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Manual. View the manual for the Adobe Premiere Pro CS4 here, for free. This manual comes under the category Photo/video software and has been rated by 2. User Manual: adobe Premiere Pro – CS4 – Instruction Manual Free User Guide for Adobe Premiere Software, Manual. Open the PDF directly: View PDF PDF.

Adobe premiere pro cs4 manual pdf free

Adobe Premiere Pro CS4 Classroom in a Book Sample pages from Chapter 6 of Learning Adobe Photoshop CS4 by Greg Bowden Adobe After Effects There are tons of video tutorials for Premiere Pro, but there are times when you can’t watch a video. Premiere Pro tutorial PDF downloads. User Manual: adobe Premiere Pro – CS4 – Instruction Manual Free User Guide for Adobe Premiere Software, Manual. Open the PDF directly: View PDF PDF.


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Manual. View the manual for the Adobe Premiere Pro CS4 here, for free. This manual comes under the category Photo/video software and has been rated by 2. User Manual: adobe Premiere Pro – CS4 – Instruction Manual Free User Guide for Adobe Premiere Software, Manual. Open the PDF directly: View PDF PDF.


Adobe premiere pro cs4 manual pdf free


Color Depth This is a huge can of worms. Until you get more proficient at Photoshop, leave this setting at 8 bit. In a nutshell, this refers to the number of possible colors. A 2-bit image would contain only four colors. An 8-bit image can contain Scientists estimate that the human eye can perceive about 10 million colors.

So, for now, 8 bit will be fine. Background Color Ah, finally some respite from the mentally intensive properties used to create a new Photoshop document. The Background Content drop-down list shown here essentially allows you to specify a background color for your document while you are creating it.

From this list, you can choose to create a White background layer, a Background Color that is the same color as the current background color in the Tools panel, or simply to create a Transparent background layer. Introduction to Layers As previously mentioned, layers are an integral part of using Photoshop effectively.

They basically contain the various pieces of our documents. Think of the layers of a sandwich. But what if you wanted to remove the lactose from the Swiss cheese? In Photoshop terms, we would say that they are on the same layer.

If you add the paint strokes onto the same layer with the photo, and then you want to make changes later move them, recolor them, change their transparency, and so on , you would be in trouble. It would be extremely difficult, and in some cases impossible. Not to mention that the pixels that you painted over would also be ruined and would need to be repaired, which would probably take half an eternity.

On the other hand, if you create a new, blank layer and then paint on that, it would be extremely simple to adjust the paint stroke. And painting on a new, separate layer would have the added benefit of leaving the pixels of your photo untouched. The Layers Panel The Layers panel is really the hub of our layers-centric workflow. Figure shows the Layers panel in all of its layered glory.

If your Layers panel is not visible, you can retrieve it from the Window menu at the top of the interface. Notice in Figure that when you create a new document, a background layer is already created for you. Photoshop actually offers several different types of layers: plain old layers, background Note layers, adjustment layers, text layers, smart object layers, and others. If you have Photoshop Extended, you can also have 3D or video layers. How to. Fiddle with the Background Layer By default, when you open a file or create a new document in Photoshop, it automatically creates a background layer for you.

This layer is locked to prevent you from accidentally performing certain changes to it, such as moving the layer or rearranging its layer order in the Layers panel. In some instances you might want to edit your background layer directly not edit a copy. If you are exporting to another program or to video or 3D work, you may want transparent areas in your background layer, so that other objects may show through beneath the layers in the Photoshop document.

For whatever reason, if you want to unlock your background layer, simply double-click it. A dialog box will pop up asking you for the name of the layer and for a few other properties of the layer.

The new default name is Layer 0, as shown here. You are then free to use the layer as you please. The icon looks like a notebook page about to be turned. The page-turning icon used to create a new layer can be seen throughout Photoshop and in almost all Tip Adobe applications. It is a universal icon indicating that something new will be created. Remember this if you ever get stumped. This works if you want to create a new brush in the Brushes panel, a new style in the Styles panel, a 3D light in the 3D panel, and so on.

The Layers panel will then show you that a new layer has been created. Photoshop automatically names it Layer 1. If you create another new layer which you can do by using the same method , the default name will be Layer 2, and so on.

Or if the layer is already created, you can rename it by double-clicking exactly the name of the layer and typing the new name. How many layers can you have in one document? As many as your computer can handle. What Is That Checkerboard Pattern? But with the new layer that was created, you may have noticed that the layer thumbnail is a gray-and-white checkerboard pattern.

