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Digital Storytelling
ADOBE PREMIERE PRO for WINDOWS XP: a tutorial
by Daniel Meadows December 2004
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"For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood." Roland Barthes, Camera Lucida (originally published in French as La Chambre Claire , Editions du Seuil 1980).
Time ran out for Barthes in 1980 when, aged 64, he was run over in Paris by a laundry van.
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"No one is just like anybody else. No one, in fact, is even who he or she was ever supposed to be. No one was supposed to step out from their fellows and stand alone
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contents
- might have a voice." Greil Marcus: Granta no. 76, to say their piece, to thrill those who stand and listen with the notion that they, too, - 1. The Accompanying CD Part One : THE ROUGH-CUT page - 2. Watch the Digital Story Scissors - 3. File Discipline - 4. Premiere is a Professional Editing Tool - 5. Beginnings - 6. Arranging Your Workspace - 7. The Editing Process - 8. Getting Started - 9. The Timeline
- Putting the Voice-Over into the Timeline
- Timeline Tools (a first look)
- Putting Your First Picture into the Timeline
- To Make an Image Appear for a Longer or Shorter Period in the Timeline
- Measuring Clip Duration
- Moving an Image Around the Tracks
- Save As
- Inserting a Video Clip
- Preparing a Video Clip for use in the Timeline
- Timeline Tools (another look)
- Completing the Rough Cut
- The Cut Part Two: COMPLETING YOUR FILM
- The Cross Dissolve
- To Make a Zoom
- Making an Extreme Zoom
- Transparency
- Combining Effects: "Chroma Key", "Luma Key", "Opacity" and "Motion"
- Importing Music from an Audio CD
- Adjusting Volume in the Audio Track
- Rendering
- Playing Out to Tape
- Post-production
- Users do not have to be familiar with the jargon of video editing, something which makes it the tool of choice over market leaders like Avid and Apple's FinalCut Pro;
- Premiere can function perfectly well with a single standard 15 or 17 inch screen whereas Avid conventionally runs on two screens and users of the Mac- only application FinalCut Pro find it easier to work with one of Apple's large 23 inch "cinema display" screens;
- Premiere's desktop appearance and navigational tools are similar to those in other packages from Adobe which are used by Digital Storytellers, like Photoshop and Encore;
- It can export Digital Stories in a variety of formats including tape, DVD, QuickTime, RealMedia, Windows Media and MPEG;
- Adobe's education and charity sector discounts are generous.
- File Discipline. When you complete this tutorial and embark on making a Digital Story of your own, you will need to create, on your desktop, a set of folders which exactly replicates the set of folders shown here in the "D'Storytelling_Tutorial" folder. Call the desktop folder by the name of the Digital Story you are making thus: "scissors" (no inverted commas) and, inside it, create seven other folders as follows:
projects scans sized_images soundtrack titles video voice-over
It is very important that you use these folders, and only these folders, to store the pictures and sounds (multimedia "assets") that you are going to use in the making of your own film. This is your special place on the computer.
- Beginnings. Okay, for the purposes of this tutorial, you will use to use the assets contained inside the "D'Storytelling_Tutorial" folder on your desktop.
Open Premiere from your desktop by double clicking its shortcut icon ADOBE PREMIERE PRO. The horse graphic appears ( its design, I notice, owes much to the work of the 19th^ century photographer of animal locomotion Eadweard Muybridge ), followed by the WELCOME screen. Here you have three choices: you can open a recent project, a new project or and existing project. Choose "New Project" and the NEW PROJECT window opens. Here you are offered a choice of Presets for making your film. These settings refer to the film format you are going to output from your computer. You can use one of these Presets or we can create a Custom setting of our own. We are going to use a Preset.
In the AVAILABLE PRESETS window click the little "+" sign next to the DV-PAL folder and it will open to give you a choice of settings. Select "Standard 48kHz". In the DESCRIPTION window you will see that this setting is for editing with Firewire DV (Digital Video) equipment in Standard PAL (which is the European TV format) in an aspect ratio of 4:3 with a quality of audio that matches most DV cameras.
In the LOCATION window make sure that the project will be saved in the "D'Storytelling Tutorial\projects" folder. In the NAME window type a name for your project which, I suggest, should be your own name thus: "Firstname Lastname 01" (no inverted commas). Click OK.
