open Media window.
2 Add the title to any track.
To change the duration of a title in the Timeline window:
Drag its In or Out point.
Select it, choose Clip > Duration, and type a new duration.
To preview a title:
Play the title in Program view: Use any of the playback controls in the Timeline window
or Program view of the Monitor window. The real-time preview feature can render most
titles on the fly and play them back at the projects full frame rate.
Build a preview of the title: In the Timeline window, move the work area bar so that it
covers the portion of the Timeline window containing the title, and then choose
Timeline > Render Work Area to build a preview file.
About using templates

The title templates included Adobe Premiere Elements provide several themes and preset
layouts that make it quick and easy to design a title. Some templates include graphic
images that may be pertinent to your movies subject matter, such as new baby or
vacation themes. Others include placeholder text that you can replace to create credits for
your movie. Some templates have transparent backgrounds so that you can see your
video beneath the title; others are completely opaque.
You can easily change every element in the template by selecting the element and either
deleting it or overwriting it. You can also add additional elements to it. Once you modify
the template, you save it as a title file that you can use in your current and future projects.
For more information on customizing titles, see Adding text to titles on page 185 and
Changing text and graphic layout on page 188.
Note: When you apply a new template, the template content replaces any content
currently in the Adobe Title Designer.

Showing video behind the title

If you are creating a title for a specific segment of your movie, for example to name a scene
or identify a person, you can view a frame of that footage in the drawing area as you create
the title. Viewing a frame of your video helps you precisely place elements in your title.
Scrubbing video in the Adobe Title Designer window
To show a frame of video behind the title:

1 Open your title in the Adobe Title Designer.
2 Select Show Video.
3 Do one of the following to locate the frame that you want to display:
In the Adobe Title Designer, drag the underlined Background Video Timecode (which
appears directly to the right of the Show Video option), or click it and enter the
timecode of the frame. The current-time indicator in the Timeline window also changes
to reflect the timecode displayed in the Adobe Title Designer.
Activate the Timeline window and drag the current-time indicator.
Note: If you are working in more than one Adobe Title Designer window, changing the
background display in one window changes the display in all the open windows.
Using title-safe and action-safe margins

The title-safe and action-safe margins in the Adobe Title Designer drawing area designate
the titles visible safe zones. These margins are on by default.

Safe zones are useful when editing for broadcast video and videotape. Most consumer
television sets use a process called overscan, which cuts off a portion of the outer edges of
the picture, allowing the center of the picture to be enlarged. The amount of overscan is
not consistent across televisions, so to ensure that everything fits within the area that
most televisions display, keep text within the title-safe margins and keep all other
important elements within the action-safe margins.
Note: If you are creating content for computer screen viewing only, the title-safe and
action-safe margins are irrelevant because computer screens display the entire image.
A B
Title-safe and action-safe margins in the Adobe Title Designer window

A. Safe action area B. Safe title area
To turn title-safe and action-safe margins on or off:

Click the More button and choose Title > View > Safe Title Margin or Safe Action Margin.
The margin is on if a check mark appears beside its name.
Working with text

You can use any font thats already on your system, including Type 1 (PostScript),
OpenType, and TrueType fonts. You can choose to create text that is confined only to the
title-safe area or create a text box with specific boundaries within the title-safe area. If you
decide to type text directly into the title, and not create a text box, you can also specify
whether horizontal and vertical text wraps to new lines automatically when the text
reaches the title-safe margin.
Adding text to titles

You use the type tools in the Adobe Title Designer to create text that is oriented horizon-
tally or vertically.
If you create a text box and subsequently type more text than can be visible, or create a
text box that is too small to reveal the characters you type, you can resize the text box to
reveal the hidden text. Text boxes that contain hidden characters have a plus sign (+) on
the right side of the box.

To type horizontal or vertical text without boundaries:

1 In the Adobe Title Designer window, do one of the following:
To type horizontal text, click the Type tool .
To type vertical text, click the Vertical Type tool .
2 In the drawing area, click where you want the type to begin.
3 If you want the text to wrap to the next line when it reaches the title-safe margin,
choose Title > Word Wrap. Word Wrap is selected if there is a check mark next to it.
4 Do any of the following to add the text:
Type the text. To type a new line, press Enter.
Copy text from another source and paste it into the title area.
5 When you are finished adding text, click the Selection tool, and then click outside the
text box area.
To create text confined to custom boundaries:
1 In the Adobe Title Designer window, do one of the following:
To type horizontal text, click the Horizontal Area Type tool .
To type vertical text, click the Vertical Area Type tool .
2 In the drawing area, drag to define the boundaries of the text box.
3 Type the text. The text wraps to a new line when it reaches the boundaries of the text
box. Resizing the text box in this mode resizes only the visible area; the text remains the
same size.
4 When you are finished typing, click the Selection tool, and then click outside of the text
box area.
To resize the text box:
Select the text box that you want to resize and drag any of the corner or side points.
Note: If you did not create a text box, you are still able to drag the corner or side points of
the text; however, in this case, you are resizing the text itself.
Selecting characters
The Selection tool in the Adobe Title Designer toolbox makes it easy to select text or
graphic elements. When the Selection tool is in a position to select an element, an
outline appears around the element; this outline helps you make sure that youre selecting
the right text when text boxes overlap one another.
To select a single character or group of contiguous characters in a text box:
1 Using the Selection tool, double-click the text box containing the text you want to
select. The tool changes to the Type tool, indicated by a blinking cursor.
2 Drag across the range of letters that you want to select.

Changing fonts
At any time, you can change the fonts that you use for your titles. If you want to exper-
iment with several different fonts, you can quickly do so by using the Font Browser dialog
box. The font browser displays all of your installed fonts in the fonts typeface using a set of
default characters, which you can change.
When you choose a font in the browser, Adobe Premiere Elements immediately applies
the typeface to your title. The font browser remains open so that you can easily choose
another font for preview. You can continue changing fonts until you find the right one. You
can also select single characters in your text, and apply a different font to each one.
Note: If you share your title files with other users, make sure that their computers have the
fonts that you used to create the shared title.
To change the font:
Select the text and do one of the following:
Choose Title > Font and choose a font from the menu.
Click the Font Browser button and select a font. Click OK when you are done.
To change the characters that appear in the Font Browser window:
1 Choose Edit > Preferences > Titler.
2 In the Font Browser box, type up to six characters that you want to appear as the
default character display in the Font Browser window.
Changing text attributes

You can dynamically change the font size, text leading, and text kerning. The leading value
represents where the baseline of the text lies. The kerning value specifies the space
between letters. Changing these values dynamically is an easy way to quickly set these
properties or to experiment with different settings.
You can also change the justification and orientation of the text. The justification value
specifies whether the text is aligned to left or right margins, or centered. The orientation
value specifies whether the text reads from left to right (horizontal), or from top to bottom
(vertical).
To change font size, kerning, and leading:
1 Select the text. You can select any number of characters.
2 Do one or more of the following:
Drag the size, kerning, or leading values next to the Size icon , the Kerning icon , or
the Leading icon . Click the respective value to enter a specific number.
Choose Title > Size and choose a font size. Choose Other to type a custom size.
To change the text justification:
1 Select a text box.
2 Choose Title > Type Alignment and choose Left, Center, or Right. You can also set tabs in
the text. (See Aligning text characters on page 191.)

To change text orientation:

1 Select the text box.
2 Choose Title > Orientation and select either Horizontal or Vertical.
Drawing shapes in titles

In addition to creating text, you can also use the drawing tools in the Adobe Title Designer
to create a variety of shapes, such as rectangles, polygons, and ellipses. By using styles,
you can apply various attributes to the shapes. (See Using styles on page 195.)
To create a shape by using the drawing tools:
1 Select a drawing tool.
2 Drag to draw the shape, or use one of the following techniques to change how the
shape is drawn:
Shift-drag to constrain the shapes aspect ratio.
Alt-drag to draw from the center of the shape.
Shift+Alt-drag to constrain the aspect ratio and draw from the center.
To flip the shape as you draw, drag diagonally across the opposite corners of the image
to flip the shape diagonally, or drag across, up, or down to flip the shape horizontally or
vertically.
Note: To flip the shape after youve drawn it, use the Selection tool to drag a corner point
in the direction you want it to flip.
Changing text and graphic layout

Once you have created text and graphic elements, you can change their position, size,
opacity, and angle of rotation. Adobe Premiere Elements refers to the changing of these
properties as transforming.
Adjusting position
You can center any element either horizontally or vertically within the title window. The
Adobe Title Designer places the elements in the center of the title window at center
coordinates relative to the dimensions of the title window.
To adjust position:
1 Select the shape or text. (Shift-click to select multiple elements.)
In the drawing area, drag any of the selected elements to a new position.
Choose Title > Transform > Position and type new x and y Position values; then
click OK.
Use the arrow keys to nudge the element in 1-pixel increments, or press Shift+arrow
key to nudge the element in 5-pixel increments.

To center text and shape elements in the title area:

1 Select the elements that you want to center.
2 Click either the Center Vertically button or the Center Horizontally button.
Adjusting scale
You can scale the size of text by using this method only if you did not initially create a text
box. If you created a text box, this method scales only the text box. To scale the text in the
text box, you must change the font size. (See Changing text attributes on page 187.)
To scale text and shapes:
1 Select the element. (Shift-click to select multiple elements.)
To scale the height or width, drag the appropriate corner or side point for the selected
shape. To constrain the element proportions, hold down Shift as you drag the corner
and side points.
To scale and constrain the aspect ratio, hold down Shift as you drag any elements
corner points.
To scale from the center, Alt-drag any elements corner points.
To set scale values and specify if scale is uniform or not, choose Title > Transform >
Scale, specify the values you want, and click OK.
Adjusting rotation and opacity

You can adjust rotation manually in the drawing area or by entering values in the Rotation
dialog box. You can only adjust opacity by entering values in the Opacity dialog box.
To adjust the rotation angle:
1 Select the text or shape. (Shift-click to select multiple elements.)
In the drawing area, place the cursor just outside the corner points. When the cursor
becomes the Rotate icon , drag in the direction you want to adjust the angle. (Shift-
drag to constrain the rotation to 45 increments.)
Select the Rotation tool and drag the selection in the direction that you want.
Choose Title > Transform > Rotation and type a new Rotation value; then click OK.
To adjust opacity:
1 Select the text or shape. (Shift-click to select multiple elements.)
2 Choose Title > Transform > Opacity, type a new Opacity value, and click OK.
Adjusting the stacking order of overlapping text and shapes

When you create text and shapes that overlap each other, you can control their stacking
order by using the Adobe Title Designers arranging feature.
If your text or shape elements are densely stacked, it may be difficult to select an element
within the stack. You can use the Select command to navigate easily through the stacked
elements to reach the target element.

To arrange text and shapes:

1 Select the element you want to move.
2 Choose Title > Arrange, and then choose one of the following:
Bring To Front to bring the selected element to the top of the stacking order.
Bring Forward to switch the selected elements stacking order with the text or shape
directly in front of it.
Send To Back to move the selected element to the bottom of the stacking order.
Send Backward to switch the selected elements stacking order with the element
directly behind it.
To navigate through stacked text or shapes:
1 Select any of the stacked text or shape elements.
2 Choose Title > Select, and then choose the appropriate command to move the
selection either forward or backward in the stack.
Aligning and distributing shapes and graphic images

Use the Align and Distribute commands to line up or evenly space selected shapes or
graphic images in the Adobe Title Designer. You can align or distribute these elements
along the vertical or horizontal axes. When you choose horizontal alignment, the selected
elements align along the edge of the elements horizontal axis closest to the edge you
choose. When you choose vertical alignment, the selected elements align along the edge
of the elements vertical axis closest to the edge you choose.
When you align and distribute selected elements, keep the following in mind:
An alignment option aligns selected elements to the element that most closely repre-
sents the new alignment. For example, for right-alignment, all selected elements align to
the selected element that is farthest to the right.
A distribution option evenly spaces selected elements between the two most extreme
elements. For example, for a vertical distribution option, the selected elements are
distributed between the highest and lowest selected elements.
When you distribute elements of different sizes, the spaces between elements may not
be uniform. For example, distributing elements by their centers creates equal space
between the centersbut different-sized elements extend by different amounts into the
space between elements.
To align or distribute elements:
1 Select the elements you want to align or distribute.
Note: To align, you must select two or more elements; to distribute, you must select three
or more elements.
To align the selected elements, click the appropriate align icon on the toolbar, or
choose Title > Align elements and choose the type of alignment you want.
To distribute the selected elements, click the appropriate distribute icon on the toolbar,
or choose Title > Distribute elements and choose the type of distribution you want.

Aligning text characters

Similar to a standard word processor, the Adobe Title Designer uses tabs to assist in text
alignment and justification. When you create credits, especially rolling credits, tabs can
help display the credits in professionally aligned and justified columns. You can set
multiple tabs for any text element in the Adobe Title Designer. When working in a text
box, press the Tab key to move the cursor to the next available tab stop. You can specify
a different justification option at each tab stop.
Note: Tabs work exclusively to align the characters within text elements. To align entire
text or graphic elements, use the Align command. (See Aligning and distributing shapes
and graphic images on page 190.)
The Tab Stops dialog box
To set and adjust a tab stop:

1 Select a text element.
2 Choose Title > Tab Stops.
3 In the Tab Stops dialog box, do one of the following:
Click the Left Justify tab marker to create a tab stop with left-justified text.
Click the Center tab marker to create a tab stop with centered text.
Click the Right Justify tab marker to create a tab stop with right-justified text.
4 Click the tab ruler above the numbers to create a tab. Drag the tab stop to adjust its
position. As you drag, use the vertical guides that appear in the Adobe Title Designer
window to track the position of the stop. The Adobe Title Designer window updates to
show the new position of any text at a tab stop that you adjust.
To view the tab stops without opening the Tab Stop dialog box:
Choose Title > View > Tab Markers. A check mark beside Tab Markers indicates that the tab
stop viewing lines are selected. When they are selected, the yellow tab markers display for
each text element you select.

