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1. #VIDEO TRAINING ADOBE PREMIERE PRO CS5 HOW TO#
2. #VIDEO TRAINING ADOBE PREMIERE PRO CS5 FOR MAC#
3. #VIDEO TRAINING ADOBE PREMIERE PRO CS5 MP4#
4. #VIDEO TRAINING ADOBE PREMIERE PRO CS5 SKIN#

With this Gopro video converter software, you can effortlessly transcode Gopro MP4 to MPEG-2 or MOV that are the most compatible format with Premiere Pro.

#VIDEO TRAINING ADOBE PREMIERE PRO CS5 FOR MAC#

You also can use Pavtube Video Converter for Mac I used above to transcode GoPro video to Premiere Pro CC, CS6, CS5, CS4.

#VIDEO TRAINING ADOBE PREMIERE PRO CS5 HOW TO#

How to Convert GoPro Video to Premiere Pro CC, CS6, CS5, CS4? If you only need to edit one quick clip, you don't waste time on the conversion. But the condition is that you need to edit multiple GoPro clips in Premiere Pro. So, I think it is necessasy to convert GoPro video for Premiere Pro. But later, when I start to play them on Premiere timeline, I did notice that the original GoPro compressed (.mp4) file did get a little laggy when switching back and forth. Both the files are first glance, they look very similar and you can tell the difference any more. Then I use Pavtube Video Converter for Mac to convert a GoPro video to MOV to import Premiere Pro CC. On my PC, I import an original GoPro’s memory card .mp4 clip to Premiere Pro CC. Is there really any need to convert GoPro videos before importing into Adobe Premiere pro? Is It Necessary to Convert GoPro Videos for Premiere Pro (CC, CS6, CS5, CS4)?īefore answer the question, the best is to test it by yourself. But the truth is that we can put GoPro video straight into Premiere Pro. Before the import, many people like to convert GoPro video file. We need to adjust the face without pulling the blacks off of the 0 IRE value and without boosting the whites way into the 110 or 120 range.When you shoot GoPro videos, you might want to import GoPro videos to Premiere Pro including Premiere Pro (CC, CS6, CS5, CS4) for editing. So when I say the face is too dark, basically what I’m saying is that the values are clumped between 50 and 60 and I would prefer to see them between 60 and 70, or even 65–75.

#VIDEO TRAINING ADOBE PREMIERE PRO CS5 SKIN#

Whatever adjustments you make, you want to make sure that blacks portions of the image stay at zero, and for a subject in my skin tone range, you want the face to be between 70 and 80 IRE. Second, we want the blacks to be around zero once the blacks come off of zero, everything starts to look faded. When we look at a Waveform, there are two things we care about: First, we want the maximum whites to be up close to 100. I like the intensity set to 100 because it’s easier to read, but these are subjective and you can find the settings that work best for you. I like my blacks to be set at zero IRE, so I’ll click set up and bring the blacks down to 0. Deselecting Chroma so we see only Brightness adjustments represented in the waveform. I prefer to show only brightness adjustments so I’ll deselect the Chroma checkbox at the top of the Reference monitor (Figure 4, below).įigure 4. The clump of pixels representing my face in the Waveform monitor.

So it’s pretty easy to see exactly what you’re adjusting in the Waveform monitor and that’s helpful for a couple of reasons that we’ll discuss throughout the tutorial.įigure 3. If I move the video back and forth, that clump of pixels moves as my head moves, which highlights the fact that the horizontal location of the pixels in the video corresponds to where they’re located in the Waveform monitor.

You can see my face in the Preview Monitor on the right, which is represented by the clump of pixels circled in Figure 3 (below). (The Brightness value of the black you see in Figure 2 is 7.5.) After the adjustments that we’ll make in the Waveform monitor, the black portions of the image will be close to zero and the whites will be close to 100. The Waveform monitor shows the Brightness value of the pixels on a scale from 0–100 IRE, with 0 being black.

Selecting YC Waveform in the Reference monitor. The Reference monitor opens with composite video showing change it to the Waveform monitor by clicking the Output button and selecting YC Waveform Figure 2 (below).įigure 2. Working in Premiere Pro’s Waveform Monitorīefore adjusting brightness in Premiere Pro, open the Waveform monitor by first selecting Window > Reference monitor. The clip we’ll work on, with multiple color issues. So we’ll fix both of those with the Fast Color Corrector.įigure 1. There are two problems: First, the color is a bit off-the sign is white and not brown-and second, my face is a bit too dark. Let’s take a look.įigure 1 (below) shows the clip we’ll be working with, which was shot at Streaming Media West in Los Angeles last year. If you’re a Final Cut Pro 7 user, I’ll also show you that Premiere Pro’s tools work very similarly to those that you’re used to and should be much easier to learn than those used in Final Cut Pro X. In this tutorial, I’ll show you how to correct color and adjust brightness and color saturation with Adobe Premiere Pro’s Fast Color Corrector. When you compress video for the web, the video can darken and colors can become muted.