- Arranging Your Workspace. The very first time you open Premiere Pro in your PC a large number of windows suddenly appear in your workspace and this can be confusing. So, close all of the windows (click the little cross in their top r- h corner) except for the PROJECT window, the TIMELINE window and the MONITOR window. Also, you should leave the TOOLS window open. (Strictly speaking the TOOLS window is a "palette", a small panel of a fixed size that always appears in front of all the other windows. To open it, or any of the windows or palettes, go to WINDOW in the Menubar.)
From now on, every time that you open Premiere, the arrangement of windows in the workspace will be as it was the last time you left it. (Premiere remembers where you were when you closed down last, even if you are embarking on an entirely new project.)
You will find that you can drag around any of Premiere's windows by click>dragging in their blue titlebar. Shrink and enlarge windows by click>dragging in their bottom r-h corner (in the little triangular box made up of diagonal lines). As you assemble your project you will, from time to time, find yourself opening and closing windows, so it is best to get used to the idea that your Premiere desktop is a fluid space.
Even so, it does make sense to save a default arrangement, a "Digital Storytelling" workspace, a one-click option to restore order to your screen. This you can do by moving windows around and then saving the arrangement; go to WINDOW in the Menubar and dragging down to WORKSPACE > SAVE WORKSPACE. The best arrangement for Digital Storytelling is as follows:
- Have the TIMELINE window fill the bottom half of the screen, leaving just enough space at the l- h side for the TOOLS window;
- Put the PROJECT window in the top left of the screen. Near the top of it, just beneath its "X" (close) button, you will see there is a little right-facing arrow. Click this and select VIEW > ICON >PREVIEW AREA. And under THUMBNAILS select SMALL.
- Put the MONITOR window in the top right of the screen. Near the top of it, just beneath the "X" (close) button, this window also has a little right- facing
Video" goes into the "video" folder of your project's folder (in this case the "D'Storytelling Tutorial" folder) on the desktop, and "Captured Audio" goes into the "soundtrack" folder of your project's folder on the desktop. The other three — "Video Previews", "Audio Previews" and "Conformed Audio" — should all have the "Same as Project" option selected.
Before leaving the "Preferences" window, click on "Still Images" in the l-h list on "Still Images" and type 50 frames (there are 25 frames in one second, 50 frames in two seconds and so on). The Digital Storytelling Tutorial works best when the sized images are imported into the project with a default Timeline duration of two seconds.
Click OK.
Now we can get going.
We begin by "importing" our source materials into our project. Follow these steps:
Select the PROJECT window (just click on it). Notice that, in the thumbnail grid, one item already exists. This is called "Sequence 01", it represents the sequence you are about to create in the TIMELINE window. Leave this alone. Go to FILE in the Menubar and drag down to NEW > BIN and a folder called "Bin 01" will be created adjacent to "Sequence 01". This bin is where you will bring your multimedia assets from their source folder on the desktop into the project so that you can begin working with them.
Go to FILE on the Menubar and drag down to IMPORT. Navigate to the desktop and double-click the "D'Storytelling Tutorial" to open it. Click once on the "sized- images" folder to select it, and then click the IMPORT FOLDER button. Straight away your "sized_images" folder appears on the r- h side of "Bin 01" in the Project Window. Drag the "sized_images" icon into "Bin 01" and then double click the "Bin 01" icon to open it.
Now, from inside "Bin 01" we can continue to import our multimedia assets, our "video" folder, our "voice-over" folder and — if we have got as far as putting anything into them yet — our "titles" and our "soundtrack" folders.
Premiere uses a "pointer" system to link the multimedia elements in the Bin with the source files in your desktop folder. So, when you ask Premiere to "import" a still or a piece of video or a voice-over, it doesn't actually grab hold of that file and move it or copy it, rather it creates an icon in the bin, an icon which points to its source in your desktop folder, remembering where to find it. So, if you change or delete one of these elements in the Timeline or accidentally delete one of them from the Bin, don't worry that you have also changed or deleted its source file. You haven't. If something has been deleted from its folder in the PROJECT window, all you need to do to put things right is just import it again.
You must not, however, move the source files from their place on your desktop. If you do move them then Premiere will not know where to look for them any more. For this reason it is very important that if, while your film is under construction, you decide to create a new image, sound or video clip, then you must make sure to put that new file in its relevant place in your named folder before you import it into Premiere.
To navigate around the PROJECT window you either double-click one of the yellow folders to open it, or you locate the folder from which a clip or picture came by clicking once on the little navigation button — grey and folder-shaped with an arrow on it — at the top left of the thumbnail images.