To delete a tab stop:

In the Tab Stops dialog box, drag the tab up, down, or off the tab ruler.
Adding color and shadows to text and shapes

Once you have created your text or shapes, you can refine and customize them by adding
color propertiessolid and gradient fills, strokes, and drop shadowsall of which you
adjust in the Color Properties dialog box. You can be creative with color properties, for
example, you can adjust each text character in a title individually so that each letter is a
different color.
When you select an element, the color properties that you add to it are graphically
displayed in the Current Style thumbnail in the Styles area. You can save this current style
to easily apply it to other elements. (See Using styles on page 195 for more information.)
Note: You can apply all of the color properties to any text or shape element that you create
in the Adobe Title Designer, but you can apply only drop shadows to most imported
graphic images.
Creating fills and strokes

Fills and strokes distinguish elements in your title and make them easier to see. They can
also emphasize the mood or intent of your video. You can also create a drop shadow to
add further depth to your elements. (See Creating drop shadows on page 194.)
Color Properties box

A. Color selection controls B. Fill and Stroke controls C. Gradient controls D. Drop shadow controls

To create a fill or stroke:

1 Select the text or shape that you want to adjust.
2 Click the Color Properties button .
3 Click the Fill button or the Stroke button to adjust the respective color property. The
buttons are selected when they appear recessed.
4 (Optional) Choose an option from the Gradient menu. Choose Solid to create a uniform
fill. Otherwise, choose another gradient option. For information on specifying color for
different parts of a gradient, see Gradient types and options on page 193.
5 Specify a color by doing one of the following:
Click or drag the underlined R, G, or B values to change the individual color channels.
Click the eyedropper button, and then click a color in any other window or area of the
application to specify that color.
Drag the color slider (or the arrows above or below it) to specify a new color.
Drag the small circle in the color brightness thumbnail (the multicolored box next to
the RGB values) to specify the colors brightness.
Click the Remove Color icon , the solid white icon , or the solid black icon .
Gradient types and options

When you create a gradient fill or stroke, you can choose from the following gradient
types:
Solid Creates a fill of a single color.
Linear Gradient Creates a two-color gradient fill that changes color from left to right.
Click each gradient button to specify the different colors. Click the Reverse icon to reverse
the order of colors in the gradient. Drag the Angle control to change the angle where the
colors meet. You can also drag the gradient buttons to adjust where the gradient color
begins.
Radial Gradient Creates a two-color gradient fill that changes color from the center. Click
each gradient button to specify the different colors. Click the Reverse icon to change the
order of the gradient colors. Click the Repeat value to change the number of times the
gradient repeats itself.
4-Color Gradient Creates a gradient of four colors. Click each of the four gradient icons
to specify each of the four colors.
Bevel Creates a colored bevel edge. Adjust the Size and Balance controls to specify edge
properties.
Eliminate Makes the fill or stroke invisible.
Ghost Makes the fill or stroke invisible, but leave the shadow visible. (See Creating drop
shadows on page 194 for information on shadows.)

Creating drop shadows

Drop Shadows add the appearance of depth to your text by creating shadows offset from
the text, shape, or graphic element. You can adjust the distance that the shadow lies from
the element, as well as the angle at which it is offset. You can simultaneously preview your
changes in the Adobe Title Designer.
To create a drop shadow:
1 Select the element to which you want to apply a drop shadow, and click the Color
Properties button.
2 Select Drop Shadow, adjust any of the following values, and then click OK:
Angle to adjust the angle that the drop shadow is offset. Drag within the control to
adjust the values quicker.
Distance to adjust the distance that the shadow lies from the element.
Softness to adjust the softness, or blurriness, of the shadow edge.
Importing graphic images into titles

The Adobe Title Designer offers several methods for placing graphic images into a title.
you can use images from other graphic applications, such as Adobe Illustrator or Adobe
Photoshop Elements, or you can use the graphics included with Adobe Premiere
Elements. You can either add the image as a graphic element or place it in a text box to
become part of the text.
The Adobe Title Designer imports all graphics at their original size. Once you place a
graphic image in a title, you can adjust its size or return it to its original size and aspect
ratio. You can also change its location and style attributes, and apply a drop shadow to it.
(See Changing text and graphic layout on page 188 and Using styles on page 195.)
To place a graphic image in a title:
1 Click the Add Image button .
2 Locate the image you want to place. If you want to use a graphic included with Adobe
Premiere Elements, navigate to the Adobe Premiere Elements 1.0/Presets/Logos folder.
3 Select the image and click OK.
4 (Optional) Adjust the size, opacity, rotation, and scale of the logo. (See Changing text
and graphic layout on page 188.)
To place a graphic image in a text box:
1 Using a type tool, click where you want to insert the image.
2 Choose Title > Image > Insert Image Into Text.
To return a graphic image to its original size or aspect ratio:
Select the logo and choose either Title > Image > Restore Image Size or Title > Logo >
Restore Image Aspect Ratio.

Using styles
Once youve applied a combination of color properties and font characteristics to a text or
shape element in your title, you can save this combination, or style, for later use. You can
save any number of styles. Thumbnails of all saved styles appear in the Styles area of the
Adobe Title Designer, so you can quickly apply your custom styles across projects. Adobe
Premiere Elements includes with a set of default styles that you can use immediately.
The Current Style thumbnail always shows the color properties that you have applied to
the currently selected element. This thumbnail represents how the saved style swatch will
look.
Styles section of the Adobe Title Designer

A. Thumbnail B. Styles
To save a style:
1 Apply color properties and font attributes to your text or shape element.
2 Select the element that contains the style you want to save.
3 Click the Save Style button.
4 Type a name for the style and click OK. The style appears in the list of style swatches.
For information about setting color properties, see Adding color and shadows to text and
shapes on page 192 and Changing fonts on page 187.
To apply a style:
1 Select the element to which you want to apply the style.
2 Click a style swatch in the Styles area.
To delete a style:
Select the style swatch and click the Delete button.

Creating scrolls and crawls

Though static titles, graphics, and logos may suffice for some projects, many others
require titles that move across the footage. (Titles that move vertically over the footage
are called scrolls. Titles that move horizontally are called crawls.) The Adobe Title Designer
provides choices and settings that facilitate creating smooth, expert scrolls and crawls.
When you add your scrolling or crawling title to the Timeline window (seeAdding a title to
a project on page 183), be aware that it is the length of the title in the Timeline window
that determines the speed of the scroll or crawl. The more you increase the title clip
length, the slower the movement. You increase the length of the title in the same way that
you increase the length of a still image. (See Changing the duration of a still image on
page 58.)
Setting a title to scroll or crawl
To create scrolling or crawling titles:

1 Click the Title button in the task bar, and choose Scrolling Title or Crawling Title.
2 Create your title.
Note: For best results when creating text, use the Type tool. (See Adding text to titles on
page 185.)
3 (Optional) Click the More button and choose Roll/Crawl Options.
4 Specify the appropriate Timing options, and then click OK.
The Roll/Crawl title options includes the following:
Motion Specifies the type of title to create.
Start Off Screen Specifies that the scroll begins out of view and scrolls into view.
End Off Screen Specifies that the scroll continues until the elements are out of view.
Pre-Roll Specifies the number of frames that play before the scroll begins.
Ease-In Specifies the number of frames that the title scrolls at a slowly increasing speed
until the title reaches the playback speed.

Ease-Out Specifies the number of frames that the title scrolls at a slowly decreasing
speed until the scroll completes.
Post-Roll Specifies the number of frames that play after the scroll completes.
Left to Right, Right to Left Specifies the direction in which the crawl moves.
To scroll a scroll or crawl in the Adobe Title Designer:
Drag the horizontal or vertical scroll bar bordering the drawing area.
Note: Elements must extend beyond the borders of the work area before the scroll bars
will scroll.

Adobe Premiere Elements Help Creating DVDs
Creating DVDs
About creating DVDs
DVDs are a great way to share your video with family and friends. You can create auto-play
DVDs or menu-based DVDs in Adobe Premiere Elements. Auto-play DVDs begin playing
when inserted into a DVD player, where as menu-based DVDs initially display a menu, so
your viewers can select what they want to view. Menu-based DVDs let you break long
videos into either scenes or separate movies.
Understanding the types of DVDs you can create

The first step in creating a DVD is deciding on the type of DVD you want to create.
Auto-play DVD These DVDs work best for short movies that you always want to view
from start to finish. Auto-play DVDs contain no menus and are the easiest to createyou
simply export the movie to a DVD. You can add DVD markers to auto-play DVDs. Markers
let you skip forward or back through the movie by using the Next and Previous buttons on
a DVD players remote control.
Menu-based DVD with scene selection submenu These DVDs are best for long movies
that play well from start to finish, but that also contain scenes that you might want to
access from a submenu. On the main menu, you can choose to play the movie or go to a
scene selection submenu. The scene selection submenu lets you navigate to scenes within
the movie. You generally set up the project so that a scene plays to the end of the movie;
however, this is not a requirement.
Menu-based DVD with movie selections These DVDs are best for video that you dont
want to combine into a single movie. Using Main Menu and Stop markers, you can divide
the video in the Timeline window into individual movies, or a movie and a slideshow.
When you build the DVD, each movie corresponds to either the Play Movie or Main
buttons on the main menu. For example, in a wedding DVD, you might want the prepara-
tions, the ceremony, and the reception each as separate movies.
Understanding the relationship between DVD markers and

templates
You create a DVD with menus by using the Adobe Premiere Elements menu templates.
The templates are predesigned menus that come in a variety of themes and styles. The
buttons on the templates automatically link to DVD markers placed in the movie. Adobe
Premiere Elements creates the menus dynamically based on the markers youve placed,
adding additional menus if needed. You normally add DVD markers in the Timeline
window before you select a DVD template, but you can add, move, or delete DVD markers
after choosing template as well. Adobe Premiere Elements automatically adjusts the DVD
menus to match the markers.

Working with DVD markers

Once you have finished editing your movie, you can add DVD markers to mark movies,
chapters, scenes, and stop points in the DVD. Adobe Premiere Elements creates the DVD
menus based on the DVD markers.
Note: Do not confuse DVD markers with clip markers and timeline markers. Although they
all mark locations within the clip or movie, Adobe Premiere Elements uses DVD markers to
link buttons on DVD menus. Clip markers and timeline markers help you position and trim
clips. (See Using markers on page 96.)
Understanding which DVD markers to use

The type of DVD markers you add to the Timeline window depends on how you want your
viewers to access the video. In general, use these guidelines:
Use Main Menu Markers (and Stop Markers) to divide the video into separate movies.
Button on the main menu link to Main Menu Markers.
Use Scene Markers (without Stop Markers) when you want the movie to play from start
to finish, and also want your viewer to be able to jump ahead to specific scenes. Scene
buttons link to Scene Markers and appear on scene submenus one after another (not
grouped by movie).
Use Stop Markers to designate the end of a movie. When the DVD player reaches a Stop
Marker, it returns back to the Main Menu. Once you add a Stop Marker to the Timeline
window, a DVD player will no longer play the movie from start to finish. Therefore, you
generally add Stop Markers only if youve divided your video into separate movies, and
dont need to play the clips in the Timeline window from beginning to end.
Note: You can use both Main Menu Markers and Scene Markers in a movie. However, you
must remember that once the DVD player encounters a Stop Marker, it returns to the Main
Menu, not the menu from which it was called.
A BC D
Relationship between DVD markers and the menu templates

A. Media Start B. Stop Marker C. Main Menu Marker D. Scene Marker

Understanding DVD Main Menu Markers

You manually place DVD Main Menu Markers to indicate the beginning of each movie that
you want listed on the main menu of your DVD. If the Main Menu template you select
contains extra buttons (buttons other than the Play Movie or Scenes buttons), those
buttons will link to the Main Menu Markers and play from each marker until reaching a
Stop Marker or the end of the media in the Timeline window. If the main menu does not
contain enough Main Menu Marker buttons, Adobe Premiere Elements duplicates the
main menu and adds a Next button on the primary main menu. If you have no Main Menu
Markers in your movie, Adobe Premiere Elements omits the buttons in the main menu.
Important: The Play button on the main menu automatically links to the starting point of
the time ruler, so you dont need to place a Main Menu Marker there.
A B
Duplicate menus created when movie contains more Main Menu Markers than buttons on template
A. Next button leads to duplicate menu B. Previous button returns user to main menu
Understanding Scene Markers

You can add DVD Scene Markers automatically or manually where desired. Adobe
Premiere Elements uses Scene Markers to create a scene submenu, which is accessible
from the Scenes button on the DVD main menu. If you have no Scene Markers in the
Timeline window, Adobe Premiere Elements omits the Scenes button and the scenes
submenu.
Scene Markers map directly to buttons on Scenes submenu.

Adding Scene Markers automatically

The Auto-Generate DVD Markers command places DVD Scene Markers for you. It gives
you three placement options: at each scene, at a specified interval, or at an interval deter-
mined by the number of markers you specify. When placing at each scene, the command
sets a Scene Marker at the edit point (cut) between each clip on the Video 1 track. You get
the best results when each scene in your movie is a separate clip, and all the clips you want
marked are on the Video 1 track. When your movie consists of multiple clips that overlay
each other or includes a slideshow consisting of numerous images, you may prefer to
place Scene Markers manually or place them at set intervals. Sometimes you can save time
if you let Adobe Premiere Elements initially place Scene Markers, which you can later clean
up as necessary.
If you do not like the placement of a DVD marker you can simply drag it in the time ruler to
a different location. DVD markers are not tied to the video. If you later edit the video, you
may need to move the markers or regenerate them so that they match the new edit
points.
Sample movie with automatically placed Scene Marker
Automatically placed Scene Markers do not have names, so the buttons on the Scene
submenu remain as named in the template. To customize the buttons, you can either
name the markers after they are placed or rename the buttons after you select the
template.
For more information, see Renaming DVD markers, changing their type, and choosing a
thumbnail on page 204 or Customizing the menu template for your project on
page 206.
To automatically add Scene Markers:
1 Click the Timeline window to make it the active window.
2 Choose Marker > Auto-Generate DVD Markers.
3 In the Automatically Set DVD Scene Markers dialog box, select how you want the
markers placed, entering a value if required:
At Each Scene places a Scene Marker at each edit point (cut) between clips on the Video
1 track.
Every _ Minutes places Scene Markers at the interval you specify. (This option is only
available when the movie contains several minutes of footage.)
Total Markers places the number of markers you specify evenly spaced across the entire
range of clips in the Timeline window.
4 If the Timeline window contains existing DVD markers that you no longer want, select
Clear Existing DVD Markers. (When you clear the markers, you clear the marker names and
thumbnail offsets associated with each one.)

5 Click OK. Adobe Premiere Elements adds Scene Markers to the Timeline window under-
neath the time ruler.
Adding DVD markers manually

When you manually add markers, you can name them as you place them. The name you
choose appears as the label for a button in the main menu or scenes menu.
On some templates, the menu buttons include thumbnail images of the video to which
they are linked. By default, the thumbnail displays the frame visible at the position of the
marker. However, the default frame does not necessarily represent the best frame for a
button. In the DVD Marker dialog box, you can change the frame a thumbnail displays. For
example, for the button representing a scene of a day at the beach, you might want to
change the button image to a close-up of the kids splashing in the water rather than the
frame marked by the DVD marker. Choosing a thumbnail for a button does not change the
start point of the video to which the button is linked. Because you may not know now
what type of menu youll choose and whether it will contain thumbnail images, you can
always change the thumbnail after you choose the menu.
For information on changing the thumbnail after selecting a template, see Customizing
the menu template for your project on page 206. For more information about the type of
marker to use, see Working with DVD markers on page 199.
To manually add a Main Menu Marker or Scene Marker:
1 In the Timeline window, move the current-time indicator to the location where you
want to set the marker.
Note: The Play button on each main menu template automatically links to the start point
of the time ruler. You neednt place a marker there unless you want it listed in the Scenes
menu.
2 In the Timeline window, click the Set DVD Marker button (just left of the time ruler).
To quickly place a marker, you can also drag a marker from the Set DVD Marker
button to the desired location in the time ruler.
3 Type a name for the marker in the DVD Marker dialog box. Keep the name short so that
it will fit in the menu and not overlap another button. (You can adjust the name later as
well, once youve selected the desired template.)
4 In the Marker Type menu, select the type of marker you want to set.