What gives? It basically tells you that nothing is there. You can change the size of the layer thumbnail by going to the fly-out menu of the Layers panel Tip and selecting Panel Options. From there, you can choose whether to make the thumbnail larger, smaller, or to hide the layer thumbnail entirely.

Hiding the layer thumbnail can help speed things along if you have a really big project with a lot of layers, or if you are on a slow computer. Just use the default Photoshop size from the Preset drop-down list, and make sure the Background Contents drop-down list is set to White. Next, make a new layer by clicking the Create A New Layer button in the bottom right corner of the Layers panel.

These two color swatches are the foreground and background color swatches. After clicking on that color swatch, we will meet an important new friend called the Color Picker see Figure In the center of the Color Picker, we have a tall, narrow bar from which to select the basic color. You can drag the little arrows on the hue slider vertically, or you can simply click the color to use.

Next, we need to go to the big square on the left to fine-tune this blue color. Now select the Brush tool by clicking it in the Tools panel, or by pressing B on your keyboard. This turns your cursor into a paintbrush. Notice that the in Chapter 5. For now, make sure that your new, blank paint squiggle is on the new blank layer is selected, and just drag in your document to paint a layer we created, and not on the squiggle see Figure Create another new blank layer.

Go back to the swatch in the Tools panel, and open the Color Picker again. This time, change the color in the narrow color bar from blue to green, and click OK to accept. The layer with the green squiggle is on top of the layer with the blue squiggle in the Layers panel. And it also covers up the blue squiggle. But we can change this through the magic of layers. Simply click the layer with the green squiggle, and then drag it down below the layer with the blue squiggle see Figure This would be a great time to rename them discussed earlier in this chapter.

Another Project: Opacity and Layer Blending Another one of the features of using layers is that we can blend them together in interesting ways. The most simple and speedy way to blend layers together is by using opacity. Opacity is the opposite of transparency. Combining Images Before we adjust opacity to blend layers together, we need to have layers to blend. Our first step is to open multiple images. I will then repeat that multiple files, they show up as tabs process to open the file dark image.

To follow along, open in the Photoshop interface. Or you can just read and watch me work some sweet image-editing magic on these pictures.

These are displayed as tabs toward the top of the interface see Figure Click one of the tabs to switch documents. This is one of the new, cool features in Photoshop CS4.

You have a couple of ways to do this. First, you can select one image and then copy and paste it onto the other one. In our example, we want to copy and paste the dark image on top of the light one. You can also select the entire image by going to the Select menu at the top and choosing All. Tip You can also copy and paste by choosing those options from the Edit menu. To blend these by lowering the opacity of the top layer, click and drag on the word Opacity in the Layers panel. Figure shows what the project looks like now.

Notice how the increased transparency of the dark image layer allows some of the light image beneath it to show through. This allows for even more of the light image beneath to show through.

The final result looks like the house is surrounded by early morning fog. Even if your only mission in Photoshop is to remove blemishes or annoying people from photographs, all photos essentially consist of variations in color. Colors also have strange powers, with each color evoking different emotional responses. Just realize going into this chapter that it might feel a little incomplete. Entire books have been written on most of the following subjects.

I cover here only what you need to know to get started with Photoshop. The Essentials of Color Before we get into how to use color in Photoshop, we first need to look at what makes up a color. One color model that has always made sense to me is that of hue, saturation, and lightness. We see this model often in Photoshop as well. These three properties refer to different elements of a color. You can choose among several ways of looking at color, and great variations in terminology exist.

What Is Hue? Hue is what most people probably think of when they think of color. So, even though red and pink are different colors, they still share the same hue. It uses the hue, Note saturation, and lightness model to adjust colors. Saturation is the intensity of a color. As we increase saturation, colors become more vibrant and intense. As we desaturate colors, they become faded and washed out. Completely desaturating a color will produce gray. Figures and show a blue color with different levels of saturation.

Note that both of these blues have the same hue and lightness. The only thing that has changed is the saturation. What Is Lightness?

Lightness is a self-explanatory color property. Increasing lightness makes a color lighter closer to white , while decreasing lightness makes a color darker closer to black. One of the most common tasks in any image editing program is to make things a little brighter. In lower-budget image editing programs and sometimes even in Photoshop , when you brighten an image, it universally brightens every pixel.

The reverse is also true; when you darken every pixel in an image, you also darken the brightest pixel, completely losing pure white. Figures and show the same blue from Figure with varying amounts of lightness. Pastel colors are created by increasing lightness and decreasing saturation.