Okay, before we go any further we must save our work. Go up to the Menubar, click on FILE and drag down to SAVE AS. If Windows XP doesn't automatically take you to the "projects" folder inside the "D'Storytelling Tutorial" (and it probably will), then navigate your way there. Now save a new version of your project called "Firstname Lastname 02" (no inverted commas).
Note: Because, sometimes, other Premiere projects are also stored on the same hard disk as your project, it is important always to double-check that you have chosen your own projects' desktop folder and not someone else's.
From now on, as we piece our story together in the Timeline, we will SAVE AS in this way frequently so that we can preserve all our Digital Story's different versions (its "history" if you like) as we go along. You will probably end up with about 15 versions of your Digital Story, each one more advanced than its predecessor.
The point of saving AS as opposed to just saving is this: if the computer freezes or crashes (as it will), or if we make some bad decisions (as we will), or if we are careless and do something catastrophic to our film (as we might), then we have only to open the previous version of our film (FILE > OPEN RECENT PROJECT) and progress from there. The amount of time lost will be minimal. But, if we keep saving "over" the file and then we make a mess it, we will lose the whole project and have to start all over again.
While your project is under construction, it is also important that you do not throw away any of its assets or move them from their place in your named folder on the desktop. Do not put any source files from your film into the Recycle Bin. A Digital Story is not a Digital Story until it is rendered as a stand-alone piece. If you delete even one of the source files imported to your project during the construction of your story, Premiere gets itself into a fluster.
- The Timeline. The Timeline is made up of several different tracks. (Photoshop users might find it useful to think of these tracks as Layers.) Clips in tracks near the top of the TIMELINE window obscure clips in the tracks lower down. You can have up to 99 video tracks in Premiere, and 99 audio tracks. However, it's unlikely that, in
- Timeline Tools (a first look).
- ZOOM SLIDER: you will find this in the bottom l- h corner of the TIMELINE window. Click the little arrows ("mountain ranges") to the right of it — or drag the slider to the right — and you will see that two things happen. First the Timeline expands our view of it and reorientates itself around the Playhead (now moved to the middle of the window). Then, if we zoom in even further, we get an increasingly expanded view of the clip or clips which are currently under the Playhead. This tool allows us to be very accurate with our editing. To zoom out, simply move the Zoom Slider to the left.
- VIEWING AREA BAR: this is the grey bar near the top of the TIMELINE window, immediately above the Time Ruler. This gives us another way of zooming into the Timeline. It has a handle at each end (like bull horns); click>drag the r- h horn to move in close, or the l- h horn to pull back. Just now it makes sense to zoom to a position where the "01_clock_for_seeing.wav" file in the AUDIO 1 track is expanded to fill the middle of the Timeline. Also, you can use the grey rectangular slider at the bottom of the TIMELINE window (or the little black arrows at the r-h or l- h end of the slider bar) to further adjust your view of clips in the Timeline.
- SNAP TOOL. This is the little magnet tool near the top left of the TIMELINE window (under the big blue numbers of the Playhead Time Indicator). When turned on, the magnet appears in a white box. Click it to turn it on. The Snap tool helps us make certain that when we align two clips in the Timeline, they butt up properly against each other — even when they are in different tracks — and thus avoid a "flash frame" (a momentary black hole in the film created when there is an unintended space between clips).
- Putting Your First Picture into the Timeline. Go up to the PROJECT window, navigate to the "sized_images" folder, double-click on it, locate the "camera.tif" file and click>drag it into the VIDEO 1 track of the TIMELINE window, so that it's l- h end lines up with the l- h end of the "01_clock_for_seeing.wav" clip. A black ruler momentarily appears to let you know that the alignment is good. If you now hit the space bar to play the film, you will see that the camera picture shows in the MONITOR window while the voice says: "They say the camera is a…".
Congratulations, you have just completed the first two seconds of your Digital Story!
To see the clip's image as well as its name in a Video track, go to the panel at the l-h end of the track and click the little blue arrow so that it faces downwards. This expands the Video track and makes it easier for you to identify each clip.
Now go up to the "sized_images" in the PROJECT window again, locate the "clock.tif" file and click>drag it into the VIDEO 2 track of the TIMELINE window, so that it's l- h end lines up with the r-h end of the "camera.tif" clip. If you now hit the Spacebar again, the film will play and this time the camera and the clock will both
appear in the monitor window, one after the other and, what's more, they are synchronized with the voice so that the picture changes from the camera to the clock at the precise point when the voice says "clock".
