Adobe PREMIERE PRO 2, Руководство пользователя, Страница: 89 / 448

ADOBE PREMIERE PRO 2.0
User Guide
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Note:
If you selected more than one offline file, the Attach Which Media dialog box appears in turn for each file you
selected. Pay attention to the offline file name in the title bar of the dialog box so that you relink the correct source file
to each offline file.
To convert an online file to offline
1
In the Project panel, select one or more online files.
2 Choose Project > Make Offline.
3
Select one of the following options:
Media Files Remain On Disk
Makes the selected files offline in the project but doesn’t erase the source files from the
disk.
Media Files Are Deleted
Makes the selected files offline in the project and erases the source files from the disk.
Note:
If you select Media Files Remain On Disk and recapture a clip using the same file name as the file left on disk, the
original media file is replaced. To preserve original clips without changing their names, move them to another folder or
disk, or specify different file names for the clips you recapture.
Timecode
About timecode
Many camcorders and high-end video decks record timecode , which marks specific frames with unique addresses.
Timecode is important whenever you want to capture exactly the same frames that were identified or captured previ-
ously, as in the following tasks:
•
You want to log clips before you capture them.
•
You plan to capture clips using batch (automated) capture.
•
You want to recapture clips because the original files became corrupted or were deleted.
•
You plan to export sequences to another system by using AAF or EDL.
•
You’re using a system in which you edit quickly with low-resolution captures, and later recapture the clips at full
resolution and quality for the final version.
•
You plan to synchronize captured video with audio recorded separately.
Unlike the numbers on time counters found in home VCRs, timecode is recorded onto videotape as part of the video
signal. If footage lacks timecode, you can add it by copying it with a camera or deck that writes timecode. You can
then log or capture the video from that device.
For best results, timecode should run continuously from the beginning to the end of the tape; it shouldn’t restart from
zero anywhere in the middle. In editing, if you log a capture In point such as 00:00:01:09 but that number occurs on
the tape two or three times because of timecode restarts, Adobe Premiere Pro can’t be certain which 00:00:01:09 is
the place to start its capture. It can easily capture the wrong clips from tapes with discontinuous timecode.
To ensure unbroken timecode, you need to either shoot it continuously or stripe your tape with it before shooting.