But when certain colors are used in certain ways, they do influence us. Sound farfetched? In contrast to stop and danger signs, infomercials want your money, so they FIGURE The blue swatch try to create feelings of reliability and stability. This is typically from Figure with reduced done with blue, as it radiates professionalism and trust. I used examples with these two colors intentionally, because they can evoke such powerful responses from people.

Red and adjacent colors such as yellow and orange are referred to as warm tones. These are powerful colors that can create not only feelings of warning, but also passionate emotions such as anger or rage. See Figure to see how warm colors can add to the intensity of art.

Or we can add just a little tint of these colors to create warmth instead of heat. If we have a photo, we can tint it with a warm color to add a little warmth. Did You Know? About Tinting Like many concepts in the world of color, tinting can be confusing because the term is often used in different ways. In painting, a tint of a color means a color mixed with white to lighten the color, and a shade of a color is a color mixed with black to make it darker.

Using this definition, pink is a tint of red. Essentially, it means to subtly add a color to an entire image. This has an effect similar to using a colored filter on a camera lens. Perhaps the most common type of tinting is seen in sepia-toned images, which are photos that are black-and-white with a faint, dark yellow tint to them think of the first part of the Wizard of Oz.

This subtle addition of color to an entire image is the definition of tint that I will be using throughout this book unless otherwise specified. Also, as with warm colors, how the temperatures make you feel is a good guide to how the colors should be used.

Cool things like a breeze or ice cream are generally seen as calming and relaxing. But cold things can create feelings of alienation or fear. Cool colors work the same way. Used with restraint, cool colors create a relaxed feel. Used more intensely, they can create feelings of isolation. Figure shows an image as is, and Figure shows it tinted with cool colors. Does the image with the cool tint make you feel differently about it? What story does it tell that the original image does not?

Because colder colors can create relaxed feelings, they are often the best choice for professional Tip circumstances, like bank logos and the already-mentioned infomercials. Examine Restaurant Logos The use of colors in restaurant logos is a great way to study the effect that colors have on us. Notice that these logos are often the color of the foods that are served there. Most foods have earth tones, so it makes sense that red, yellow, and orange are used so often.

These colors are also mostly found in comfort foods, which is another reason for these businesses to use them in their logos. Some restaurants want nothing to do with the greasy, unhealthy food served at these places. Instead they want to serve fresh food that caters to a more health-conscious audience. So what color would you guess they would use in their logo? It is possible to create really intense art that has blue in it. These are just general guidelines.

But remember that they are guidelines because they resonate with human nature, not because some ancient nerd arbitrarily made this stuff up. Using Colors Together A friend and hero of mine, noted illustrator Bruce Heavin, once said something very profound about color that has always stuck with me.

Like notes on a musical scale, colors become beautiful, ugly, intense, or out of place based on the colors that surround them. If we surround the pink heart with red hearts see Figure and more pink hearts, it would look like a card your mom might buy. The Color Wheel The color wheel see Figure is a way to view the relationships between all colors. If you plan on doing any kind of art or design with Photoshop, I strongly suggest picking up a physical color wheel. Although I like to have mine in hand, you can also view color wheels online.

Several different color wheels based on different models of color are available. Because the wheel shows color relationships, it becomes an invaluable help in choosing colors to paint or design with. If you get stuck while designing a web site, DVD menu, or digital art piece, you can try one of these color schemes. These are also called the primary colors. Knowing that these colors are the base colors helps us as we start looking at other color relationships.

Using red, yellow, and blue together when they are bright and fully saturated is a very popular Tip color scheme when designing for an audience of young children. Secondary Colors When two primary colors are combined, the result is called a secondary color see Figure When experimenting with color schemes such as primary and secondary colors, you can achieve Tip a similar degree of visual harmony by using desaturated versions of the colors.

You can also try using lighter and darker versions of the colors. Complementary Colors Complementary colors are opposite each other on the color wheel. Check out schemes from complementary Figure to see some examples of complementary colors. See the figure caption for answers to the riddle. Another familiar set of complementary colors is blue and orange, used often in business Note web sites.

Because of their high contrast when used together, complementary colors are best used sparingly, especially when fully saturated. So do the world a favor, and use complementary colors prudently. Split Complementary Colors Split complementary colors are closely related to complementary colors.

However, instead of using colors opposite each other on the color wheel, one color is chosen, and then both of the colors on either side of the complement are used. In other words, instead of using the color across the wheel, it uses the colors next door to the color across the wheel. See Figure for a diagram of how split complements are determined. Analogous colors are ones that are right next to each other on the color wheel. For example, looking at the color wheel, we see that violet, blue-violet, and blue are analogous colors.