- To Make an Image Appear for a Longer or Shorter Period in the Timeline. I've made it easy for you so far by creating an opening clip which is exactly the right length to synchronize with the voice. From now on, though, the clips will not fit together so neatly and you must learn how to lengthen and shorten the duration of each one for yourself.
Using the Selection tool, click on the middle of the "clock.tif" clip. A black border appears all around it to show that it is selected. Notice that when you move your pointer so that it is no longer in the middle of the clip but towards the l- h or r-h end of it, the pointer changes itself into a red bracket with an arrow on it. This lets you know that, if you now click>drag the clip, it will stretch allowing you to extend or shorten it's duration.
Okay, to shorten the time for which the clock image appears in the monitor window, you must first click>drag your Playhead so that it lines up with the beginning of the word "seeing" in the AUDIO 1 track. This click>dragging of the Playhead is known as a "scrub". You will hear how scrubbing garbles the voice in your headphones as you move the Playhead backwards and forwards looking for the precise place where you want the image of the clock to change into the image of the eye.
Now click>drag the r-h end of the "clock.tif" clip to the left so that it lines up with the Playhead. Because the Snap tool is switched on you can do this very precisely. Now go up to the PROJECT window, locate the image of the eye ("seeing.tif") and click>drag it into the VIDEO 1 track so that its l- h end butts up to the r- h end of the "clock.tif" image in the VIDEO 2 track above it. Now hit the Spacebar and play the sequence.
To complete a rough-cut of your Digital Story you must repeat this process of click>dragging images to the Timeline, lengthening or shortening them in turn, until you get to the end of the film. For the time being, though, we'll just take it up to the part where the voice says: "when we are photographed…".
It is best to stagger the clips in the Timeline, inserting them alternately into the VIDEO 1 and the VIDEO 2 tracks. This will allow you greater freedom to keep changing your mind about precisely where you want the edits to come and how long you want your images to remain on screen — something you will do a lot. Editing is a creative process and you should feel free to experiment.
By now your Premiere workspace should look something like this:
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- Inserting a Video Clip. In the "Scissors" film, when the narration says "...the birdie we watch sees us with eyes that are yet unborn", a short video clip of a blinking eye appears and blinks at us — just the once — on the word "sees". So let's make this happen.
Begin in the TIMELINE window by selecting the "01_clock_for_seeing.wav" file in the AUDIO 1 track. Then move the Playhead until it is exactly over the word "sees" (as in "the birdie we watch sees us with eyes that are yet unborn"). Now go up to MARKER in the Menubar and go SET CLIP MARKER > UNNUMBERED. A white marker places itself in the audio clip on the word "sees".
Go to the PROJECT window, open the "video" folder and drag the video clip "blinking_eye.avi" into the Timeline's VIDEO 2 track immediately following the second "camera.tif".
Watch out! Video behaves like a bully in the playground pushing any other clips already in the track out of the way. Unless it is mute, a video clip always carries with it an audio clip to which it is synchronised, and this audio clip will immediately occupy the audio track whose number corresponds to the number of the video track into which we have just dragged our video clip. And this applies whether or not there is an audio clip already in residence! (The audio associated with a video clip that has been dragged into the VIDEO 1 track will always want to occupy the AUDIO 1 track, and so on with the VIDEO 2 and AUDIO 2 tracks, the VIDEO 3 and AUDIO 3 tracks etc..)
This is why we dragged the "blinking_eye.avi" video clip into the VIDEO 2 track and not to the VIDEO 1 track whose matching audio track (AUDIO 1) was already occupied by the "02_photo_album.wav" file.
Had we decided to insert the video clip in a video track which was already occupied by other clips, it would have pushed all of them out of the way too, and suddenly our carefully assembled edit would have begun to look a mess.
Don't worry if you inadvertently messed up your edit, in this or any other way, since you can easily put things right by going up to EDIT in the Menubar and doing an UNDO. Do this now and the video clip "blinking_eye.avi", together with its associated audio, will disappear from the TIMELINE window. Incidentally, you can sequentially Undo all changes made to your project since the last time you did a SAVE AS, the only limiting factor to the number of steps back you can take being the amount of RAM your computer has available to it.
What we have learned then, is that it is always best to prepare a video clip before we drag it into the Timeline. This we can do in the MONITOR window.
- Preparing a Video Clip for use in the Timeline. In the PROJECT window, locate and open the yellow "video" folder and then double click on the "blinking_eye.avi" file. Immediately your MONITOR window acquires a second screen and you will find that you have to resize your PROJECT and MONITOR windows until you can see both of these screens clearly. The l-h monitor screen shows the "blinking_eye.avi" clip, while the r-h monitor screen continues to show what is going on it the TIMELINE window.
