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A new pull-down menu in each monitor panel gives you direct access to playback resolution options, and a new Settings button provides easier access to monitor display options, including the ability to display different field orders, alpha channels, and several measurement tools. R K All source images Mattel, Inc. In addition, double-clicking a fader returns it to 0dB, and the mixer includes separate decibel-level scales for meters and faders.

Contextual menus provide a number of options, including the ability to reset peak level indicators, show valleys at low amplitude points, change the displayed decibel range, and choose between dynamic peak indicators that update every three seconds or static peak indicators that hold the loudest peak until reset or until playback is restarted.

And when signal is present peak levels are displayed numerically below each meter, giving precise visual feedback about your audio signal levels. The Audio Mixer panel in Adobe Premiere Pro CS6 has a sleek new look that provides fast, accurate visual feedback about your audio signal levels.

Plus, the faders automatically scale when you resize the panel. New, scalable, master Audio Meter panel Meter and mix audio with greater finesse. The redesigned Audio Meter panel can be easily resized, and it automatically switches from being oriented vertically to being oriented horizontally when you increase its horizontal dimensions. The revamped Audio Meter panel also includes buttons for soloing each of the audio channels, and the Audio Meter panel now meters content that is playing in the Source Monitor.

And, as in the Audio Mixer, a new contextual menu provides a number of metering options. When in Icon view, clips can be selected and scrubbed by using the clip playhead, standard J-K-L or spacebar keyboard shortcuts, or by hover scrubbing with your cursor.

Hover scrubbing can be quickly and easily toggled on and off by simply pressing the Shift key. All of these capabilities save you time by eliminating the need to open a clip in the Source Monitor panel, allowing you to more quickly find, compare, and log shots.

Plus, when the panel is resized, the thumbnails automatically scale to fit. Best of all, you can mark In points and ut points directly in the clip thumbnails in the Project panel for ultra-fast initial editing. In addition, hovering your mouse over these icons displays vital information about the media, including details about its use in your sequences. Double-clicking folders in the new Project panel opens media bins that behave just like the Project panel. When hovering the cursor over a clip, you can scrub through it by simply moving the cursor from side to side.

New icons show you whether your clips contain video or audio components. Hovering your cursor over them reveals vital clip-usage details. Clicking them displays the sequence they are used in. In Icon view, you can select and play clips with the clip playhead shown and by using standard J-K-L or spacebar keyboard shortcuts. Resizable thumbnail views in the Media Browser panel Like the Project panel, the Media Browser panel in Adobe Premiere Pro CS6 now lets you view and resize clip thumbnails, providing more immediate, visual access to your content.

Clips can be selected and scrubbed using the clip playhead or via standard J-K-L and spacebar keyboard shortcuts. Hover scrubbing is also supported in the Media Browser panel. To quickly add clips to your projects, simply drag them from the Media Browser and hover the cursor over the Project panel; when it opens, release the mouse to drop the clips into your project.

Its components the playhead, In points, ut points, and the duration of the portion of the clip that they define have been revamped, and new marker functions have been added. The work area bar, which specifies the area of a sequence that you want to preview or export, can now be toggled on and off using the Timeline panel menu. Powerful new markers Now when you add clip markers, Encore chapter markers, web links, and Flash cue points in the Source Monitor, Program Monitor, or Timeline panel or import them from Adobe Prelude see page 12 they are displayed in color.

This makes them easier to spot at a glance in a complex timeline. You can also assign duration to them previously, only sequence markers could be assigned duration. In addition, comments added to markers are displayed next to the markers.

If no comment is entered, the marker name is displayed. Multiple markers can be added at the same temporal location, allowing more than one stakeholder to add notes and comment on clips.

The Marker window lets you see all of the markers in an open clip or sequence, complete with vital details associated with them, such as color-coded tags, In points, ut points, and comments. Clicking on a clip thumbnail in the Markers panel jumps the playhead to the spot of that marker, speeding up your editing workflow.

Adobe Premiere Pro CS6 includes powerful new features and keyboard-driven editing enhancements for handling a broad range of common tasks with greater precision, as well as more than 50 enhancements to make editors switching from another NLE feel comfortable with their move to Adobe Premiere Pro.