In Figure , we see an example of these analogous colors in action in a sample design. Try going to www. For example, if you had a red color and wanted to make it pink, you would add white light if you were working with a file to be output to the Internet or a TV screen.

If you were trying to do the same thing with a file that would be printed, you would create pink from red by subtracting red ink. Understanding the behavior of color models is absolutely essential to working with color in Photoshop, because this program is used all over the world by professionals in every medium.

Many color adjustments work differently depending on the color space used in the current document. If you are a web designer, or if you do video work, or if your final output will always be to a screen or monitor, then you will always want to use the RGB color mode for your documents.

This is because colors on monitors and screens are created with light, and red, green, and blue are the components of light. RGB is often called additive color.

This is because we add more color in RGB mode to get to white. This makes sense if you think about it. If you had a green spotlight shining on a white wall, the color would be green.

If you increase the power of the spotlight, eventually the color would probably become white. Likewise, as with light, the complete removal of R, G, and B will result in black. These four colors are the color components of ink and are used for most printed art. Why are these four colors used for ink instead of RGB? So, where does black come in? Black is also abbreviated as K to avoid confusion with blue B. In theory then, we should be able to get to black by adding C, M, and Y together. Or so it would seem.

This is one of the biggest reasons why the colors you print do not match what you see on your computer screen. About Spot Color It can be a real headache having a great design with amazing colors and not being able to print it correctly.

The good news is that there is a solution. The bad news is that it can be a pain to work with, and it costs a fortune. Another benefit of spot colors is that they are spot-on accurate pun intended. For this reason, spot colors are often used for companies like Coca-Cola that have a certain color closely tied to their brand identity. The most popular spot color company in the United States is called Pantone, which is why spot colors sometimes are called Pantone colors.

This is somewhat similar to how a facial tissue is often generically called a Kleenex. Spot colors are amazing, yes, but you definitely pay the price for the magic. In my opinion, Photoshop deals with color very intuitively; it all just makes sense. This will lay a great foundation for the things you will learn in the rest of the book. These colors can then be used for painting, filling areas with color, and a whole bunch of other things.

In Photoshop, the quickest way to access the Color Picker is by clicking once on either of the two swatches at the bottom of the Tools panel. But what exactly do these buttons do? I find the HSB model the easiest to understand.

This is also the default color model for the Color Picker. Because H is selected by default, the narrow bar shows us a range of hues to choose from. After you feel comfortable with the Color Picker, try experimenting with other color models.

We adjust both attributes in the big square on the left of the Color Picker. To select a color in the big square, just click on the color you want.

At first, this square probably just seems like a big mess of colors all thrown together. But these colors are actually arranged in a very intelligent way. To adjust saturation, adjust the little circle horizontally. Colors on the right are saturated, while colors on the left are desaturated see Figure Similarly to how we set saturation, we adjust brightness by selecting different colors along the vertical axis.

Colors at the top are completely bright, while colors along the bottom are completely dark. To sum up, we pick colors by starting with the hue in the center of the Color Picker , and then we fine-tune the saturation and brightness in the bigger square in the Color Picker. The upper-right area shows you your previous color on the bottom , and your new color on the top.

In that way you can compare and contrast the old and new colors easily see Figure Try to create these colors in your Color Picker: How to. Understand the Color Picker Warnings Not to sound ominous, but you should be aware of a couple of warnings in the Color Picker. The top warning resembles a yellow triangle with an exclamation point in it.

This indicates that the currently selected color cannot be reproduced using CMYK inks. But thankfully, Photoshop offers you an alternative color right below the warning. If you click that swatch, the CMYK-safe color will be chosen for you.

The other warning, immediately below the CMYK warning, similarly lets you know that the currently selected color is not a web-safe color. As with the CMYK warning, click the swatch below the warning to select the safe color that Photoshop has suggested as an alternative. Every number has a color, but the numbers that describe that color change based on the color model used.

So, an RGB color might be 35, , This refers to how much ink is used to create the color. A standard CMYK color might be listed as 56, 0, 86, The field with a number sign at the bottom of the Color Picker is used for hexadecimal colors.

Hexadecimal numbers are typically used to describe colors on the Web. Ableton Live 9 User Reference Manual. Blender 3D Noob to Pro. Parte 2 Code,Datasheet,Diagramas Etc. Principles: Life and Work. Fear: Trump in the White House. A Practical Guide to BitBake. The World Is Flat 3. The Outsider: A Novel. Livro – Mastering Simulink.

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