To familiarise yourself with the "blinking_eye.avi" clip, click the "Play/Stop" button (right-facing arrow) in the middle of the l- h screen's control panel and watch it play. You will also hear the audio track that comes with this piece of video (me mumbling to myself while filming). Notice that when the clip plays, a blue paddle- like Playhead moves through the control panel's Timeline.
You will need to decide which of the three blinks in the clip is the one you want to synchronize with the word "sees" in the Scissors voice-over. For me the second blink is the best one because it has about four seconds of steady gaze both before and after it. This blink occurs at 5 secs 17 frames into the clip. You can see this time in the blue Timecode bar (00:00:05:17 ) to the bottom left of the image of the eye. Move the blue Playhead in the control panel until the Timecode reads 00:00:05:17 and mark this spot by clicking on the "Set Unnumbered Marker" button to the l- h side of the control panel. (Can't find it? Remember, all you need to do to discover what function is assigned to any of Premiere's tools, is to mouseover it and wait a second until its yellow name tag appears.) When you clicked, a grey heart-shaped marker was planted in the control panel's Timeline.
In the TIMELINE window, move the Playhead so that it lines up with the clip marker in the "01_clock_for_seeing.wav" audio clip. To drag the "blinking_eye.avi" video clip into the TIMELINE window, you simply click>drag on its image in the l- h screen of the MONITOR window and then drop it into place in the VIDEO 3 track. By sliding it up and down in the Timeline you can position it so that its clip marker "snaps" to the Playhead and thus lines itself up nicely with the clip marker in the "01_clock_for_seeing.wav" audio clip. You are nearly done.
Now, with the "blinking_eye.avi" video clip selected, move your pointer to the l- h end of it and, when the little red bracket appears, click>drag the start point of the clip so that it lines up with the r- h end ("Out" point) of the second "camera.tif" image in the VIDEO 1 track below it. Adjust the video clip's "Out" point too, this time with your little red bracket at the r- h end of it, lining it up with the join between the "01_clock_for_seeing.wav" audio clip and the "02_photo_album.wav" audio clip (both of them in the AUDIO 1 track). Now move the Playhead to the start of the clip, hit the Spacebar to play it and you will see that the eye blinks exactly on the word "sees".
Another place you can set "In" and "Out" points for a video clip is in the l-h screen of the MONITOR window, in just the same way as you inserted the unnumbered marker above. In fact this is the best way to work if you intend using a lot of video in your
the Razor tool and delete an unwanted bit but then change your mind, you can restore it very easily with the Selection tool (red brackets) simply by stretching the clip out once more to its full length.
- Completing the Rough-Cut. To complete a Rough Cut you must drag all the images you need for your story from the PROJECT window into the Timeline and position each one against its relevant place in the narration. Line them up alternately in the VIDEO 1 and the VIDEO 2 tracks as best you can, just as we have been doing.
As you will see when your Rough-Cut is finished, it already works as a film.
END OF PREMIERE TUTORIAL: PART ONE
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Part Two: "completing your film"
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This tutorial shows you some special effects, including transitions and zooms, which you can use to transform your Digital Story from being a slide show with voice-over, into something film like, something more elegant. Elegance is not achieved by applying a one-size- fits-all formula; it involves the creative application of effects. The problem with effects, though, is that when they are used without elegance they tend to draw attention to themselves. What Digital Storytellers find is that a few effects go a very long way.
A lot of Digital Storytellers get the bug for editing. One way to become good at it is to build on the experience of others by learning to watch films critically. Being engaged with the story is one thing, but understanding how an editor harnesses the picture/sound combination to draw us into a narrative, is something that requires study. A good place to start is with the work of Ken Burns whose multipart historical documentaries Jazz , The West , The Civil War and Baseball all make exemplary use of still photographs and voice narration.
Digital Storytelling is not about rules, it is about creativity. Even so there are two principles of editing you should be aware of:
- Special effects should be used only to advance the story — never for their own sakes;
- Use the beat of the narrator's voice to time your cuts and transitions.
So let's examine the Scissors film critically and see what we can learn. As it plays, you will see that you are progressively introduced to fresh editing techniques, the first of which is the "cut".