Powerful new trimming features Adobe Premiere Pro CS6 gives you a number of powerful options for quickly selecting and shifting edit points, including dynamic trimming via standard J-K-L keyboard shortcuts, enabling you to get top-notch results faster than ever. Ripple, Roll, and regular trims can be performed in the timeline by dragging edit points with the mouse, by using keyboard shortcuts, by using the numeric keypad, or entering dynamic trimming mode and using J-K-L keyboard shortcuts to dynamically trim your clips by playing through to the edit point and then executing the trim where you stop playback.

When entering trim mode the Program Monitor will switch some of its buttons and other interface elements to a simplified two-up display, complete with buttons for performing some trimming functions, while retaining its usual overall size. A B All source images Mattel, Inc.

The new Trim Mode in the Program Monitor provides a two-up display showing the outgoing A side and incoming B side frames. Buttons for performing some trim functions and applying default transitions, as well as counters that let you keep track of how many frames have been trimmed, are conveniently located beneath the two-up display. Keyboard shortcuts for trimming Adobe Premiere Pro CS6 includes more than 10 convenient, assignable keyboard shortcuts for trimming that let you select edit points based on the position of the playhead and track targets.

Another keyboard shortcut lets you quickly cycle between trim types, and pressing the Ctrl key Windows or the Command key Mac S while positioning the cursor over or next to an edit point gives you even more options for quickly choosing a trim type. More intuitive and customizable keyboard shortcut sets Adobe Premiere Pro CS6 is designed by editors, for editors and lets you work the way you want by providing even more intuitive preset keyboard layouts that can be customized.

Gestural control on Macs Use pinch controls on Mac desktop computers with a Magic Trackpad or Mac laptops to quickly zoom in and out of the timeline and other panels. Easily navigate the Timeline and Effect Controls panels using pinch-to-zoom and two-finger scrolling.

Fast, easy application of effects Speed up the process of adding effects. With one or more clips selected in the timeline, doubleclicking an effect in the Effects panel automatically applies that effect to the selected clips. Adjustment layers Easily and quickly apply effects across multiple clips. Now you can create adjustment layers, similar to those in After Effects and Photoshop, to apply effects once to the adjustment layer and have the effects automatically modify all of the underlying tracks.

What is parallax? Parallax is the phenomenon that causes objects closer to a camera to move more, relative to the frame, than do items further away. It can also cause objects in frame to move in opposite directions; for example, if the camera revolves around a mid-ground subject, the foreground and background will move in opposite directions. Enhanced, flexible audio tracks The new default audio track type, called Standard, lets you freely combine and pan mono and stereo clips.

For more advanced audio workflows, new Multichannel master and Adaptive track types give total audio routing flexibility and easy export to multichannel file types. Render In to ut The In to ut range on the timeline can now be rendered via two menu items.

Both commands are keyboard shortcut-assignable. Being able to render the In to ut range saves time by giving you the option to render specific areas of interest. Warp Stabilizer effect for stabilizing uneven shots Thanks to the proliferation of small-format cameras that are capable of producing incredibly high-quality HD video, the need to stabilize shaky, uneven handheld footage has never been greater. Apply the Warp Stabilizer effect to a video clip, and let Adobe Premiere Pro perform analysis and stabilization.

Analysis begins automatically, without the need to make any decisions whatsoever. Stabilization progress is displayed onscreen in a two-step process, first analyzing and then stabilizing; once the second step is complete, the result is ready for immediate review. Warp Stabilizer doesn t just smooth the motion of the camera; it removes motion artifacts that would otherwise remain after stabilization.

Warp Stabilizer processes individual areas of the frame separately to compensate for parallax. If these corrections are not desired, other modes can be used to stabilize only perspective, or scale and rotation, or even just position. You can raise or lower the default amount of smoothness, which has a direct effect on the amount of scaling. You can t stabilize a shot without some scaling to compensate for missing areas of frame, but this innovative approach requires less zooming than most available alternatives.

In the advanced controls, you can decide whether to create a smoother shot with more cropping, or reduce the amount of both cropping and scaling by reducing the overall degree of smoothing.

You also have control over image behavior at the borders. In some cases, reducing the amount of cropping and scaling will reveal blank space at the edges of the frame where there is no image data.

When you choose the method called Stabilize And Synthesize Edges, the borders are automatically filled in using information from adjacent frames. In other cases, you may prefer to crop without scaling or just to stabilize, leaving the gaps at the edge of frame in place.