5 (Optional) Drag the Thumbnail Offset timecode as necessary to select the image you
want displayed in the button thumbnail in the menu. When you create the DVD, if you
choose a menu with thumbnail images, the image you select will display in the menu.
(This thumbnail is for the menu display only; the video linked to the button starts at the
marker location.)
Dragging the Thumbnail Offset timecode
6 Click OK. Adobe Premiere Elements adds the marker to the Timeline window under-
neath the time ruler. A Main Menu Marker is blue; a Scene Marker is green.
To add a Stop Marker:
1 In the Timeline window, move the current-time indicator to the end of the video or
scene.
2 Click the Set DVD Marker button (just left of the time ruler).
3 In the DVD Marker dialog box, select Stop Marker from the Marker Type menu and click
OK. Adobe Premiere Elements adds the red Stop Marker to the Timeline window under-
neath the time ruler.
Moving DVD markers

Whether you placed a marker automatically or manually, you can move DVD markers
simply by dragging.
To move a DVD marker:
1 If the Timeline window is not visible, click the Edit button in the task bar.
2 In the Timeline window, drag the DVD marker you want to move to the desired scene or
movie.

Renaming DVD markers, changing their type, and choosing a

thumbnail
After you place a DVD marker, you can change its name, its type (Scene, Main Menu, or
Stop), and the thumbnail image displayed in a thumbnail button on a menu. The marker
names become the button names in the main menu or scenes submenu.
Note: After you select a template, you can also rename the buttons and change the
thumbnails directly on the menu in the DVD Layout window. (See Customizing the menu
template for your project on page 206.)
To edit a DVD marker:
1 In the Timeline window, double-click the DVD marker you want to edit. Adobe Premiere
Elements displays the DVD Marker dialog box.
2 Do any of the following to change the desired properties, and then click OK:
Type a name for the marker. This name appears as the label for the button in the main
menu or scenes menu. Keep the name short so that it will fit in the menu and not
overlap another button. (You can adjust the name later as well, once youve selected
the desired template.)
Select the type of marker you want to set in the Marker Type menu.
Drag the Thumbnail Offset timecode as necessary to select the image you want
displayed in the button thumbnail in the menu. When you create the DVD, if you
choose a menu with thumbnail images, the image you select will display in the menu.
(This thumbnail is for the menu display only; the video linked to the button starts at the
marker location.)
Deleting DVD markers

You can delete individual DVD markers or clear all markers from the Timeline window at
once. If you have edited your movie since you first selected DVD menu templates, you may
find it is easier to delete all the markers at once, rather than drag them to new positions.
Note: If you have already selected a DVD template, deleting a DVD marker also deletes the
button associated with the marker from the main menu or scenes submenu.
To delete a DVD marker by using the menu command:
1 In the Timeline window, position the current-time indicator over the DVD marker that
you want to delete. You may need to zoom into the time ruler to better position the
marker.
2 Choose Marker > Clear DVD Marker > DVD Marker At Current Time Indicator (CTI).
You can also delete a marker by double-clicking it in the Timeline window. Then in
the DVD Marker dialog box, click the Delete button, and click OK.
To clear the Timeline window of all DVD markers:
With the Timeline window active, choose Marker > Clear DVD Marker > All DVD Markers.

Creating menu-based DVDs

You create a menu-based DVD by using the predesigned menu templates included in
Adobe Premiere Elements. Each template includes a main menu and scene selection
submenu. The templates automatically link menu buttons with DVD markers in the
Timeline window.
In the templates, the main menus contain a minimum of two buttons: one to play the
movie, the other to display a scene-selection submenu. The main menus in some
templates also contain additional buttons designed to jump to other movies marked in
the Timeline window. The scene selection submenus generally contain buttons with both
an identifying label and a thumbnail image from the scene. (The thumbnail on the menu
displays a still image from the video, not the video itself.)
Main menu (left) and Scene Selection submenu (right)
Choosing menu templates for the DVD

Once you have set the DVD markers for your DVD, you are ready to select the DVD menu
template. When choosing a template, dont worry if the menu doesnt have enough menu
buttons to match each DVD marker in the movie. Adobe Premiere Elements creates
additional menus as needed. Once you select a template, the button text on the menus
changes to the names youve given the DVD markers. If you added the markers automati-
cally or havent named the markers, you can name them after you select the template, as
well as change the title of the menu. Without marker names, the buttons remain as named
in the template.
You normally add DVD markers before you select a DVD template, but it isnt required. You
can add, move, or delete DVD markers after choosing a template. Adobe Premiere
Elements dynamically adjusts the DVD menus to match the markers, adding or deleting
buttons as necessary.
Note: If the Timeline window does not contain any DVD markers, the first time you select a
DVD menu template, Adobe Premiere Elements asks you if you want to add DVD Scene
Markers automatically.
To choose a DVD menu template:
1 Click the DVD button in the task bar.
2 In the DVD Templates dialog box, select Apply A Template For A DVD With Menus.
3 From the Theme menu, choose a theme that contains menu designs you like.
4 Scroll through the templates until you find the template that best matches your project.
If you have used Main Menu Markers, look for a template with a main menu that contains
more than just the play movie and scene selection buttons. (Main menus are on the left.)

5 Select the desired template, and click OK. Adobe Premiere Elements links the buttons to
the DVD markers in the Timeline window and inserts the DVD marker names for the
button text.
6 If Adobe Premiere Elements asks if you want to add DVD Scene Markers automatically,
click either No or Yes. If you click Yes, select how you want the markers placed in the
Automatically Set DVD Scene Markers dialog box, and click OK:
At Each Scene places a Scene Marker at each edit point (cut) between clips on the Video
1 track.
Every _ Minutes places Scene Markers at the interval you specify. (This option is only
available when the movie contains several minutes of footage.)
Total Markers places the number of markers you specify evenly spaced across the entire
range of clips in the Timeline window.
Note: If you choose not to add markers automatically at this time, you can add them later.
Adobe Premiere Elements updates DVD menus dynamically, adding Main Marker buttons
or Scenes Submenus and buttons if you add DVD markers.
7 Click the small version of the menu in the bottom of the DVD Layout window to view a
menu. If necessary use the scroll bar to scroll to the menu you want to view or resize the
window to view more side-by-side.
8 (Optional) After you choose a template in the DVD Layout window, you can customize
the menu, preview the DVD, or burn the DVD. (See Customizing the menu template for
your project on page 206, Previewing a DVD on page 210, and About burning a DVD
on page 210.)
Customizing the menu template for your project

You can change the menu titles, the button text, and the button thumbnail in the DVD
Layout window. When you change button text, you change the name of the DVD marker
to which it is linked as well. It is important to not make the button text or title text too
long, otherwise the buttons could overlap. In some templates, the buttons are adjacent to
each other, restricting the length of the button text.
To change button text or the thumbnail in a menu:
1 If the DVD Layout window is not displayed, click the DVD button in the task bar.
2 At the bottom of the DVD Layout window, click the small version of the menu you want
to change. Adobe Premiere Elements displays a larger version of the menu in the window.
3 Double-click the button you want to change in the menu.
4 In the DVD Marker dialog box, do either of the following actions, and then click OK:
Type a new name for the marker (and the button in the menu). Keep the name short so
that it will fit in the menu and not overlap another button.
Drag the Thumbnail Offset timecode as necessary to select the image you want
displayed in the button thumbnail in the menu. (This thumbnail is for the menu display
only; the video linked to the button starts at the marker location.)
To check for overlapping buttons, click the More button in the DVD Layout window,
and choose Show Overlapping Menu Buttons. Adobe Premiere Elements outlines
any overlapping buttons in red.

To change menu titles:

2 At the bottom of the DVD Layout window, click the small version of the menu you want
to change.
3 Double-click the menu title.
4 In the Change Text dialog box, type the new text, and click OK.
Deleting a button on a menu

After you select the DVD template, you can delete any of the Main Marker or Scene
buttons. Because the buttons are tied directly to the DVD markers, deleting a button
requires deleting the marker that generated it. You can access the DVD Marker dialog box
directly from the menu, which allows you to delete the marker and button at the same
time. Once you delete the marker, Adobe Premiere Elements removes the button from the
menu.
You can also delete a button by deleting its marker in the Timeline window. (See Deleting
DVD markers on page 204.)
To delete a button from a menu displayed in the DVD Layout window:
2 At the bottom of the DVD Layout window, click the small version of the menu
containing the button you want to delete.
3 Double-click the button you want to delete.
4 In the DVD Marker dialog box, click Delete. Adobe Premiere Elements deletes the
marker from the Timeline window and deletes the button from the DVD menu.

Making sure buttons dont overlap

If youve given a DVD marker a long name, the button text, which is taken from the marker,
may run into the boundary of another button. In templates where the buttons are
immediately adjacent to each other, overlapping can easily occur. If you notice that the
button text appears to encroach on another button or Adobe Premiere Elements warns
you that buttons overlap, you can display the overlapping buttons in the DVD layout
window. To correct the overlap, simply double-click the button and type a shorter name
for the DVD marker. (See Customizing the menu template for your project on page 206.)
DVD Layout window with Show Overlapping Menu Buttons option selected
To display the boundaries of overlapping buttons:

2 Click the More button in the DVD Layout window, and choose Show Overlapping Menu
Buttons. Adobe Premiere Elements outlines any overlapping buttons in red.
Switching to different DVD menu templates

If you decide you do not like your choice of DVD menu, you can easily change to a
different template. While you will lose any changes you made to the menu titles, changes
you made to button text is not lost. (When you edit button text, you actually change the
name of the DVD marker, and the new marker name is used when generating the new
menus.)
To switch to a different DVD menu template:
2 Click Change Template.
3 In the DVD Templates dialog box, choose a theme from the Theme menu.
4 Select the desired template, and click OK. Adobe Premiere Elements displays the new
menus in the DVD Layout window.

Changing from a menu-based DVD to an auto-play DVD (or vice

versa)
If you decide you do not want to use menus in a DVD, you can reset the DVD option to
create an auto-play DVD. In the same way, you can switch to a menu-based DVD at any
time.
Note: Although an auto-play DVD does not contain menus that link to the DVD marker,
existing DVD markers in the project can be useful. The Next and Previous buttons on a DVD
players remote control skip ahead or back to Main Menu Markers and Scene Markers. Stop
Markers are ignored.
To change to an auto-play DVD:
3 In the DVD Templates dialog box, select Auto-play DVD With No Menus, and click OK.
To change to a menu-based DVD:
3 In the DVD Templates dialog box, select Apply A Template For A DVD With Menus.
4 From the Theme menu, choose a theme that contains menu designs you like.
5 Select the desired template, and click OK. Adobe Premiere Elements links the buttons to
the markers in the Timeline window and replaces the button text with the marker names.
Creating an auto-play DVD

An auto-play DVD contains no menus. Instead, it plays automatically when you insert the
DVD into a DVD player. Although it has no menus, you can set DVD markers so that the
Next and Previous buttons on the DVD remote control jump to specific points in the
movie. Because an auto-play DVD does not distinguish between Main Menu Markers and
Scene Markers, you can add either for use by the Next and Previous buttons. (See Adding
Scene Markers automatically on page 201 or Adding DVD markers manually on
page 202.)
Note: Auto-play DVDs ignore Stop Markers.
To create an auto-play DVD:
1 Click the DVD button in the task bar.
2 In the DVD Templates dialog box, select Auto-play DVD With No Menus, and click OK.
Adobe Premiere Elements displays the DVD Layout window.
3 To preview the DVD and test your markers, click Preview DVD, and use the Previous
Scene button , the Next Scene button , and the Play button .
4 Click Burn DVD. (See About burning a DVD on page 210.)

Previewing a DVD
It is always a good idea to preview a DVD before you burn it. The Preview DVD window
contains controls that mimic those on a DVD remote control. By using these controls, you
can test each button on the menus and view the video to which they link.
A B C D E F G H i
Preview DVD navigation controls

A. Previous Scene B. Next Scene C. Rewind D. Skip back a frame E. Play/Pause
F. Skip forward a frame G. Fast forward H. Button navigation arrows and Enter button
I. Return to main menu
To preview a menu-based DVD:

2 If you havent selected a menu template, the DVD Template dialog box appears. Choose
a theme, select a template, and click OK. (See Choosing menu templates for the DVD on
page 205.)
3 In the DVD Layout window, click Preview DVD. Adobe Premiere Elements displays the
main menu in the Preview DVD dialog box.
Note: If Adobe Premiere Elements warns you that buttons overlap, see Making sure
buttons dont overlap on page 208.
4 Use the navigation controls or your mouse to select each button and view each scene
or video.
5 When you have finished previewing your DVD, close the window.
About burning a DVD

If a compatible DVD burner is connected to your computer, you can create a DVD directly
from Adobe Premiere Elements. You can play the DVDs that you create in either a TV DVD
player or a computer DVD player. Adobe Premiere Elements creates DVDs that conform to
DVD-video format. (It does not create data or audio DVDs.)
Supported media
Adobe Premiere Elements supports single-layer, 4.7 GB discs of the following type: DVD+R,
DVD+RW, DVD-R, and DVD-RW. (If you have a dual-layer recordable DVD drive, you must
use single-layer DVD+R or DVD+RW discs.) Choose the media supported by both your
DVD burner and the DVD player on which you plan to play the DVD. Unfortunately, not all
DVD burners and DVD players support all types of DVDs. For example, many TV DVD
players recognize DVD+R discs, but not all.
If your DVD burner is not compatible with Adobe Premiere Elements, you can burn the
project to a folder, which allows you to use the software included with the burner to burn
the final DVD.

Understanding video compression for DVDs

The DVD-video format requires MPEG2 compression. To maintain maximum quality,
Adobe Premiere Elements compresses the movie only as much as necessary to fit it on the
DVD. The shorter your movie, the less compression required, and the higher the quality of
the video on the DVD.
Compressing video and audio for use on a DVD is very time-consuming, even on high-end,
dedicated systems. The time required varies depending upon the speed of the computer
processor, the amount of available memory, and the complexity and length of a project. A
standard video project of 60 minutes may take from 4 to 6 hours to burn. Many DVD
producers leave a project to burn overnight rather than wait and watch for a project to
complete.
Creating DVDs for playing elsewhere in the world

If you are sharing your DVD with someone from a different country, you may need to burn
the DVD using a different television standard. In most of the world, DV devices (from
camcorders to TV monitors) conform to one of two television standards: NTSC or PAL. The
standard varies depending on the region. Most DVD players can play only DVDs that
match their television standard. The television standard in Japan and North America is
NTSC, while most of Europe and the Mid-East uses the PAL standard.
Adobe Premiere Elements can create both NTSC and PAL DVDs. While you get the best
results when the project settings, the video, and the DVD you burn all conform to the
same television standard, you can easily convert a project when you burn the DVD. In this
way, you can create DVDs appropriate for your region as well as for other parts of the
world. Choosing a television standard is an option in the DVD dialog box.
For more information on television standards for video and audio, see About video and
audio requirements for DVDs on page 53.
Burning a DVD
Once you have previewed your DVD and are satisfied that it is complete, you are ready to
burn the project to a DVD disc. Make sure that the DVD disc youve selected is compatible
with both your DVD burner and with the DVD player in which you plan to play the DVD.
Also, be aware that you must have enough available hard disk space to accommodate the
complete compressed DVD files, as well as any scratch files created during export. (You
can verify the space needed once you open the Burn DVD dialog box; it displays the space
requirement for your project.)
Depending on the complexity and length of the project and your computer, compressing
video and audio for a DVD can take hours. If you plan to burn several DVDs, you can save
time by burning them in the same session. In this way, you compress the project only
once.
Note: If your DVD burner isnt compatible, you can burn the project to a folder instead.
Then, using the software utility included with the DVD burner, you can subsequently burn
the final DVD.