- The Cut. Scissors begins with each new picture appearing as its name is announced in the voice track; the camera, the clock and the eye for seeing. This simple jump between pictures is known as a cut and probably accounts for 90 percent of all the picture-to-picture changes employed in film- making. The technique of showing an object every time it is referred to in the voice track, however, is not something we should copy. After all, why give a name to something we can already see? Pointing things out in this way might be appropriate for teaching children their vocabulary, or — as here — helping novice editors to line up pictures and words, but elegant it ain't.
- The Cross Dissolve. Scissors employs straight cuts between clips until we get to the shots of the photo album in its various stages of opening. Here, rather than cutting from one to the next, the pictures "dissolve" into one another. This is done to give the illusion of movement, something which helps the story along while keeping it firmly
"tomb", "coffin" and "lid" as follows: "By this reckoning then, the photo album becomes a tomb, time's coffin with a glass lid."
- Now, go up to the PROJECT window and choose the EFFECTS palette. (If the EFFECTS palette is not yet nested into the PROJECT window, you will find it in the Menubar, WINDOW > EFFECTS). In the EFFECTS palette, look for the VIDEO TRANSITIONS folder, open it and locate the "Dissolve" folder. Open the "Dissolve" folder and select "Cross Dissolve".
- Drag and drop a "Cross Dissolve" into the Timeline so that it lands straddling the cut between "album.tif" and "album_01.tif". The "Cross Dissolve" transition will now occupy space in the top third of the image icon "album.tif" showing itself as a rectangle split into a pair of triangles (green when selected, purple when deselected) one triangle darker than the other.
- Now repeat this process of dragging "Cross Dissolves" from the EFFECTS palette into the Timeline. Put one between "album_01.tif" and "album_02.tif"; another between "album_02.tif" and "album_03.tif"; and yet another between "album_03.tif" and "album_04.tif". The sequence will then look like this:
To see these dissolves play, move your Playhead to the start of the sequence and hit the Spacebar.
Do a Save As.
As it happens, the duration of these dissolves is good but, should you want to extend them or shrink them, use the red bracket facility of the Selection tool in just the same way as you have already used it to change the duration of a clip.
- To Make a Zoom. Zooming in and out of a shot is something we all like to do when first we play with a home video camera but, really, the Zoom is something we should use with caution if only from fear of making our viewers feel sick. Also,
because our sized images have a fixed pixel size and resolution, they will appear fuzzy if the zoom is too extreme.
In Christine Edzard's 1987 two-feature epic movie interpretation of Charles Dickens's Little Dorrit — lasting six hours and starring Alec Guinness and almost everyone else in the London theatre world of the day — she used not one single zoom. In Scissors — lasting two mins, ten secs and six frames and starring no one — there are three zooms. More than enough to be going on with.
There are two ways to make a zoom using Premiere. In Scissors both are demonstrated.
- Zooming using the CROSS ZOOM tool from THE EFFECTS palette. This is the most intuitive method. It is used on the image "face_04.tif" when the voice says: "So here I am, peering into a fragile album of my grandmother's." A zoom- in on the face is applied to make the viewer curious about what is in the photo album. When the face first appears, though, the shot should not be zooming; it should hold still while the line "So here I am" plays and it should begin its move only when we get to the word "peering". Likewise at the end of the zoom after the word "grandmother's", the frame should be still again before fading to white, the delay there generating some more suspense. (So, what are we going to see in this album?)
Here is how to create those effects:
o Select the picture "face_04.tif" in the VIDEO 1 track. Shrink it from the r-h end so that it ends immediately after the word "grandmother's". o Go up to the PROJECT window and choose the EFFECTS palette. In the EFFECTS palette, look for the VIDEO TRANSITIONS folder, open it and locate the "Zoom" folder inside. Open the "Zoom" folder and select "Cross Zoom". o Drag and drop "Cross Zoom" into the Timeline so that it lands on the r- h end of the clip "face_04.tif". The "Cross Zoom" transition now occupies space in the top third of the image icon "face_04.tif" and reveals its presence as a rectangle split into a pair of jagged triangles (green when selected, purple when deselected) one triangle darker than the other. Use the red bracket facility of the Selection tool to drag out the l-h end of the "Cross Zoom" so that the transition occupies the same space as the words "peering into a fragile album of my grandmother's" in the voice track. o Double-click in this space and two things happen: It is highlighted green, and the EFFECT CONTROLS palette opens. o In the EFFECT CONTROLS palette, click the "Show Actual Sources" box. The Start (l- h) and End (r-h) positions of the zoom are now represented in two small preview windows. Drag the slider under the End preview window from right to left until the face almost fills the frame. The blue number above the End preview window should now