Warp Stabilizer works in the background to analyze and stabilize the shot while allowing you to continue editing in Adobe Premiere Pro. Rolling Shutter Repair effect Building on the rolling-shutter technology introduced with Warp Stabilizer, the new Rolling Shutter Repair effect allows you to correct distortion artifacts that can result from scanning a CMS imaging sensor vertically or horizontally during recording. The effect s advanced controls can be used without having to also apply stabilization to your shots, and can correct: Wobble Also known as the jello effect, a phenomenon that causes shots to appear to quiver unnaturally.

Most common in handheld shots taken at telephoto settings and when the camera vibrates say, by being attached to a mountain bike or car. Warp Stabilizer offers you considerable control over automated results without the need for placing any actual keyframes in the timeline.

The Subspace Warp option, chosen by default, performs pixel analysis to correct for motion artifacts. This correction is necessary to complement the change in perspective that results from stabilization, which changes parallax within the shot. Skew A variation of wobble, where images appear to bend diagonally in one direction or another because the camera or subject was moving, exposing different parts of a single frame at different times. Smear Artifacts that occur when objects move at the same rate that the camera reads the frame.

Smear can make objects for example, the blades of a fan or spokes on a wheel appear thinner on one side, thicker on another, and disconnected at their center. Expanded multicam editing Whether shooting an expensive, difficult-to-repeat special-effects shot or covering a live event from every imaginable angle, modern multicam editing workflows need to accommodate a great many camera angles.

Adobe Premiere Pro CS6 offers expanded multicam support, effectively allowing you to work with as many cameras as you have on your shoot.

Previously, it was possible to work with multicam footage from four cameras. Now, you re limited only by the formats you re working with and the power of your editing machine. Simply select your multicam clips in the Project panel, right-click on the selected items, and from the context menu choose Create Multi-Camera Source Sequence. A dialog box presents you with the only choices you need to make: naming the sequence and choosing whether to use timecode, In points, ut points, or clip markers as the sync references.

Adobe Premiere Pro automatically adjusts the multicam grid to accommodate the number of cameras in your shoot. The minimum grid size is 2x2, but if you shot with seven cameras, the multicam grid will expand to 3x3; if you used 16 cameras, the grid will be 4x4; and so on. The Multi-Camera Monitor plays the footage from each camera in a grid that automatically adjusts to accomodate the number of cameras in your shoot left and a preview of the recorded sequence right. The active camera is indicated by a yellow border when in playback mode and a red border when recording.

Using the Create New Sequence From Clip command, you can create a target sequence from the multi-camera source sequence, and then create or perform an edit by playing back your footage in the Multi-Camera Monitor, switching camera angles with the click of a mouse or, better yet, the press of a keyboard shortcut while recording the result in a multi-camera target sequence.

Adobe Premiere Pro CS6 includes convenient keyboard shortcuts, assigned by default, for the first nine cameras, with 16 assignable keyboard shortcuts in all. If you need to create more than 16 keyboard shortcuts, no problem Adobe Premiere Pro CS6 lets you create customizable keyboard shortcuts and store shortcut sets with ease.

After you ve created a multicam edit, you can refine it, either by re-performing sections of your edit from within the Multi-Camera Monitor or by using traditional editing tools, applying effects, correcting color, and so on. In Adobe Premiere Pro CS6, performance and stability have been boosted yet again, thanks to sweeping optimizations and enhancements that let you smoothly play and scrub through multilayer, multiformat sequences that include HD, 5K, and even higher resolution footage that is steeped in effects.

Dynamically scalable, natively bit, GPU-accelerated, and optimized for today s lightning-fast multicore CPUs and now with improved support for third-party hardware the enhanced Mercury Playback Engine delivers astounding performance, with or without a GPU. This lets you work on dense, complex projects using a fast, GPU-enabled workstation, and then bring them onto a lesser-powered computer and continue working without skipping a beat.

Support for new NVIDIA Maximus dual-gpu configurations delivers even more extreme performance for tackling the most demanding workflows. This gives you the power to achieve greater levels of interactivity, explore new ideas, and see results in less time all at your desktop. With these cards, you will see results instantly when vector keying with the Ultra keyer, applying blend modes, correcting color with the new, more intuitive Three-Way Color Corrector, and working with many other effects.