To burn a DVD to disc:

2 In the DVD Layout window, click Burn DVD.
You can also access the Burn DVD dialog box by clicking the Timeline window to
make it the active window, and then choosing the File > Export > Export to DVD
command.
3 In the Burn DVD dialog box, select Disc as your destination for the project.
4 Type a name for the DVD. This name appears in Windows if you insert the DVD into a
computer. (The default name is a date stamp in the format: YYYYMMDD_hhmmss, where
YYYY is year, MM is month, DD is day, hh is hour, mm is minutes, and ss is seconds.)
5 Select the desired DVD drive for Burner Location.
6 Make sure that a compatible blank DVD disc is inserted in the drive. If you insert a disc,
click Rescan to make Adobe Premiere Elements recheck all connected DVD burners for
valid media.
Note: Adobe Premiere Elements detects only burners that are connected and turned on at
the time you started Adobe Premiere Elements. If you connected and turned on any
burners after that point, they are not recognized until you restart Adobe Premiere
Elements.
7 If you want to test burning your project without writing to disc, choose Test Media
Before Burning. Adobe Premiere Elements performs all the steps of burning without
writing to disc.
Note: This option requires the same amount of time as actually burning a DVD.
8 Select the number of DVDs you want to burn during this session. As each disc is
completed, Adobe Premiere Elements asks you to insert another disc until all of the discs
you specified have been burned.
9 Either select Fit Contents To Available Space or drag the slider to choose the video
quality you want.
10 For TV Standard, select the option that best matches the geographic location of your
audience.
11 Click Burn to begin converting your project to the DVD format and burning the DVD. If
no DVD burner is available, Burn is unavailable.
Important: Compressing the video and audio for DVD output can take several hours.

To build a DVD folder:

2 In the DVD Layout window, click Burn DVD.
3 In the Burn DVD dialog box, select Folder as your destination for the project.
4 Type a name for the folder.
5 Click Browse to specify a location for the DVD folder.
6 Click Burn to begin creating the DVD folder.
Important: Compressing the video and audio for DVD output can take several hours.
7 To copy the VIDEO_TS folder to the DVD disc and burn a DVD, follow the instructions
that came with your DVD burner.

Adobe Premiere Elements Help Exporting Movies
Exporting Movies
About exporting movies
You can use Adobe Premiere Elements to export your videos in the following ways:
Export directly to your DV camcorder or DV recording device via the IEE 1394
connection as the movie plays in the Monitor or Timeline window.
Export a video file for subsequent viewing from a hard disk or CD.
Export a video file for viewing over the Web, or on handheld devices such as cellular
phones and PDAs.
Export to DVD. (SeeAbout burning a DVD on page 210.)
Note: To create motion-picture film from an Adobe Premiere Elements project, you must
have the proper hardware for video or film transfer or have access to a service provider
that offers the appropriate equipment and services.
About compression
When exporting a video program, you choose a codec to compress the information for
storage and transfer (such as on a DVD), and to decompress the information so it can be
viewed again. The name codec comes from an abbreviation of its function of
compression and decompression. During compression, repetitive and unnecessary infor-
mation in the original file is discarded, causing the original file to lose information. For this
reason, most codecs are considered lossy. Some codecs, though lossy, still allow the file to
retain a high level of quality. The DV and MPEG codecs are especially good at maintaining
excellent quality. Compressing video reduces its file size and data transfer rate, facilitating
smooth playback and reducing storage requirements. A variety of codecs are available; no
single codec is the best for all situations. For example, the best codec for compressing
cartoon animation is generally not effective for compressing live-action video. When you
export from Adobe Premiere Elements, you generally only need to choose your medium
of delivery and the application will select the optimal codec for you.
If you intend for your exported movie to be played back from a hard disk or CD, make sure
that the codec you use to export your video is available to the audience for your movie.
Most codecs for digital video and the Web are already available on a majority of systems.
However, if you are using a codec thats native to a particular product, make sure that your
target audience uses the same product, or can easily obtain the codec that you used.
If you intend to create a DVD or record to tape, codec compatibility is irrelevantyour
audience only needs to have the hardware necessary to play back the file.

About data rate

With some video codecs, you can specify the data rate, which controls the amount of
video information that is processed each second during playback. Specifying a data rate
in Adobe Premiere Elements sets the maximum data rate because the actual data rate
varies depending on the visual content of each frame.
The data rate you specify depends on the purpose of the video. The following list
describes data rate guidelines for some uses:
DVD production The data rate should maximize quality while fitting the entire program
within the space available on the DVD. By default, Adobe Premiere Elements automatically
adjusts the DVD data rate.
Non-DV videotape production The data rate should be well within the data transfer rate
of your hard disk because the video will be played back from the hard disk to the
recording device. Check your documentation for information on the data transfer rate of
your hard disk.
Hard disk playback Determine the typical data transfer rate of your audiences hard disks
and set the data rate accordingly. Generally, 7200 rpm hard disk drives have sustained data
rates of 20 to 35 MB per second, which is high. In comparison, the average data rate of
digital video is 3.6 MB per second. So, to achieve high quality playback, you may not need
to set the data rate as high as 20 to 35 MB per second. However, if you are exporting video
for use in another editing system or in a compositing application, such as Adobe After
Effects, export at the maximum quality. Use a lossless codec, which is one that compresses
without discarding information, and specify the data rate that the editing system supports
for video capture and editing.
CD-ROM playback The data rate depends on the speed of the CD drive. For example, if
you are preparing a final video file for a double-speed CD-ROM drive (300 kilobytes per
second) you might specify between 150 kilobytes and 200 kilobytes per second to
account for both the data rate of the drive and the system overhead required to move the
data.
Intranet playback The data rate can be 100 kilobytes per second or faster, depending on
the speed of your intranet. An intranet is an in-house or private network that uses Internet
network protocols. Because they are limited in scope, intranets generally use higher-
quality communications lines than standard telephone lines, so they are usually much
faster than the Internet.
Streaming video over the Web Though there are fewer users with dial-up connections
than in previous years, you should still consider tailoring your data rate to users still
employing this method of accessing the Internet, if you want your file to be viewable to
the largest amount of users. Streaming video on the Web is constrained by the limited
bandwidth (56 KB or less) of most consumer modems. Use a higher bitrate if you know
your audience has broadband Internet access, such as DSL or cable modem service.
Playing back from a handheld device The data rate is very important due to the
relatively small size, capacity, and lesser speed of handheld devices. The data rate can
range from 8 to 90 kilobits per second, depending upon the device. You can choose preset
QuickTime export options in Adobe Premiere Elements to export a file optimized for
playback on a handheld device.

Downloading a video file over the Web The data rate is less important than the size of
the video file on disk because the main concern is how long it takes to download the file.
However, it still may be desirable to reduce the data rate for downloaded video because
doing so reduces the size of the video file, making it download faster.
Use the Get Properties For command to analyze the data rate of files you export. (See
Analyzing clip properties and data rate on page 62.)
About compression keyframes

Compression keyframes are different from the keyframes that you use to control track or
clip properties such as audio volume or clip rotation. When you export a movie, Adobe
Premiere Elements automatically places compression keyframes at regular intervals in the
movie. During compression, these keyframes are stored as complete frames. The frames
between the keyframes are called intermediate frames. Adobe Premiere Elements
compares each intermediate frame to the frame before it and stores only the data that is
different. This process can greatly reduce file size, depending on the spacing of the
keyframes. Fewer keyframes and more intermediate frames result in smaller file sizes with
lower-quality images and lower-quality playback. More keyframes and fewer intermediate
frames result in significantly larger file sizes with higher-quality images and higher-quality
playback.
Choosing compression settings is a balancing act. You need to adjust the setting
depending on the type of video material, the target delivery format, and the intended
audience. Often, the optimal compression setting is arrived at through trial and error.
File types available for export

Except where noted, the following file formats are available when you export. Additional
file formats may be available with your video-capture card or third-party plug-ins.
Video formats Microsoft AVI, DV AVI, QuickTime, Windows Media, Animated GIF, MPEG-1
(for VCD- and SVCD-compatible movies), and MPEG-2 (DVD compatible movies).
Note: Although Adobe Premiere Elements supports VCD and SVCD-compatible formats,
you must use a different application to burn those formats onto CD.
Audio-only formats Windows Audio Waveform, Microsoft AVI, and DV AVI.
Still-image formats JPEG, GIF, Targa, TIFF, and Windows Bitmap.
Sequence formats JPEG sequence, GIF sequence, Targa sequence, TIFF sequence, and
Windows Bitmap sequence.

Recording your movie to videotape

You can record your edited movie onto tape from directly within Adobe Premiere
Elements. If you are recording to a DV camcorder, you can conveniently and precisely
control your camcorders record functionality directly from your computer by using device
control, which is built in to Adobe Premiere Elements. If you want to record to an analog
medium, such as a VHS or beta tape, you can record from Adobe Premiere Elements by
connecting your analog source to the computer by using an analog-to-digital converter,
also called an AV DV converter. In this scenario, you must control the camcorder yourself by
manually enabling record on your analog device, and then playing your movie from
Exporting to tape
Exporting your movie to tape is a good way to prepare it for easy presentation, as well as a
good way to archive your movies without using hard disk space. Unlike footage burned to
DVD, you can recapture the footage that you store on DV tape, as well as append new
footage to the tape.
To export to tape:
1 Connect the DV device (camcorder, deck, or analog-to-digital converter) to your
computer by using an IEEE 1394 connection. If you are using an analog source, connect
that source to the analog-to-digital converter.
2 Turn on the camcorder and set it to VTR (or VCR) mode. If the Digital Video Device
dialog box appears, close it.
3 Start Adobe Premiere Elements and open your project.
To give your recording deck additional time before your video starts and after it ends,
add black frames before and after the movie in the Timeline window. (See Creating
black video on page 61.) In addition, if you plan to have a postproduction facility
duplicate your videotapes, add a minimum of 30 seconds of color bars and tone at the
beginning of your program to aid in video and audio calibration. (See Creating color bars
and a 1-kHz tone on page 61.)
4 Make sure that your video recording device is on, that a blank or appendable tape is in
the device, and that the tapes record protection tab is in a position that allows recording.
If necessary, cue the tape to the location where you want to begin recording. Make sure
that you have sufficient tape, or are recording at an optimal speed, in order to record your
entire movie.
5 Click and hold the Export button in the task bar, and then choose To Tape.
6 In the Export to Tape dialog box, select options as desired. For information on available
options, see Export To Tape options on page 218.
7 Do one of the following to begin recording:
If you are using a DV camcorder or other device that Adobe Premiere Elements can
control, click Record.
If you are using an analog device that is connected to the computer by an analog-to-
digital converter, first enable record on your analog device, and then click Record.
8 If the movie contains unrendered clips, the rendering begins at this point. Once all the
clips are rendered, the export begins.

9 When you are finished recording, click Stop and close the dialog box.
Export To Tape options

The following options are available in the Export To Tape dialog box. These options work
only if you are recording to a DV camcorder that allows device control.
Activate Recording Device Lets Adobe Premiere Elements control your DV device.
Assemble at Timecode Indicates the place on your DV tape that you want the recording
to begin, if you have a tape that already has timecode recorded, or striped, on it. You stripe
a tape by first recording only black video before you record your footage. You record black
video usually by recording with the lens cap on. If your tape is not striped, leave this
option unselected to have recording begin at the location where you have cued the tape.
Delay Movie Start by n quarter frames Specifies the number of quarter-frames that you
want to delay the movie so that you can synchronize it with the DV device recording start
time. Some devices need a delay between the time they receive the record command and
the time the movie starts playing from the computer. Experiment with this setting if you
are experiencing delays between the time you enable record and the time your DV device
begins recording.
Preroll by n frames Specifies the number of frames that you want Adobe Premiere
Elements to back up on the recording deck before the specified timecode. Specify enough
frames for the deck to reach a constant tape speed. For many decks, 5 seconds or 150
frames is sufficient.
Abort After n Dropped Frames Specifies the maximum number of dropped frames you
want to allow before Adobe Premiere Elements aborts the recording. If you choose this
option, you generally want to type a very low number because dropped frames will cause
jerky playback and are indicative of a hard drive or transfer problem.
Report Dropped Frames Specifies that Adobe Premiere Elements displays the number
of dropped frames.
Note: If you want to use device control but its unavailable, click Cancel, choose Edit >
Preferences, click Device Control, make sure that your device is set up properly in the
Device Control options, and then click OK. Then try recording to tape again.
Exporting video for hard disk playback

The video you edit in the Timeline window is not available as an independent video file
until you export it. After export, you can play it in other video playback or editing
programs and move it to other disks or platforms. You can also export from the Monitor
window, and you can specify a range of frames to export.
Exporting a movie for hard disk playback generally creates files with data rates and file
sizes that exceed the requirements for successful Internet, VCD, or handheld device
playback. For information on exporting video for these other purposes, see Exporting to
an Internet format on page 224.

To export video for hard disk playback:

1 Activate the Timeline window and choose File > Export > Movie.
2 Click Settings, choose settings as necessary, and then click OK.
3 Specify a location and file name, and click OK. To cancel the export, press Esc; it may
take several seconds to complete the cancellation.
For information on Export settings, see About export settings on page 220.
Exporting audio
Exporting audio by using the Audio command lets you choose the specific file types that
support audiomaking the video formats and options unavailable.
To export audio only:
1 Activate the Timeline window and choose File > Export > Audio.
Exporting a frame as a still image

You can export any frame or still-image clip as a still-image file. The frame is exported from
the current time position in the Timeline or Monitor window. Following the export, the
frame appears in the Media window.
You can greatly increase the quality of an exported frame if you first deinterlace it.
For information on deinterlacing a frame, see Freezing a video frame on page 92.
To export a frame as a still image:
1 In the Timeline or Monitor window, drag the current-time indicator to the frame you
want to export.
2 At the bottom of the Monitor window, click the Export Frame button .

Exporting clips as sequences of still images

You can export a clip or movie as a sequence of still images, with each frame as a separate
still-image file. Exporting as a sequence can be useful when you want to use a clip in an
animation or 3D application that does not support video formats or requires a still-image
sequence. When you export a still-image sequence, Adobe Premiere Elements numbers
the files automatically.
To export a sequence of still images:
1 Choose File > Export > Movie.
2 Click Settings.
3 For File Type, choose a still-image sequence format, such as JPEG, Targa, or TIFF. If you
choose a movie format or Animated GIF, all the frames will be in one file.
4 Choose the frames to export from the Range menu.
5 Click Video, and specify options.
6 Click Keyframe and Rendering, specify options, and then click OK.
7 Specify a location to which you want to export all of the still-image files. Its usually best
to specify an empty folder set aside so that the sequence files dont become mixed with
other files.
8 To set the sequence numbering, type a numbered file name. To specify the number of
digits in the file name, determine how many digits will be required to number the frames,
and then add any additional zeroes you want. For example, if you want to export 20
frames and you want the file name to have five digits, type Car000 for the first file name
(the remaining files will automatically be named Car00001, Car00002, ..., Car00020).
9 Click OK to export the still-image sequence.
For information on Export settings, see Video export settings on page 221.
About export settings

As part of the export process, set the options in the Export Settings dialog box. This dialog
box appears when you choose File > Export > Movie, Frame, or Audio, and then click the
Settings button. The initial export settings are the same as the settings you specified in the
Project Settings dialog box when you first started the project. Export settings dont update
as you work on your project; however, so its a good idea to make sure that all export
settings are still appropriate.
Note: Some capture-card software and plug-in software provide their own dialog boxes
with specific options. If the options you see are different from those described in this user
guide, refer to the documentation for your capture card or plug-in.
Use the Save and Load buttons in the Export Movie Settings dialog box to save and
later quickly load export settings that you use frequently. Loading saved settings is
particularly useful when you create several types of video files (for example, NTSC and
web video) from the same project.