You ll also be able to open very large projects faster than ever, and play back long-form, mixed-format sequences even more reliably. Compared to CPU-only rendering using a quad-core Intel i7 processor running at 2. A Quadro yields a better than 8x performance boost, while a top-of-the-line Maximus system powered by a Quadro and Tesla C is over 9x faster.

Results will vary depending on your specific projects and hardware configuration, but these preliminary results give an indication of the benefits of GPU-accelerated effects processing in Adobe Premiere Pro CS6. And when using external monitors, you ll get full-screen playback while maintaining all the real-time performance benefits of the Mercury Playback Engine.

Uninterrupted playback Get real-time feedback as you fine-tune your productions, and be creative without worrying about the ramifications of additional effects and high-resolution content. With the new uninterrupted playback feature in Adobe Premiere Pro CS6, the enhanced Mercury Playback Engine supports real-time effects adjustments during playback.

Resize panels to adjust your workspace, adjust effect parameters, correct color, trim footage, mix audio, or add motion effects to achieve exactly the look you want, and even check your all in real time while your footage is playing. With configurations capable of supporting more than nine simultaneous layers with dozens of effects, the Mercury Playback Engine makes every production more creative and efficient.

The RED R3D Source Settings dialog box provides full, intuitive control over the look of RED media, with the ability to pick a white balance point and use a histogram and a five-point curves interface to adjust red, green, blue, RGB, or luma values for a clip. Plus, you can import and save RMD files as well as create custom presets. Native support lets you import footage directly from the camera s storage media and start working immediately, without having to perform time-consuming transcoding or rewrapping operations.

And because you re always working with the original source files, their quality is never compromised by conversion processes. More powerful color workflows Adobe Premiere Pro CS6 offers powerful new options for taking control over the color in your footage, including the newly redesigned Three-Way Color Corrector effect and, for tackling more demanding color grading tasks, the ability to integrate with Adobe SpeedGrade CS6 software.

Key elements in the effect s interface have been enhanced and repositioned, exposing essential And thanks to the enhanced Mercury Playback Engine, the new Uninterrupted Playback feature lets you make color corrections while your footage plays. The color wheels, which previously were positioned lower in the Effect Controls panel, are now located at its top.

Independent reset buttons for each color wheel let you return to a previous state for one wheel without having to redo the settings of the others.

The Input Levels and utput Levels sliders now act as master level controls and apply to the entire signal, not individual tonal ranges, as they did previously. The Saturation controls for Shadows, Midtones, Highlights, and Master are independently accessible in all ranges in the Saturation section. They were previously dependent on the selected tonal range. About Three-Way Color Correction The GPU-accelerated Three-Way Color Corrector effect lets you make subtle corrections by adjusting a clip s hue, saturation, and brightness for the shadow, midtones, and highlights in your footage.

You can further refine your adjustments by specifying the color range to be corrected by using the Secondary Color Correction controls. The ability to apply masks lets you zero in on and refine specific areas in your footage.

Each The Tonal color Range wheel control now includes has been an eyedropper moved up and tool is more for sampling visible when color its in your controls shots. The Secondary Color Correction section has been moved up to make it more discoverable. Using the new Send To SpeedGrade command in Adobe Premiere Pro, you can send completed sequences directly to SpeedGrade, where a completely new user interface guides you step by step through the workflow.

Adobe SpeedGrade lets you handle technical grading tasks like matching shots and creating consistent color across a scene. The GPU-accelerated, bit Lumetri Deep Color Engine delivers real-time playback as you grade footage, regardless of its resolution or frame size. High dynamic range support retains the bit-depth of your image files, while the ability to work directly with RAW images recorded straight from the camera sensor lets you pull details from blacks and highlights that might otherwise have been crushed or blown out.

SpeedGrade gives you the ability to apply primary and secondary correction layers, along with film-style filters, to your Adobe Premiere Pro sequences. These filters mimic chemical processes used by film labs to create stylized looks on celluloid, such as bleach bypass, the retro look of early Technicolor 2-strip or 3-strip color film processing, and day-for-night.

Professionally designed. Efficient ingest and logging with Adobe Prelude integration available separately Adobe Prelude CS6 software available separately as a component of Production Premium or Master Collection or the Adobe Creative Cloud service makes ingesting, logging, and commenting on media a fast and efficient process.