General export settings

The following options are available in the General panel of the Export Settings dialog box:
File Type Specifies the kind of file to export.
Compile Settings These options vary depending on the file type you choose. The
following advanced settings options are available for Animated GIF or GIF Sequences:
Dithering simulates colors that are not available in the web-safe color palette used by
web browsers. Dithering simulates unavailable colors by using patterns that intersperse
pixels from available colors. Dithered colors may look coarse and grainy, but dithering
generally improves the apparent color range and the appearance of gradations.
Deselect this option to replace unavailable colors with the next closest color in the
palette; this may cause abrupt color transitions.
Transparency menu includes the following options: None creates the movie in an
opaque rectangle. Hard converts one color into a transparent area. Color specifies the
color. Soft converts one color into a transparent area and soften the edges.
Looping specifies that an animated GIF plays continuously without stopping. Deselect
this option if you want the animated GIF to play only once and then stop. This option is
not available for a GIF sequence.
Range Specifies the range of time to export. Select Work Area exports the frame range
indicated by the work area markers. If you are exporting clips from the Monitor window,
and In and Out points are marked, you can select In to Out to export the marked range
only.
Export Video Exports the video tracks. Deselect to prevent exporting video tracks.
Export Audio Exports the audio tracks. Deselect to prevent exporting audio tracks.
Add To Project When Finished Adds the exported file to the Media window after
exporting is complete.
Beep When Finished Specifies that Adobe Premiere Elements sounds an alert when
exporting is complete.
Embedding Options Contains the following options: Project Link includes in the
exported file the information necessary to use the Edit Original command. When a file
contains this information, you can open and edit the original project from within another
Adobe Premiere Elements project or from another application that supports the
command. None specifies that the information is not included. This option is available only
for DV and WAV formats and is on by default.
Video export settings

The following options are available in the Video Settings panel of the Export Settings
dialog box:
Compressor Specifies the appropriate codec for your television standard.

Depth Specifies the color depth, or the number of colors to include in video that you
export. This menu may not be available if the selected Compressor supports only one
color depth. You can also specify an 8-bit (256-color) palette when preparing a video
program for 8-bit color playbackfor example, to match the colors on a web page or in a
presentation. When available, click Palette, and then either select Make Palette from Movie
to derive a color palette from the frames used in the video program, or select Load Palette
Now to import a color palette that you prepared and saved previously. You can load color
palettes in the ACO (Photoshop color swatch), ACT (Photoshop color palette), or PAL
(Windows paletteWindows only) format.
Note: With the QuickTime file type, you can attach a 256-color palette to a movie of any
bit depth. You can specify a palette for 24-bit movies to use when displaying on 8-bit
monitors, and you can prevent palette flashing by attaching the same palette to many
movies. Video for Windows supports attaching a palette only to an 8-bit movie.
Frame Size Specifies the dimensions, in pixels, for video frames you export. Choose 4:3
Aspect to constrain the frame size to the 4:3 aspect ratio used by conventional television.
Some codecs support specific frame sizes. Increasing the frame size displays more detail
but uses more disk space and requires more processing during playback, which can cause
poor playback on slower computers.
Frame Rate Specifies the number of frames per second for video you export. Some
codecs support a specific set of frame rates. Increasing the frame rate may produce
smoother motion (depending on the original frame rates of the source clips) but uses
more disk space.
Pixel Aspect Ratio Specifies the pixel aspect ratio of the exported file. If you are
exporting to DV AVI, choose any of the four D1/DV NTSC or DV PAL ratios, depending on
the television standard of your locale. Otherwise, choose the option that matches your
source video or that conforms to your destination. For instance, because Animated GIFs
will most likely be viewed on a computer screen, which displays pixels in squares, the 1.0
aspect ratio is most appropriate. When the pixel aspect ratio (displayed in parentheses)
doesnt match 1.0, the output type uses rectangular pixels, which is the case for DV AVI
ratios. For more information, see About aspect ratios on page 62.
Quality Specifies the picture quality of and disk space used by exported video. If you are
using the same codec to capture and export, and youve rendered previews of a video, you
can save rendering time by matching the export quality setting with your original capture
quality setting. Increasing quality above the original capture quality does not increase
quality, but may result in longer rendering times.
Note: The quality slider is not available for all codecs.
Limit Data Rate to _ K/Sec Specifies an upper limit on the amount of video data
produced by the exported video when it is played back. (This option may not be available
for the selected compressor)
Note: In some codecs, quality and data rate are interrelated, so that adjusting one option
automatically alters the other.

Recompress Ensures that Adobe Premiere Elements exports a video file that is under the
data rate you specified. Always compresses every frame even if it is already within the data
rate. Maintain Data Rate preserves quality by compressing only the frames that are above
the specified data rate. Recompressing previously compressed frames may lower picture
quality. Deselect Recompress to prevent current compression settings from being applied
to clips that were not altered when you edited them into the program.
Keyframe and Rendering export settings

The following options are available in the Keyframe and Rendering panel of the Export
Movie Settings dialog box. For information on keyframes for compression, see About
compression keyframes on page 216.
Fields No Fields is the default and is the equivalent of progressive scan, the correct
setting for computer display and motion-picture film. Choose Upper Field First or Lower
Field First when exporting video for an interlaced medium such as NTSC, PAL, or SECAM.
DV footage is generally lower field first. (See Processing interlaced video fields on
page 56.)
Deinterlace Video Footage Deinterlaces the footage. Select this option if the video
content is interlaced and you are exporting to a noninterlaced medium, such as motion-
picture film or progressive scan video. Deinterlacing can also make it easier to apply high-
quality effects in another program, such as Adobe After Effects. If the video content does
not have fields, dont select this option; instead select No Fields from the Fields option.
Optimize Stills Saves disk space when exporting still images. Deselect this option only if
the exported video file exhibits playback problems when displaying the still images.
Keyframe Every _ Frames Specifies the number of frames after which the codec will
create a keyframe when exporting video.
Add Keyframes at Markers Creates keyframes only where markers exist in the Timeline
window. For this to work, markers must exist in the Timeline window. (See Copying,
pasting, moving, and deleting clips on page 85.)
Add Keyframes at Edits Creates a keyframe at edit points in the Timeline window.
Note: Some codecs do not provide control over keyframes. In such codecs, the above
options will not be available.
Audio export settings

When you choose Audio Settings from the menu at the top of the Export Movie Settings
dialog box, you can specify the following options:
Compressor Specifies the codec for Adobe Premiere Elements to apply when
compressing audio. The codecs available depend on the file type you specified in the
General panel in the Export Settings dialog box. Some file types and capture cards
support only uncompressed audio, which has the highest quality, but uses more disk
space. Check with your capture cards documentation before choosing an audio codec.
Sample Rate Specifies the rate for export. Choose a higher rate for better audio quality
in an exported file, or choose a lower rate to reduce processing time and disk-space
requirements. CD quality is 44.1 kHz. Resampling, or setting a different rate than the
original audio, also requires additional processing time; avoid resampling by capturing
audio at the final rate.

Sample Type Specifies the bit depth for export. Choose a higher bit depth and stereo for
better quality, or choose a lower bit depth and mono to reduce processing time and disk-
space requirements. CD quality is 16-bit stereo. Stereo provides two channels of audio;
Mono provides one channel.
Channels Specifies how many audio channels are in the exported file. If you choose to
export a stereo track as mono, the audio will be downmixed.
Interleave Specifies how often audio information is inserted among the video frames in
the exported file. See your capture card documentation for the recommended setting. A
value of 1 frame means that when a frame is played back, the audio for the duration of that
frame is loaded into RAM so that it can play until the next frame appears. If the audio
breaks up when playing, the interleave value may be causing the computer to process
audio more frequently than it can handle. Increasing the value lets Adobe Premiere
Elements store longer audio segments that need to be processed less often, but higher
interleave values require more RAM. Most current hard disks operate best with 1/2- to 1-
second interleaves.
Exporting movies for the Internet

If you want to create movies that you can upload to your website, export your movie in a
file format suitable for the Internet. Adobe Premiere Elements can export web-ready
movies in the popular streaming formats WMV (Windows Media) and MOV (QuickTime
streaming). Streaming video is video that plays back directly from the website, without
downloading to your hard disk. Both formats yield high-quality results.
Adobe Premiere Elements also exports to the MPEG-1 and MPEG-2 formats. Both MPEG
formats create small files that play back after theyve been downloaded to your hard disk.
The MPEG-2 file format is most widely used to compress movies to be burned to DVD. (See
About burning a DVD on page 210.)
Exporting to an Internet format

You dont need to make any special considerations while editing your movie to prepare it
for the Internet, and upon export, you can simply choose one of the presets that Adobe
Premiere Elements provides for export.
The provided presets are designed for optimum playback depending upon the audience
or medium that you intend for the movie. Also, using the provided presets is the quickest
way to export your movie. If you have some experience and knowledge in adjusting
compression options, you can change the settings to more accurately match your
situation. Remember, however, to make sure that the data rate of your movie is appro-
priate for the intended playback medium.
See About data rate on page 215 for more information.

To export a movie for the Internet:

1 Activate the Timeline window.
2 Click the Export button in the task bar, and choose one of the Internet file formats
listed: MPEG, QuickTime, or Windows Media.
3 Select a preset from the list on the left, depending on your TV standard (NTSC or PAL) or
intended destination. Default settings for the presets and the particular playback medium
that the preset is optimized for appear in the Preset Description section. The estimated
properties of the movie appear in the Your Movie section. You can make adjustments to
the default settings by clicking the Advanced button.
4 Click OK.
5 Specify a location and file name, and click Save.
Changing export options for Internet movies

Regardless of the file type you choose for export, the default settings for the corre-
sponding video and audio options are adequate for most applications and will produce
high-quality results. However you can change them if you have specific requirements not
addressed by the default presets.
When you change an option, you create a preset that you can name, save, and subse-
quently use in later projects, or transfer to another machine or user. All presets that you
create are listed in the Custom directory in the directory listing in the Export [file format]
dialog box.
To change the export options for Internet movies:
1 Display the Export [file format] dialog box and click the Advanced button.
2 In the Transcode Settings dialog box, make sure that there are check marks next to the
Video and Audio categories on the left side of the dialog box. If you do not wish to export
audio or video, then deselect the corresponding items.
3 Select the category that you want to adjust on the left side of the dialog box, and adjust
the corresponding options that appear on the right side of the dialog box. The options
that appear will be different depending on the Internet file format you choose.
For more information, seeExporting to an Internet format on page 224 and Video and
audio options for Internet movies on page 226.
To save a preset:
1 In the Transcode Settings dialog box, change an option (see the previous procedure),
and click Save.
2 Type a name for your preset and click OK.
To choose a saved preset:
In the Export [file format] dialog box, expand the Custom folder and click a saved preset.
In the Transcode Settings dialog box, choose a preset from the Presets menu.

Video and audio options for Internet movies

You can change both video and audio settings in the Transcode Settings dialog box.
You can change the following Video options. Depending upon the choice of file formats
that you make, you may see some or all of these options:
Quality Specifies the level of quality for the final file. A setting of 3.0 is a good general
setting; however, video with lots of motion may benefit from a higher setting. The higher
the quality setting, the longer it takes to render the file.
Codec Specifies the type of codec used to compress the exported movie.
Spatial Quality Specifies the quality of the compression applied to a single frame.
Frame Rate Specifies the number of frames per second for the encoded file. You can also
enter a custom frame rate in the adjacent box.
Field Order Specifies the order in which interlaced fields appear. Choose None to render
without interlacing.
Allow Interlaced Processing Specifies that any progressive scan (non-interlaced)
footage will be output as interlaced footage.
Encoding Passes Specifies the number of times the encoder will analyze the clip before
encoding. Multiple passes yield increasingly better results, but take more time to process.
Set Bitrate/Bitrate Specifies the bitrate in kbps (kilobits per second). For QuickTime
movies, you must select the Set Bitrate box to activate the bitrate slider. You can also enter
a custom bitrate in the adjacent box.
M and N Frames Specifies the number of frames in a Group of Pictures (GOP). M frames
specifies the number of B frames between consecutive I and P frames. N frames specifies
the number of frames between I frames. This value must be a multiple of the M frames
value.
Set Key Frame Distance Specifies the duration between key frames. This option is only
visible if you select Advanced Mode.
Temporal Quality Specifies the quality of the compression applied to the keyframes, or
reference frames.
Bitrate Encoding/Bitrate Mode Specifies whether the file is encoded using variable or
constant bitrates, and also specifies the number of times the encoder analyzes the data
before encoding it.
Minimum, Target, and Maximum bitrate Specifies the respective bitrate limits you can
place on variable bitrate encoded files.
You can change the following Audio options. Depending on the file format you choose,
you may not see all the options listed below:
Audio Format Specifies the file format of the exported audio.
Audio Layer Specifies the type of MPEG compression applied to the audio.
Output Mode Specifies whether the exported audio is mono or stereo.
Frequency Specifies the sample rate of the audio.
Bitrate Specifies the number of megabits per second you want the encoded file to have.

Frequency Specifies the number of samples per second in the audio file. Reduce this to
decrease file size. However, if high-quality audio is a priority in your file, dont reduce this
below 32,000 kHz.
Audiences and Multiplexer options

In the Transcode Settings dialog box, you can change Audiences options for Windows
Media-encoded movies and Multiplexer options for MPEG movies.
You can adjust the following Audiences options, which appear when you choose Windows
Media as a file format for export:
Audio Format Specifies the bitrate, sample frequency, and bitrate type of the encoded
audio.
You must select Advanced Mode to adjust the following options:
Decoder Complexity Specifies the level of complexity of the encoding algorithm.
Keyframe Interval Specifies the amount of time between keyframes.
Buffer Size Specifies the maximum latency, in seconds, between the time a video or
audio stream is received and the time it displays. For high bit rate streams (typically, more
than 1 megabit per second), a setting of 1 second is typical; for lower bit rate streams, a
setting of 3 seconds is typical. For video streams, the larger the value, the greater the
quality.
Average Video Bitrate/Peak Video Bitrate/Peak Video Buffer Size Specifies the
respective bitrate and buffer size. Depending upon the Bitrate Mode you chose in the
Video options, you may not see all of these options.
Some options function identically to the Video or Audio export options. For options
not listed here, see Video and audio options for Internet movies on page 226,Video
export settings on page 221, or Audio export settings on page 223.
Alternates options for QuickTime movies

Alternate movies are movies that are identical in content to the file that you have already
provided settings for, but which have different data rates in order to accommodate the
system abilities of any user. Used in conjunction with reference movies, you can be assured
that your movie plays back satisfactorily for any audience, regardless of their connection
speed.
For example, you can create one web-based movie intended for high-speed audiences by
using high-quality video and audio settings, but also concurrently create an alternate
movie with a lower data rate. Then, you can choose to concurrently create a reference file
that points to both movies. If a user with a slower connection then attempts to play your
movie, the reference file detects this lower speed connection and plays the alternate that
is optimized for lower speeds. You can make any number of alternate movies. You must
have QuickTime Pro to use this feature. You can also use this feature just to make several
copies of a movie with varying quality settings without necessarily choosing to create a
reference file.
You can change the following Alternates options for QuickTime movies:
Some options function identically to the Video or Audio export options. For options
not listed here, see Video and audio options for Internet movies on page 226,Video
export settings on page 221, or Audio export settings on page 223.