Designed from the ground up to integrate with Adobe Prelude allows you to ingest full or partial media clips that were shot in virtually any file-based format, copy or transcode them to your preferred editing format during the ingest process, and view clip thumbnails in the Ingest dialog box as you work. While watching footage, you can create rough cuts by marking In points and ut points and add searchable temporal markers, comments, and tags to your clips.

All of that information is stored as metadata in your media files, which flows directly into Adobe Premiere Pro when you import the files. And when you start editing, those searchable metadata-based markers, comments, and tags help communicate the producer s intentions as well as help you sift through mountains of footage to quickly find what you re looking for.

Better still, that same metadata stays with your media assets throughout the production workflow, so you and your clients can keep track of vital details such as rights and permissions, and when finished projects are delivered online, your audience can more easily find your content via search engines.

Improved, open workflows with other Adobe Creative Suite Production Premium components, Final Cut Pro, and Avid software Modern workflows involve using many different applications, and moving media and sequences between them often requires format conversion, specialized plug-ins, tedious workarounds, or a lot of manual work to recreate elements that don t transfer. Enhanced support for industry-standard interchange formats and the faster-than-ever Dynamic Link let you put the creative tools in Adobe Premiere Pro CS6 to use in any production pipeline.

Timesaving Adobe integration Adobe Dynamic Link eliminates the need for intermediate renders, so you can effortlessly open Adobe Premiere Pro sequences in Encore and After Effects, where changes made in Adobe Premiere Pro are automatically reflected in the other program. With CS6, new optimizations make Dynamic Link significantly faster than it s ever been, and you can now cancel Dynamic Link or perform other operations while using it.

Tight integration with After Effects lets you drag and drop or copy and paste clips and timelines between Adobe Premiere Pro and After Effects. Use Dynamic Link to open complete projects, including nested sequences, in After Effects without rendering.

You can even transfer groups of clips to After Effects compositions using a single command to re-create the structure of the clips in the composition when importing them with Dynamic Link. Adobe Premiere Pro lets you share projects and exchange media with those other applications, with no need to perform format conversions or time-consuming intermediate renders. Editors switching to Adobe Premiere Pro CS6 needn t be concerned about being able to work with legacy projects and media.

Efficient multiscreen delivery with enhanced Adobe Media Encoder CS6 TW R K Reaching audiences wherever they are and on whatever device they use to watch video content is an essential requirement of modern video production. The new Preset Browser, improved batch encoding performance, more new presets, and user interface enhancements in Adobe Media Encoder CS6 make outputting your work to multiple formats a faster, more intuitive process.

All rights reserved. For example, panels can be grouped in frames; panels and frames can be positioned, sized, and floated to your liking; and workspace configurations saved. L A new Preset Browser panel provides convenient ways to display and find the encoding presets you want. Numerous presets have been added to support a wide variety of Android devices, and there are more than 20 iphone, ipad, and Apple TV encoding settings, as well as more presets for outputting to YouTube, Vimeo, and PAL.

Presets can be customized and grouped according to your needs. S Applying presets is now as easy as dragging any number of selected presets onto your source file s in the Queue, a process that automatically creates an encoding batch.

Alternately, you can drag a selection of source files in the Queue onto an encoding preset in the Preset Browser panel. The bins in the Custom section of the Preset Browser allow you to collect sets of encoding presets that you use routinely. Dragging the bin onto a source file in the Queue automatically creates a batch of encoding jobs. In addition, Adobe Media Encoder CS6 includes numerous optimizations that deliver increased reliability and stability, while parallel processing speeds up the batch encoding of your source files to multiple formats.

Encore is now a About upper-field first video Interlaced video frames consist of two fields. The field order for an interlaced video footage file determines the order in which the two video fields upper and lower are displayed. A system that draws the upper lines before the lower lines is called upper-field first; one that draws the lower lines before the upper lines is called lower-field first.

Additionally, under-the-hood performance enhancements allow you to import MPEG-2 assets more quickly and reduce the time required to save slideshows.

Scrubbing in the timeline is also more responsive, eliminating playhead stutter. DVD and Blu-ray Disc authoring enhancements Encore CS6 supports 8-bit color for highlight buttons and now uses the same powerful indexing algorithm used in Photoshop to produce images and pop-up menus of better quality and a wider range of colors. Previously, Encore slideshows were limited to 99 photos.