Add Alternate Specifies the type of alternate movie to create. Choose the alternate that
best matches the audience that you want to reach. You can choose as many alternates as
you wish. Each one that you choose appears in a list below the Add Alternate menu. To
edit the settings for each one, just click it to select it. To change the name of the alternate,
double-click it and enter a new name.
Alternate Movie Specifies whether an alternate movie is created.
Alternate filename Prefix Specifies the prefix for each alternate movie file name.
Create Reference File, Fallback Specifies whether a reference file is created. You can
also choose to embed one of the alternates into the reference movie.
Target path Specifies the location for all alternate movies.
Connection Specifies the viewers connection speed that will trigger the alternate movie.
For example, if you choose 28.8/33.6 Kbps modem, and the reference file detects that the
viewers connection speed is 28.8/33.6 Kbps, the alternate movie will play.
Language Specifies the language for the alternate movie. If the reference file detects that
the viewer has set a certain language as their preference (viewers set this preference in
their QuickTime player)and you specify a language option, the alternate movie that
matches the viewers language preference will play.
Platform Specifies the platform compatibility of the alternate movie.
Quality Specifies the quality ranking of the alternate movie. This setting is useful if you
create several alternate movies, all with the same connection speed setting, but with
slightly different audio and video settings. To differentiate them for the QuickTime player,
you can rank them according to quality. The QuickTime player will attempt to play each
one, from the highest to the lowest quality, until it finds one suitable for the connection
speed.
Computer power Specifies the alternate movie that plays in response to the viewers
computer power.
Version Specifies the alternate movie that will play according to the version of the
QuickTime player that the viewer owns. For example, you can create several alternate
movies and assign each one a different version compatibility. When a viewer with a
specific version attempts to play your movie, the reference file triggers the movie that
corresponds to the viewers player version. This option is useful for backward compati-
bility.
Server path Specifies the rstp server path where your movies are posted.
Metadata options for Internet movies

Metadata is special information about a file, such as copyright information or the artists
name, that is included as part of the file and displayed in or accessible from the software
used to play back the movie. You can choose to enter information in any of the metadata
fields.
To add or delete metadata information:
1 Click the Export button in the task bar, and choose an export format.
2 Click Advanced.
3 In the Transcode Settings dialog box, uncollapse Metadata.
4 Click Add/Remove Fields.

5 Select the box next to any metadata that you want to add to your encoded file, or
deselect any category that you want to remove, and click OK.
6 On the right side of the Transcode Settings dialog box, enter the metadata in the appro-
priate box.
7 To erase all the data in the boxes, click Clear Fields.
About creating a video file for Video CD playback

Video CD (VCD) is a format that allows video to play back in computers or players that
support the Video CD standard. The advantage of Video CD is that you can create it by
using a CD writer; a DVD writer or reader isnt required. However, the quality is comparable
to VHSmuch lower than DVD quality. Also storage capacity for a CD, which is up to 700
MB, is significantly smaller than DVD storage capacity, which is at least 4.7 GB.
You can create Video CD files by using the MPEG-1 - VCD presets. Adobe Premiere
Elements exports the MPEG file to the hard disk, and you can then burn the files to a CD by
using third-party CD-burning software.
For information on export settings, see Exporting to an Internet format on page 224 and
Changing export options for Internet movies on page 225.

Adobe Premiere Elements Help Keyboard Shortcuts
Keyboard Shortcuts
Using the default keyboard shortcuts
Adobe Premiere Elements provides a default set of keyboard shortcuts that you can view
and modify by using the Edit > Keyboard Customization command. (See Customizing
keyboard shortcuts on page 230.)
To find the keyboard shortcut for a tool, button, or menu command:
For a tool or button, hold the pointer over the tool or button until its tool tip appears. If
a shortcut is available, it appears after the tool description.
For menu commands, look for the keyboard shortcut at the right of the command.
For keyboard shortcuts not shown in tool tips or menus, choose Edit > Keyboard
Customization.
To cycle through open windows, hold down Ctrl, and press the Tab key. (This
shortcut doesnt apply to palettes or the floating Audio Meters window.)
Customizing keyboard shortcuts

In addition to using the default set of keyboard shortcuts, you can assign your own
custom shortcuts to nearly any menu command, button, or tool. You can save different
sets of shortcuts and restore the default settings.
To create custom keyboard shortcuts:
1 Choose Edit > Keyboard Customization.
2 In the Keyboard Shortcuts dialog box, choose an option from the pop-up menu:
Application displays commands found in the menu bar, organized by category.
Windows displays commands associated with window buttons and pop-up menus.
3 In the Command column, view the command for which you want to create a shortcut. If
necessary, click the triangle next to the name of a category to reveal the commands it
includes.
4 Click in the items shortcut field to select it.
5 Type the shortcut you want to use for the item. If the shortcut is already in use, you are
asked to either replace the existing shortcut or cancel.
6 To erase a shortcut so that you can enter a different shortcut, click Clear. (Click Undo to
restore the previously entered shortcut.)

Adobe Premiere Elements Help Keyboard Shortcuts
7 Repeat the procedure to enter as many shortcuts as you want. When youre finished,
click Save As, type a name for your Key Set, and click Save.
Note: Some commands are reserved by the operating system and cannot be reassigned to
Adobe Premiere Elements. Likewise, you cannot assign numbers or the plus (+) and minus
(-) keys on the numeric keypad because they are necessary for entering relative timecode
values. You can assign these keys on the keyboard, however.
To remove a shortcut:
In the Keyboard Shortcuts dialog box, select the shortcut you want to remove, and click
Clear.
To remove a custom set of shortcuts:
In the Keyboard Shortcuts dialog box, select the key set you want to remove from the Set
pop-up menu and click Delete. When asked, confirm your choice by clicking Delete.
To switch to a different set of shortcuts:
Choose Edit > Keyboard Customization, and choose the set of shortcuts you want to use
from the Set pop-up menu.

Adobe Premiere Elements Help Glossary
Glossary
A
AV-to-DV converter An electronic device that converts analog video signals to digital
video signals.
aliasing Undesirable jagged or stair-stepped appearance of angled lines in an image,
graphic, or text.
alpha channel A fourth, invisible channel that defines transparent areas of an image. The
other three channels are red, green, and blue (RGB).
analog video A video signal consisting of a continuous electrical signal. Most televisions
and VCRs are analog video devices. To be stored and manipulated on a computer, analog
video must be converted to digital video.
anti-aliasing The smoothing of edges in an image, graphic, or text. Anti-aliased edges
appear blurred up close but smooth at normal viewing distance. Anti-aliasing is important
when working with high-quality graphics for television use.
artifact Distortion to a picture or a sound signal. With digital video, artifacts can result
from overloading the input device with too much signal or from excessive or improper
compression.
aspect ratio The ratio of width to height of an image. For example, the aspect ratio of
NTSC video frames is 4:3, but most motion pictures use the more elongated aspect ratio of
16:9.
B
bitmap A graphic image comprised of individual pixels, each of which has values that
define its brightness and color.
blue screen See keying on page 235.
C
capture card Sometimes called a capture or video board. A card installed into a
computer and used to digitize video. Or, for video that is already digitized, the device that
simply transfers the file to the hard disk.
capturing The process of transferring source video from a camcorder or tape deck to a
computer. If the source video is analog, the capture process converts the video to digital.
channel Each computer graphic consists of three separate channels: red, green, and blue.
Each may be adjusted independently. A fourth, alpha channel may also be added to define
transparent areas.
chroma The color information in a video signal that comprises the hue (phase angle) and
saturation (amplitude).

chroma key A video effect that replaces an area of specific color with a different video
signal. This effect is often used during newscasts to insert a weather map behind a
meteorologist.
Cinepak A commonly used codec for compression of video files on CD-ROM. Cinepak
offers temporal and spatial compression, and data-rate limiting.
clip A digitized or captured portion of video.
codec Algorithms used to encode and decode, or compress and decompress, sound and
video files. Common codecs convert analog video signals to compressed digital video files
(for example, MPEG) or analog sound signals to digital sound files (for example,
RealAudio).
color bars See NTSC color bars on page 237.
color correction Altering the color of video that was shot under less than ideal
conditions, such as low light. In Adobe Premiere Elements, you can correct color with the
Auto Color and Color Match effects.
compositing See superimposing on page 238.
compression Shrinking audio or video data by using a format that requires less storage
space. See also codec on page 233.
current-time indicator A light-blue triangle in the time ruler of the Timeline, Monitor,
and Effect Controls windows. You drag this indicator to identify specific frames.
cut The transition from one video or audio clip to another.
D
D-to-A converter An electronic device that converts digital signals into analog signals.
data rate The amount of data moved over a period of time (for example, 10 MB per
second). Often used to describe a hard drive's ability to retrieve and deliver information.
decode To divide an encoded video signal into its separate components. See also
encode on page 234.
deinterlace To remove artifacts that result from interlaced video. See interlacing on
page 235.
digitize To convert analog video or audio to digital form.
digital video (DV) A video signal made of binary digits. To edit analog video on a
computer, it must first be converted to digital video.
dithering Alternating the colors of adjacent pixels to approximate intermediate colors.
(For example, displaying adjacent blue and yellow pixels to approximate green.) Dithering
enables monitors to approximate colors they are unable to display.
drop-out An area of magnetic tape where information is missing. Drop-outs may occur
due to dust, over-use, or physical damage. They can cause random flashing color pixels in
affected frames. To avoid drop-outs, regularly use a head-cleaning tape in your camcorder.
drop-frame A timecode adjustment that drops certain frames to compensate for the
uneven, 29.97 frames-per-second format of color video. Drop-frame timecode is critical in
broadcast applications. Contrast with non-drop-frame on page 236.

dropped frames Missing frames lost during the process of digitizing or capturing video.
Dropped frames can be caused by a hard drive with a low data transfer rate.
DTV Abbreviation for digital television. Occasionally used refer to desktop video.
DV Abbreviation for digital video. DV denotes the type of compression used by DV
systems and formats. DV also describes the tape cartridge used in DV camcorders and
tape decks. Such DV devices use the IEEE 1394 interface. (See IEEE 1394 on page 235.)
DV in A DV input on a camcorder. Without a DV in, your camcorder cant record video
from Adobe Premiere Elements. See your camcorder documentation for more infor-
mation.
DVD Abbreviation for digital versatile disc. DVDs look like CDs, but have a much larger
storage capacitymore than enough for a feature-length film compressed with MPEG-2.
DVDs require special drives for playback.
DVD formats Your DVD burner supports one or more of the following disc formats:
DVD-R, DVD-RW, DVD+R, DVD+RW. (Note that -R and +R are different, as are -RW and
+RW.) R discs let you record once to the disc. RW discs let you rerecord repeatedly. Use R
discs for broadest compatibility; not all DVD players can read RW discs.
E
EBU timecode The timecode system created by the European Broadcasting Union and
based on SECAM or PAL video signals.
encode To merge the individual video signals (for example, red, green, and blue) into a
combined signal.
F
FCC Abbreviation for the Federal Communications Commission; the bureau that
regulates radio and television broadcast standards in the United States.
field Half the horizontal lines in a video image. A complete television frame consists of
two fields; the odd-numbered lines of field one are vertically interlaced with the
even-numbered lines of field two. See also interlacing on page 235.
FireWire The Apple Computer trade name for IEEE 1394.
4:3 The aspect ratio of conventional video, television, and computer screens.
fps Abbreviation for frames per second; the standard for measuring the rate of video
playback speed. At 12-15 fps, the human eye can detect individual frames causing video
to appear jerky.
frame A single still image in a sequence of images that, when displayed in rapid
succession, creates the illusion of motion. The more frames per second (fps), the smoother
the motion appears.
frame rate The number of frames per second displayed during playback.
frequency The number of audio cycles per second, expressed in hertz (Hz). Frequency
determines the pitch of a sound.

G
gamut The range of color or brightness values allowed for a video signal. Values that
exceed the gamut may cause distortion.
grayscale The series of visual tones that range from true black to true white. In video
applications, grayscale is usually expressed in 10 steps.
H
HDTV Abbreviation for High-Definition Television.
hue The distinction between colors (for example, red, yellow, and blue). White, black, and
gray tones are not considered hues.
I
i.LINK The Sony trade name for IEEE 1394.
IEEE 1394 The interface standard that enables direct transfer of DV between devices,
such as a DV camcorder and a computer. IEEE 1394 also describes the cables and
connectors utilizing this standard. Also called FireWire or i.LINK.
inter-frame compression A compression scheme, such as MPEG, that reduces the
amount of video information by storing only the differences between a frame and those
preceding it.
interlacing A system used in standard televisions that alternately draws even and then
odd horizontal lines. We perceive the interlaced fields of lines as complete pictures. See
field on page 234.
intra-frame compression Compression that reduces the amount of video information
on a frame-by-frame basis.
J
J-cut An edit in which the audio starts before the video, giving the video a dramatic
introduction. To perform a J-cut in the Timeline window, hold down the Alt key and drag
the left edge of the video to the right; the result looks like the letter J.
JPEG A file format for compressing still images. Because video is a sequence of still
images, JPEG compression can be used to compress video in Motion JPEG (MJPEG) format.
K
keyframes Start and end points for animated effects. Adobe Premiere Elements
automatically generates the frames between keyframes to create smooth movement. See
also tweening on page 239.
keying Replacing part of one television image with video from another image. Also
called blue screen. See also chroma key on page 233.

L
L-Cut An edit in which the video ends before the audio, which acts as a subtle transition
from one scene to the next. To perform an L-cut in the Timeline window, hold down the Alt
key and drag the right edge of the video to the left; the result looks like the letter L.
letterbox A technique used to preserve the original aspect ratio of a motion picture
when played on a television. Letterboxing adds black bars to the top and bottom of the
screen.
lossy compression A compression scheme that degrades quality. Lossy algorithms
compress digital data by eliminating the data least sensitive to the human eye and offer
the highest compression rates available.
lossless A compression scheme that doesnt affect signal quality, such as the transfer of
DV via an IEEE 1394 connection.
M
mask See matte.
matte The transparent area of an image, typically defined by a graphic shape or a
blue-screen background. Also called a mask.
MIDI Abbreviation for Musical Instrument Digital Interface. A standard used to share data
between electronic music equipment and computers.
MPEG1 A compression standard used to convert analog video for use in digital
applications. The compression ratio is about 100:1. MPEG-1 was designed to deliver
near-broadcast-quality video through a standard speed CD-ROM.
MPEG2 MPEG-2 is an extension of the MPEG-1 standard designed to meet the
requirements of television broadcast studios. MPEG-2 is the broadcast-quality video found
on DVDs and requires a hardware decoder (for example, a DVD-ROM player) for playback.
MPEG4 MPEG-4 builds on previous MPEG standards with support for streaming video
and improved compression schemes.
N
neutral colors The range of grays, from black to white, that have no color. For neutral
color areas, RGB values are equal.
noise Distortions of an audio or video signal, usually caused by interference.
noise reduction The reduction of noise during recording or playback.
non-drop-frame Timecode that uses the color television frame rate of 29.97 fps.
Non-drop-frame timecode is preferred for nonbroadcast applications and most of low-end
videotape formats. Contrast with drop-frame on page 233.
nonlinear editing Random-access editing of video and audio on a computer, enabling
edits at any point in the timeline. By contrast, traditional videotape editors are linear
because they require editing video sequentially, from beginning to end.

NTSC Abbreviation for National Television Standards Committee. The television format
used in Japan, North America, Central America, and some countries in South America.
NTSC-based DV camcorders capture video at a frame size of 720 x 480 and a frame rate of
29.97 frames per second.
NTSC color bars The pattern of eight equal-width color bars used to check broadcast
transmission paths, recording quality, playback quality, and monitor alignment. (To add
color bars in Adobe Premiere Elements, see Creating color bars and a 1-kHz tone on
page 61.)
NTSC RGB Interlaced red, green, and blue video signals that meet NTSC standards and
represent the primary colors of an image.
O
offline editing Editing placeholders for video files that will later be added to a project.
P
PAL Abbreviation for Phase Alternation by Line. The television standard used in most
European and South American countries. PAL based DV-camcorders capture video at a
frame size of 720 x 576 and a frame rate of 25 frames per second.
PCI slot A connection slot for expansion cards found in most computers. Most video
capture cards require a PCI slot.
pixel Contraction for picture element, the smallest display element on a computer
monitora point with a specific color and intensity level. Graphics programs use square
pixels. However, NTSC and PAL video pixels are rectangular, so computer graphics
displayed on a TV screen will be distorted (for example, a circle will display as an oval)
unless the aspect ratio of the graphics is adjusted for video. (See Setting pixel aspect
ratio on page 65.)
plug-in A software module that can extend the features of a software application. In
Adobe Premiere Elements, for example, you can use VST plug-ins to add audio effects.
printing to tape Recording a digital video file onto a videotape.
Q
QuickTime (MOV) Apple Computer's format for video, sound, and 3D media.
R
raster A grid of pixels forming the image on a a television or computer screen.
raw footage Original, unedited film or video footage that has not been modified.
real-time Instantaneous data processing. In video, real-time refers to effects and
transitions you can preview without interrupting rendering.
region coding A DVD feature that restricts playback of a disc to players in a specific
region. DVDs created by Adobe Premiere Elements will play in all regions. When exporting
a DVD, however, verify that the intended DVD player supports the video format on the
discNTSC or PAL. (Many PAL DVD players can play both NTSC and PAL video.)

rendering The process of applying edits, effects, and transitions to video frames.
resolution The number of pixels in each frame of video (for example, 640 x 480).
RGB Abbreviation for red, green, blue; the three primary colors used to display color on a
computer monitor or television screen.
ripple edit The automatic forward or backward movement of clips in the Timeline
window in relation to an inserted or deleted clip.
S
S-video Abbreviation for Super-video. A technology used to transmit video by dividing
the video information into two separate signals: one for luminance (brightness) and one
for chrominance (color).
saturation The strength or purity of a color. Saturation represents the amount of gray in
proportion to the hue measured as a percentage from 0% (gray) to 100% (fully saturated).
scrubbing Shuttling audio or video material forward or backward while previewing.
SECAM Abbreviation for Systeme Electronique Couleur Avec Memoire. A television
format used mainly in Eastern Europe, Russia, and Africa. In these countries, televisions
support both SECAM and PAL, but DV camcorders and DVD players use only PAL.
Therefore, Adobe Premiere Elements users in these countries should use the PAL preset for
projects and DVDs.
signal-to-noise ratio (S/N) Expressed in decibels (dB), the ratio of noise relative to the
desired video or audio signal. The higher the value, the clearer the picture and sound.
16:9 The aspect ratio of wide-screen television.
slide edit An editing feature that adjusts the Out point of the previous clip and the In
point of the next clip without affecting the center clip or program duration.
slip edit An editing feature that adjusts the In and Out points of a clip without affecting
the adjacent clips or program duration.
snow Random noise on a video screen, often the result of a dirty videotape head or poor
TV reception.
spatial compression A compression method that reduces the data contained within a
single video frame by identifying areas of similar color and eliminating the redundancy.
See also codec on page 233.
split screen A special effect that displays two or more scenes simultaneously on different
parts of the screen.
still frame A single frame of video repeated so it appears to have no motion.
straight cut The most common edit; consecutive clips placed one after another in the
Timeline window. Straight cuts are preferable to transitions when the scenes are similar
and you don't want edits to be noticeable.
streaming The process of playing video from the Web as it is received, rather than
waiting for an entire file to download prior to playback.
striping Preparing a tape for editing by recording a video signal (for example, black) with
a control track and timecode to ensure proper playback. Also known as black stripe.
superimposing Overlaying and visually combining two or more images.

T
temporal compression A compression method that identifies similar areas across video
frames and eliminates the redundancy. See also codec on page 233.
timecode A time format that measures video in hours, minutes, seconds, and frames (for
example, 1:20:24:09), enabling precise editing. See also drop-frame on page 233 and
non-drop-frame on page 236.
trimming Removing frames from the beginning, middle, or end of a clip.
tweening A feature that fills in the frames between two images so movement appears
smoother. See also keyframes on page 235.
V
video capture card See capture card on page 232.
video format A standard that determines the way a video signal is recorded onto
videotape. Standards include DV, 8mm, Beta, and VHS.

Adobe Premiere Elements Help Legal Notices
Legal Notices
Copyright
2004 Adobe Systems Incorporated. All rights reserved.
Adobe Premiere Elements User Guide for Windows
If this guide is distributed with software that includes an end-user agreement, this guide, as well as the software described in it, is furnished
under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of
this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or
otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under
copyright law even if it is not distributed with software that includes an end-user license agreement.
The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a
commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies
that may appear in the informational content contained in this guide.
Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The
unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to
obtain any permission required from the copyright owner.
Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual
organization.
Adobe, the Adobe logo, Acrobat, Reader, Adobe Audition, Adobe Encore, Adobe Premiere, After Effects, Illustrator, Photoshop, and PostScript
are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Microsoft and
Windows are registered trademarks of Microsoft Corporation in the United States and/or other countries. Macromedia and Flash are
trademarks of Macromedia Inc. MPEG Layer 3 audio compression technology is licensed by Fraunhofer IIS and Thompson. All other trademarks
are the property of their respective owners.
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Adobe Premiere Elements Help Index

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Index
A hiding or inverting 164
Action Safe Area option 44 Alpha Glow effect 123
action-safe margins 184 Alternates options 227
Add Tracks command 79 analog video, defined 232
adding anamorphic aspect ratio 65
animations 57 anchor points
audio and video files 55 adjusting in Motion effect 121
numbered sequences 57 of clips 121
still-image sequences 57 animation
Adobe After Effects, alpha channel from 158 about 166
Adobe Illustrator (AI) file format, alpha accelerating or decelerating 176
channel from 158 adding a file with 55, 57
Adobe Photoshop (PSD) file format animating clips 121
alpha channel from 158 windows used for 167
creating 59 Antialias effect 124
importing as sequence 57 anti-aliasing, defined 232
Adobe Photoshop Elements artifact, defined 232
adding files from 58 aspect ratio
creating files 59 See also pixel aspect ratio and frame aspect
working with 58 ratio
Adobe Premiere Elements defined 232
Help 4 frame 63
installing 4 pixel 43, 63
registering 5 pixel types 65
support for 5 setting pixel 65
troubleshooting 5 square pixels 65
Adobe Title Designer. See titles. A-to-D converter, defined 232
AI. See Adobe Illustrator (AI) file format Audiences options 227
aliasing, defined 232 audio
aligning audio lead edit 82
shapes and images 190 bit depth, for DVDs 53
text 191 conformed 57
Alpha Adjust effect 123 Display Format option 44
alpha channels input level (gain) 95
about 158 maintaining pitch 91
defined in Glossary 232 sample rate 44


sample rate for DVDs 53 DVDs 53

split edit 82 bitmap, defined 232
supported formats for 52 Black & White effect 126
tracks, increasing default number of 45 blue screen
volume, adjusting 94 defined 232
waveform, viewing 102 removing with Keying effects 161, 162
Audio Gain command 95 Blue Screen Key effect 126, 162
Audio Meters window 94 Brightness & Contrast effect 126
Auto Bezier interpolation 178 brightness, adjusting in windows and palettes
Auto Color effect 124 30
Auto Contrast effect 124 Broadcast Colors effect 126
Auto Levels effect 124 burning a DVD
Auto Save preferences 40 about 210
Auto-play DVDs steps 211
about 198 button, DVD menu
changing to 209 deleting 207
creating 209 linking 199, 200
previewing 210 overlapping 208
Auto-Save folder 40 thumbnail 204
autosaving 40 bypass option for audio effects 143
B C
background colors, creating with mattes 165 Camera View effect 126
backgrounds capture card, defined 232
colored 61 capture problems 51
removing 161 Capture To Timeline option 51
Balance (audio) effect 143 Capture window 48
balancing audio 170 Capture workspace 26
Basic 3D effect 125 capturing
Bass effect 143 Capture window 48
Bend effect 125 defined 232
Bevel Alpha effect 126 extra frames 49
Bevel Edges effect 126 from non-DV sources 47
Bezier handles how to 49
about 177 manually 50
adjusting 179 preparing for 46
displaying 177 to DV tape 48
Bezier interpolation, types of 178 troubleshooting problems 51
bit depth video from DV camcorder 46
audio 44, 224 CD-ROM, creating video for 215
color 222 Channel Blur effect 127
defined 222 Channel Mixer effect 127


Channel Volume effect 143 naming and renaming 34

channels organizing in Media window 35
See also alpha channel overlaying 75
defined 232 pasting 86
Chroma Key effect 127, 161 poster frame 33
chroma key, defined 233 properties 62
chroma, defined 232 properties in List view 37
Cinepak, defined 233 properties, viewing 33
Clear command 88 realigning 90
Clear Timeline Marker command 98 reversing 93
Clip button 68, 102 selecting 85
Clip effect 128 simulating texture in 141
clip markers slow motion 56, 91
adding 97 snapping 89
deleting 98 source 87
moving 98 splitting 89
clipping (distortion) 94 trimming 80, 82
clips viewing 102
about linked 73 volume 94
adding to movie 73, 78 codecs
alpha channel in 158 See also compression
animating 121, 175 defined 233
blending 162 export 214, 221
copying 86 Color Balance (HLS) effect 128
data rate analysis of 62 Color Balance (RGB) effect 128
defined 233 color bars
deleting 88 creating 61
deleting gaps between 88 defined 233
duration 84, 87 color correction, defined 233
editing in original application 101 color depth. See bit depth
enabling and disabling 96 Color Emboss effect 128
fast motion 91 Color Match effect 128
finding source 91 Color Matte command 61
flipping 126 color palettes 222
freezing a frame 92 Color Pass effect 129
grouping 95 Color Replace effect 129
inserting 74, 86 colored backgrounds, creating 61
instance 87 colors
linking 96 adjusting 127, 128, 141
masking 157, 164 for titles 192
moving 85 isolating 129
muting 94 matching 128


removing 126, 131 deinterlacing 56

replacing 129 defined 233
selecting for effects and mattes 119 freeze frames 92
compositing Delay effect 143
defined 233 Delete Render Files command 105
with transparency 158 deleting
compression clips 88
about 214 effects 117
Data Rate Analyzer and 62 gap in movie 88
defined in Glossary 233 source files 28
compression keyframes titles 181
about 216 DeNoiser effect 143
analyzing 62 device control
conformed audio 57 capturing with 49
connecting camcorder to computer 47 capturing without 50
Constant Gain transition 149 difference frames 62
Constant Power transition 149 digital cameras, using photos from 46
context menus 30 digital video (DV), defined 233
Continuous Bezier interpolation 179 digitize, defined 233
Convolution Kernel effect 129 Directional Blur effect 130
Copy command 86 discs for DVDs 210
Corner Pin effect 129 Display Format option 43
crashes, using AutoSave to recover from 40 distortion, in audio 94
Create Slideshow command 75, 77 dithering, defined 233
Crop effect 130 dominant field 56
Crystallize effect 130 dots, creating with Pointillize effect 136
current-time indicator Drop Shadow effect 130
defined in Glossary 233 drop shadows, creating in titles 194
Monitor window 68 drop-frame, defined 233
moving among keyframes 173 drop-out, defined 233
Timeline window 70 dropped frames, defined 234
custom folders 112 D-to-A converter, defined 233
customer support 5 DTV, defined 234
cut, defined 233 dual-layer discs 210
Duplicate command 87
D duration
data rate about 84
about 215 of multiple clips 87
analyzing 62 still-image default 58
defined in Glossary 233 transition 153, 154
data transfer rate 46 DV
decode, defined 233 connecting video source 62


defined 234 adjusting properties in 116

digitizing analog as 47 changing display options of 116
DV in, defined 234 displaying as tab 30
DV tape, recording to 217 opening 115
DVD formats, defined 234 overview 155
DVD markers effects
about 199 See also individual effect names
adding automatically 201 about standard versus fixed 108
adding manually 202 Adobe After Effects plug-ins 108
deleting 204 Adobe Photoshop plug-ins 108
Main Menu Markers 200 applying to clips 110
moving 203 creating presets 114
renaming 204 deleting standard 111
Scene Markers 200 disabling and removing 117
DVD workspace 26 included with Adobe Premiere Elements
DVDs 123
about burning 210 presets 110
about templates 198, 205 removing 110
burning 211 resetting 117
changing templates 208 saving favorites 111
changing types 209 searching for 110
choosing templates 205 standard 111
compressing 211 third-party plug-ins 108
creating auto-play 209 Effects window 30
customizing templates 206 Effects workspace 26
defined 234 Eight-Point Garbage Matte effect 164
discs 210 Emboss effect 131
frame size and rate requirements 53 Enable command 94, 96
menu-based 205 encode, defined 234
previewing 210 even field, See video fields
types of 198 export settings
general 221
Export To Tape options 218
E
Export workspace 26
EBU timecode, defined 234
exporting
Echo effect 130
about 214
edges, highlighting with effects 123, 131, 132
about settings 220
Edit Original command 101
audio 219
Edit workspace 26
Audio settings 223
Editing Mode option 43
clips as sequence of still images 220
editing. See also clips
file types for 216
frame as still image 219
about 114
frame size 222