In this release, that restriction has been lifted, freeing you to create much larger slideshows. Enhanced web DVD authoring The powerful web DVD authoring features in Adobe Encore CS6 let you create web versions of your Blu-ray Disc projects that fully replicate their functionality, thanks to new support for advanced features that were previously exclusive to Blu-ray Disc projects, including: Multipage menus Show options across multiple menu pages without interrupting playback of audio and video background elements in web DVD projects Pop-up menus Display navigation options transparently above the currently playing video clip Button transitions Play transitions for web DVDs while navigating from menu buttons to a timeline Menu loopback Quickly loop the motion menu from a specific point especially useful when a long interval separates the start and end point All source images Mattel, Inc.

Web DVDs enable you to deliver Blue-ray Disc experiences online, complete with pop-up menus and Blue-ray transport, subtitle, and menu controls. These include tighter tool integration, support for more video formats, and workflow enhancements that accelerate turnaround times, as well as the following: Dual-system sound support via merged clips.

Easily create subclips that match high-quality audio with video shot on a separate device, such as a DSLR camera. The Merge Clips feature saves time and streamlines dual-system sound workflows. Roundtrip workflows with Adobe Audition. Get a fast, flexible roundtrip audio workflow. Script-based editing and direct integration with Adobe Story. Edit video based on the imported Adobe Story script. Closed captions display in the timeline U. Play back and display and closed captions, synced to your video sequence and viewable in the Program Monitor.

Get amazing performance with the Mercury Playback Engine on workstations and laptops. Natively 64 bit, CPU optimized, and GPU accelerated, this engine delivers real-time effects, faster rendering, and superb multilayer handling.

Batch encoding in the background. Work more efficiently when transcoding. Adobe Media Encoder transcodes files in the background, freeing your system for other tasks. GPU-accelerated effects. Speed up your creative workflow by seeing the results of many effects without having to render them first, thanks to GPU acceleration and the enhanced bit Adobe Mercury Playback Engine.

Broad native format support. Maximize quality and eliminate time-consuming transcoding and rewrapping when importing your footage. Import and export all major video, audio, and graphic file formats, and combine them in the Adobe Premiere Pro timeline.

Adobe Dynamic Link. Changes made in Adobe Premiere Pro are automatically reflected in the other program. High-quality Blu-ray Disc authoring. Dual-system sound support via merged clips. For more information, visit Broadband Internet connection and registration are required for software activation, validation of subscriptions, and access to online services.

For updates to system requirements and more detailed information about video hardware compatibility, visit Expected release date Second quarter For more information Product details: Windows Intel Core 2 Duo or AMD Phenom II processor; bit support required Microsoft Windows 7 with Service Pack 1 64 bit 4GB of RAM 8GB recommended 4GB of available hard-disk space for installation; additional free space required during installation cannot install on removable flash storage devices Additional disk space required for preview files and other working files; 10GB recommended x display pengl 2.

Android is a trademark of Google Inc. All other trademarks are the property of their respective owners Adobe Systems Incorporated. Workshop Objectives Become familiar with the Final Cut Pro workspace, basic editing, capturing footage, using tools, exporting to tape, or QuickTime. Learn effective workflow and file management strategies. A lot of the the tips in this PDF are going to be straightforward, or functions you already know.

Most importantly, this will give you a solid definition for nearly every word a fellow video editor might use on a daily basis. This is absolutely perfect and more digestible than the official user guide for a brand new user. This basic guide is written by a user of Adobe Premiere Pro CC, so it only touches on the things that a user will come up against.

This trims the fat from other intro guides, while still being detailed about the important things. This is the perfect Premiere Pro tutorial PDF for someone who is moving from a simpler editor like iMovie, into the more advanced world of Premiere Pro. In other words, having some video editing knowledge and the desire to do more with your editor will make this PDF more valuable! The software itself has changed a bit but the actions you take will be the same.

This tutorial PDF is packed with useful tips, in addition to step-by-step instructions with example clips! For people that learn visually, this is a good PDF to read. For a great middle ground in terms of length and detail, this PDF guide is perfect.

At 28 pages, it covers all of the basics of Premiere Pro, as well as some level of detail in important areas. This will take you through all of the important things you need to know. This was written by a band who recorded and edited a music video. They go through the process from that perspective.

Which means there is a bit of bumbling around, and referencing other good tutorials. This is a very human approach that opens the door to plenty of other lessons.

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