General settings 221 FLM. See Filmstrip (FLM) file format

Keyframe and Rendering settings 223 folders, for effects 111, 112
keyframes for 216 folders, in Media window 35
movies for the Internet 224 Font Browser 187
optimizing still images 223 fonts, changing in titles 187
options for Internet movies 225 4:3 aspect ratio 234
to videotape 217 Four-Point Garbage Matte effect 164
using Adobe Media Encoder 225 fps, defined 234
Video CD 229 frame
video for hard disk playback 218 defined 234
Video settings 221 differenced frames 62
work area 219 exporting as still image 219
Extract effect 131 frame aspect ratio 63
eyedropper, using to select colors 119 Frame Hold command 92
frame rate
F defined 234
Facet effect 132 DVDs 53
fading for exporting 222
in titles 188 frame size
video 160 DVDs 53
Fast Blur effect 132 for playback 43
fast motion 91 freezing a frame 92
FCC, defined 234 frequency, defined 234
field dominance 56
Field Options command 56 G
fields gain, audio 95
defined 234 Gamma Correction effect 132
field order 56 gamut, defined 235
project setting 43 garbage mattes 164
Files Gaussian Blur effect 132
import formats for 52 Gaussian Sharpen effect 132
files Ghosting effect 132
adding 55 GPU
export formats for 216 effects 109
Fill Left and Fill Right effects 144 transitions 156
fills, in titles 192 Gradient Wipe transition 157
film, appearance of 137 gradients
Find Edges effect 132 creating in titles 193
finding a missing file 66 creating with Ramp effect 137
FireWire, defined 234 grayscale
Flicker Removal option 56 adjusting values 126
flicker, reducing with video effects 137 creating from color clips 126, 128, 129, 131


defined 235 interlaced video fields 223

green screen interlacing
removing with Keying effects 161 about 56
removing with Non Red Key 162 defined in Glossary 235
Green Screen Key effect 133, 162 Internet, creating video for 224
Group command 95 interpolation, spatial and temporal 178
Interpret Footage command 164
H intra-frame compression, defined 235
halos, creating 140 intranet, data rate for 215
handheld devices, data rate for 215 Invert (video) effect 133
handles 49 Invert effect 144
HDTV, defined 235
Help J
See also Adobe Premiere Elements J-cut
task-based 5 creating 82
Highpass effect 144 defined 235
History palette 30, 32, 39 JPEG, defined 235
Horizontal Flip effect 133 Justify command 187
Horizontal Hold effect 133
horizontal text 185 K
How To palette 30, 31 keyboard shortcuts
hue, defined 235 custom 230
default 230
I keyframes
i.LINK, defined 235 See also compression keyframes
Icon view, in Media window 36 about 166
IEEE 1394 adding 167, 168
defined 235 copying and pasting 174
preparing for capture 46 defined in Glossary 235
Image Mask transition 157 deleting 167, 168
images displaying 172
adding 54 in compression, evaluating data rate for 62
darkening or lightening 126 interpolation, about 176
In and Out points interpolation, changing 177
about 80 moving 173
retrieving trimmed 83 navigating 171, 173
setting in Monitor window 82 selecting 173
setting in Timeline window 80 specifying values for 170, 171
Info palette 30, 31 summary 172
inserting clips 74 keying
instance, clip 87 See also transparency
inter-frame compression, defined 235 choosing effects for 160


defined 235 moving 203

illustrated 159 renaming 204
keying effects markers
Blue Screen Key 162 about 96
Chroma Key 161 adding 97
garbage mattes 164 chapter links 100
Green Screen Key 162 comments 100
matte-based 160 deleting 98
Non Red Key 162 DVD, about 199
Track Matte 162 DVD, adding automatically 201
DVD, adding manually 202
L DVD, deleting 204
labels, in Media window 38 DVD, Main Menu 200
L-cut 82 DVD, moving 203
L-Cut, defined 236 DVD, renaming 204
Lens Distortion effect 133 DVD, Scene 200
Lens Flare effect 133 moving 98
letterbox Web links 100
defined 236 masks
using 63 See also Keying effects
Lightning effect 134 creating 162
Link Audio And Video command 96 defined 159, 236
linked clips Image Mask transition 157
about 73 Matte-based keying effects 160
adding audio or video from 78 mattes
overriding 96 background color 61, 165
linking defined 159, 236
buttons 200 garbage 164
clips 96 traveling 162
DVD buttons 199 Media window
List view, in Media window 36 about 33
locating missing files 66 customizing 35
logos, in titles 194 deleting items in 34
lossless, defined 236 finding items in 34
lossy compression, defined 236 folders 35
Lowpass effect 144 labels 38
menu templates. See templates.
Menu-based DVD
M
about 198
Main Menu Markers
changing to 209
about 199, 200
previewing 210
adding manually 202
Metadata options 228
deleting 204


MIDI, defined 236 NTSC color bars, defined 237

Mirror effect 135 NTSC RGB, defined 237
missing files, locating 66 NTSC, defined 237
mistakes, undoing 32, 39
Monitor window O
about views 68 obsolete effects 121
playback controls 102, 103 odd field 56
retrieving frames 83 offline editing, defined 237
safe zones 107 offline files 66
time ruler 69 online Help 5
trimming 82 See also Adobe Premiere Elements
viewing clips 102 opacity
zooming 103 adjusting 160
monitors, previewing on TV 106 changing in titles 188
Mosaic effect 135 defined 159
Motion effect 121 editing in Timeline window 170
Motion effect properties 175 Open Project command 27
motion path, modifying 176 opening
Move Into Sync 90 projects 27
movie analysis 62 titles 182
movie. See also clips Optimize Stills option 45
moving clips 85 Organizer, adding files from 58
using Motion effect 175 overlaying clips 75
MP3 format 53 overscan, defined 184
MPEG
defined 236
P
MPEG2 compression 211
Page Curl effect 136
Multiplexer options 227
PAL
muting audio 94
creating DVDs for 53, 211
defined 237
N timebase for 43
neutral colors, defined 236 palettes
New Project command 27 adjusting brightness of 30
Noise effect 135 grouping and separating 31
noise reduction, defined 236 menus in 30
noise, defined 236 showing and hiding 31
Non Red Key effect 136, 162 working with 28
non-drop-frame, defined 236 pan and scan 63
nonlinear editing, defined 236 Paste command 86
Notch (audio) effect 144 Paste Insert command 86
NTSC 53, 211 PCI slot, defined 237
timebase for 43 Pinch effect 136


PitchShifter effect 144 presets 45

pixel aspect ratio 43, 63 specifying 27
pixels timebase 43
defined 237 Video Rendering 44
trimming 128, 130 projects
placeholders 62 about 26
Play/Pause button 103 autosaving 40
Playback Settings 43, 106 opening 27
plug-ins recovering 40
defined 237 saving 39
editing modes for 43 starting 27
effects 108 Properties window 62
third-party 108 PSD. See Adobe Photoshop (PSD) file format
Pointillize effect 136
Polar Coordinates effect 136 Q
position QuickTime (MOV)
changing in titles 188 defined 237
changing with Motion effect 121 exporting 222
Position property 121
poster frame 33
R
Posterize effect 137
Ramp effect 137
Posterize Time effect 137
raster, defined 237
preparing for capture 46
raw footage, defined 237
preset folders 112
Razor At Current Time Indicator command 89
presets
Razor tool 89
creating 114
real-time, defined 237
for projects 27, 45
rearranging clips 85
included with Adobe Premiere Elements
recording to tape, about 217
110
rectangular pixels 63
previewing
redoing changes 32, 39
DVDs 210
Reduce Interlace Flicker effect 137
movie 103
reflections, creating 135
on TV monitor 106
Refraction effect 138
preview files 105
refraction, simulating 133
printing to tape, defined 237
region coding, defined 237
ProcAmp effect 137
remotely controlling your camcorder 49
project settings
renaming
about specifying 42
clips 34
Capture 44
DVD markers 204
Default Timeline 45
source files 34
Editing Mode 43
render files
General 43
about 105
playback device 43, 106


deleting 105 types of 41

Render Work Area command 103 scrolling titles 196
rendering, defined 238 scrubbing, defined 238
repeated frames, in transitions 147, 148 SECAM
Replicate effect 138 defined 238
resolution, defined 238 timebase for 43
Reverb effect 144 selecting
reversing video 93 clips 85
Revert command 32 colors 119
RGB, defined 238 sequences, of still frames 57
Ripple Delete command 88 sequences, of still images 55
ripple edit, defined 238 Set In button 82
Ripple effect 138 Set Out button 82
Ripple effect (Circular) 138 settings, export 220
Roll effect 138 Shadow/Highlight effect 139
rotation shapes
adjusting in Effects Controls window 121 drawing in titles 188
changing in titles 188 Sharpen Edges effect 140
editing in Timeline window 170 Sharpen effect 140
Rotation property 121 Shear effect 140
signal-to-noise ratio (S/N), defined 238
S 16:9 aspect ratio 238
safe zones, displaying 107 Sixteen-Point Garbage Matte effect 164
sample rate skew, applying to images 129, 141
about 53 slide edit, defined 238
audio 44 slideshow, creating 75
saturation, defined 238 slip edit, defined 238
Save a Copy command 39 Slip Into Sync 90
Save As command 39 slow motion 91
Save command 39 Snap command 89
Scale property 121 snow, defined 238
Scene Detect 50 Solarize effect 140
Scene Markers source clip 87, 91
about 199, 200 spatial compression, defined 238
adding automatically 201 Spherize effect 140
adding manually 202 split edits 82
deleting 204 split screen, defined 238
moving 203 square pixels 63, 66
renaming 204 square-pixel footage 66
scratch disks stacking order, changing in titles 189
about 40 still frame, defined 238
setting up 41 still images


Adobe Photoshop Elements 59 temporal compression, defined 239

changing duration of 58 text
exporting 219 adding to titles 185
optimizing for Timeline window 45 font size, changing 187
scaling to frame 44 justification 187
supported formats for 54 orientation, changing 187
Stop Markers 204 resizing text box 185
about 199 selecting in titles 186
adding 202 setting tabs in 191
deleting 204 text box, resizing 185
moving 203 text tools 185
straight cut, defined 238 Texturize effect 141
streaming video 215 Tiles effect 141
streaming, defined 238 time ruler
striping, defined 238 Effect Controls window 114
Strobe Light effect 140 Monitor window 68
strobe, creating the effect of 140 Timeline window 68, 71
strokes, in titles 192 Time Stretch command 84, 91, 93
styles, creating for titles 195 Time Stretch tool 91
summary keyframes 172 timebase, setting for project 43
superimposing timecode
defined 238 about 51
video 158 defined in Glossary 239
S-video, defined 238 display in Capture window 51
Swap Channels effect 145 recording at specific 218
synchronizing clips 90 Timeline button 68
timeline markers
T adding 97
tabs deleting 98
creating in titles 191 moving 98
in windows 30 Timeline window
Take Video/Take Audio button 78 about 68, 70
technical support 5 adding tracks 79
television standards 53, 211 deleting gaps in 88
templates display style 71
about DVD 198, 205 inserting clips 74
changing DVD 208 keyframe editing in 167
choosing DVD 205 moving through 70
creating in Photoshop Elements 59 overlaying clips 75
customizing DVD 206 retrieving frames 83
deleting buttons 207 selecting clips 85
for titles 183 snapping 89


trimming 80 Audiences options 227

zooming 71 Metadata options 228
zooming while inserting 78 Multiplexer options 227
Tint effect 141 Transform effect 141
Title Safe Area option 43 transforming, text and shapes in titles 188
titles transitions
adding colors and shadows 192 about 147
adding text 185 adding between clips 149
arranging text and shapes in 189 aligning 150, 151
changing fonts in 187 applying 149
changing properties of 188 border 156
drawing shapes in 188 centering 156
drop shadows in 194 default, changing 77
fills in 192 duration 153, 154
gradient types and options 193 Gradient Wipe 157
horizontal text 185 Image Mask 157
importing graphics into 194 orientation 156
new 181, 183 playing forward or backward 156
opening existing 182 previewing 150, 155
resizing text box in 185 repeated frames 147, 148
scrolls and crawls in 196 replacing 151
selecting text in 186 settings 155, 156
showing video behind 184 single- vs. double-sided 148
strokes in 192 smoothing edges 156
styles in 195 starting and ending frames of 156
tab stops in 191 transparency
television display of 184 See also opacity
templates for 183 adjusting 160
text tools 185 creating with Keying effects 160
vertical text 185 options for creating 158
Titles workspace 26 terms defined 158
title-safe margins 184 traveling matte 162
tonal range, adjusting 126 Treble effect 145
Track Matte Key effect 141, 162 trimming
tracks about 80
adding 79 by setting duration 84
deleting 79 defined in Glossary 239
display style 71 in Monitor window 82
naming 79 in Timeline window 80
resizing 72 retrieving frames 83
Transcode Settings troubleshooting 51
Alternates options 227 general 5


tweening, defined 239 VST plug-ins 109

Twirl effect 142
W
U Wave effect 142
undoing changes 32, 39 Wind effect 142
Ungroup command 95 windows
Unlink Audio And Video command 96 adjusting brightness of 30
menus in 30
V tabs in 30
Vertical Flip effect 142 working with 28
Vertical Hold effect 142 WMA format 53
vertical text 185 work area bar 103
video workspaces, arranging 29
See also clips World Wide Web 216, 224
fading 160 See also Internet
flicker removal 56
supported formats for 52 Z
tracks, increasing default number of 45 Zig Zag effect 142
video capture card, defined 239 Zoom-In button 71
Video CD 229 zooming
video format, defined 239 Monitor window preview 103
videotape Monitor window time ruler 69
capturing from 48 Timeline window 71
data rate for 215 while inserting 78
exporting to 217 Zoom-Out button 71
Volume effect 145

Tutorial Adobe Premiere Elements

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Tutorial Adobe Premiere Elements

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Adobe Premiere Elements Help Using Help

Using Help | Contents | Index Back 1

Using Help | Contents | Index Back 1

Using Help | Contents | Index Back 2

To find a topic using the Search command (Acrobat 6):

Using Help | Contents | Index Back 2

Using Help | Contents | Index Back 3

Using Help | Contents | Index Back 3

Using Help | Contents | Index Back 4

Learning About Adobe Premiere

Finding Help for Adobe Premiere Elements features

Want a comprehensive list Choose Edit > Keyboard Customization.

Finding Adobe Premiere Elements training resources

Are looking for background See the Glossary on page 232.

Using Help | Contents | Index Back 4

Using Help | Contents | Index Back 5

Finding Adobe Premiere Elements training resources

If you . . . Try this . . .

Finding support for Adobe Premiere Elements

If you . . . Try this . . .

Working with Adobe Premiere Elements

If you want to add polish to video

If you want to add sound and music

Using Help | Contents | Index Back 5

Using Help | Contents | Index Back 6

If you want to share movies with friends and family

If you want to customize your editing environment

Using Help | Contents | Index Back 6

Using Help | Contents | Index Back 7

Key Features in Adobe Premiere

Using Help | Contents | Index Back 7

Using Help | Contents | Index Back 8

Using Help | Contents | Index Back 8

Using Help | Contents | Index Back 9

Help when you need it

Using Help | Contents | Index Back 9

Using Help | Contents | Index Back 10

Using Help | Contents | Index Back 10

Using Help | Contents | Index Back 11

2. Open the tutorial project.

Using Help | Contents | Index Back 11

Using Help | Contents | Index Back 12

3. Delete unnecessary clips.

4. Trim a clip in the Timeline window.

Using Help | Contents | Index Back 12

Using Help | Contents | Index Back 13

5. Create a mini-slideshow with still images.

Using Help | Contents | Index Back 13

Using Help | Contents | Index Back 14

6. Preview the slideshow.

8. Preview the movie and save the project.

Using Help | Contents | Index Back 14

Using Help | Contents | Index Back 15

Apply effects and transitions

Using Help | Contents | Index Back 15

Using Help | Contents | Index Back 16

2. Delete the audio portion of the clip.

3. Split the clip.

4. Display the Effects workspace.

Using Help | Contents | Index Back 16

Using Help | Contents | Index Back 17

5. Apply an effect to the clip.

7. Apply a transition to fade out the movie.