1.
Nothing, the nest duration remains the same in the original sequence.
2.
The duration of the nest changes and an overwrite edit pushes the remaining clips to make room.
3.
The clips change speed to match the duration of the nest.
4.
The duration of the nest changes and a ripple edit pushes the remaining clips to make room.
Q 1 / 48
1.
Nesting improves playback performance.
2.
Nesting makes it easier to reduce clutter in the Project panel, saving time and potentially project budget.
3.
Nesting allows a single effect to be applied to everything that is inside the nest, like a color correction or a video limiter.
4.
Nesting helps Adobe Premiere Pro render faster.
Q 2 / 48
1.
Nothing, since a subclip does not create a new media file on your hard drive.
2.
A pointer file is created on your hard drive.
3.
A new master clip is created on your hard drive and added to the project.
4.
A new media file is created next to the original media.
Q 3 / 48
1.
Adobe Premiere can directly export files.
2.
You can encode sequences into one or more formats with Adobe Media Encoder.
3.
While using Adobe Media Encoder, you can keep working on the same sequence in Adobe Premiere Pro.
4.
When you click Export, Adobe Premiere Pro will encode the file in the background and let you continue editing.
Q 4 / 48
1.
Select File > Adobe Dynamic Link > Import After Effects Composition.
2.
Import a project from After Effects and choose Match project size when importing.
3.
Select File > Adobe Dynamic Link > New After Effects Composition.
4.
Switch to After Effects and manually set up the project for accuracy.
Q 5 / 48
1.
Narration
2.
SFX
3.
Ambience
4.
Music
Q 6 / 48
markdown A. Clarity B. Contrast C. Saturation D. Temperature E. Blur1.
B, C, D
2.
A, B, C
3.
B, D, E
4.
A, C, E
Q 7 / 48
1.
Program Monitor panel
2.
Source Monitor panel
3.
Timeline panel
4.
Media Browser panel
Q 8 / 48
1.
Select the Mask with Shape option.
2.
Select Responsive Design and Pin To the text layer.
3.
Select Responsive Design and Pin To the Video Frame.
4.
Use the Align and Transform controls.
Q 9 / 48
1.
Timeline panel
2.
Media Browser panel
3.
Capture panel
4.
Source Monitor panel
Q 10 / 48
1.
Effects panel
2.
Timeline panel
3.
Source Monitor panel
4.
Effect Controls panel
Q 11 / 48
1.
Exclude Unused Clips
2.
Consolidate and Transcode
3.
Collect Files and Copy to New Location
4.
Create New Trimmed Project
Q 12 / 48
1.
film dissolve
2.
additive dissolve
3.
cross dissolve
4.
impact dissolve
Q 13 / 48
1.
container
2.
format
3.
compressor
4.
codec
Q 14 / 48
1.
in the Media Browser, mark in and out points on a clip, and then import.
2.
Mark in and out points on the clip in the Program Monitor and select choose Clip > Make Subclip.
3.
Mark in and out points on a clip in the Timeline panel and then drag it back into a bin.
4.
Mark in and out points on the clip in the Source Monitor and select Clip > Make Subclip.
Q 15 / 48
1.
Intensity
2.
Contrast
3.
Sharpen
4.
Clarity
Q 16 / 48
1.
Effects panel
2.
Project panel
3.
Effect Controls panel
4.
Program Monitor panel
Q 17 / 48
1.
2
2.
12
3.
20
4.
24
Q 18 / 48
Reference : https://helpx.adobe.com/in/premiere-pro/how-to/import-with-media-browser.html#:~:text=The%20Media%20Browser%20panel%20should,with%20fragmented%20media%20file%20types.&text=To%20import%20selected%20clips%20into,on%20them%20and%20choose%20Import.1.
Library
2.
Effects
3.
Project
4.
Media Browser
Q 19 / 48
1.
The transition would slide to the right.
2.
You would extend only the right side of the transition.
3.
You would perform a ripple edit and extend the duration of the first clip.
4.
The transition would grow on both sides.
Q 20 / 48
1.
Adobe Photoshop
2.
Adobe Premiere Pro
3.
Adobe Audition
4.
Adobe After Effects
Q 21 / 48
1.
Media
2.
Playback
3.
General
4.
Timeline
Q 22 / 48
1.
audio
2.
template
3.
transition
4.
preset
Q 23 / 48
1.
Hue vs. Luma
2.
Saturation vs. Saturation
3.
Hue vs. Saturation
4.
Luma vs. Saturation
Q 24 / 48
1.
Essential Graphics panel
2.
Effects panel
3.
alpha channel
4.
assembly edit
Q 25 / 48
1.
source monitor
2.
alpha channel
3.
opacity effect
4.
alpha effect
Q 26 / 48
1.
Use Previews
2.
Use Frame Blending
3.
Use Maximum Render Quality
4.
Match Sequence Settings
Q 27 / 48
1.
Trim In
2.
Trim Out
3.
Ripple Trim In
4.
Ripple Trim Out
Q 28 / 48
markdown A. GIF B. DCP C. QuickTime D. HEVC E. FLV1.
A, B, C
2.
A, C, E
3.
B, C, D
4.
B, D, E
Q 29 / 48
markdown A. AVCHD B. HEVC C. Animated GIF D. MXF OP1a E. M4A1.
A, B, C
2.
A, C, E
3.
B, C, D
4.
B, D, E
Q 30 / 48
1.
red
2.
blue
3.
yellow
4.
green
Q 31 / 48
1.
The default brightness is the halfway position between darker and lighter.
2.
You can set the top bar of windows to a custom accent color.
3.
You can adjust the intensity of the Focus Indicator to help easily identify which window is active.
4.
You can change the highlight color.
Q 32 / 48
1.
Premiere will insert white to fill the needed handles.
2.
Premiere will insert black to fill the needed handles.
3.
There is not enough media (handles) to cover the duration of the transition.
4.
The transition is automatically shortened to use only the available media and the area under the diagonal lines will have no transitions applied.
Q 33 / 48
1.
Deselect the unwanted sequences in the Sequence area.
2.
Select Create New Trimmed Project.
3.
Select Consolidate and Transcode.
4.
Choose Collect Files and Copy to New Location.
Q 34 / 48
1.
Select the clip in the Timeline and choose File > Adobe Dynamic Link > Import After Effects Composition.
2.
Select the clip in the Timeline and choose File > Adobe Dynamic Link > Replace with After Effects Composition.
3.
Select the clip in the Timeline and choose File > Adobe Dynamic Link > New After Effects Composition.
4.
Select the clip in the Timeline and choose Edit > Copy. Switch to After Effects and choose Edit > Paste.
Q 35 / 48
1.
Hue vs. Saturation
2.
RGB Curves
3.
Luma vs. Saturation
4.
Hue vs. Luma
Q 36 / 48
markdown A. Logo B. Text C. Rectangle D. Circle E. Ellipse1.
A, B, C
2.
A, C, E
3.
B, C, E
4.
B, D, E
Q 37 / 48
1.
Choose Fill from the Appearance controls.
2.
Choose Stroke from the Appearance controls.
3.
Choose Background from the Appearance controls.
4.
Choose Shadow from the Appearance controls.
Q 38 / 48
1.
Shadows
2.
Contrast
3.
Midtones
4.
Blacks
Q 39 / 48
1.
Blacks
2.
Contrast
3.
Whites
4.
Exposure
Q 40 / 48
1.
Sequence
2.
File
3.
Edit
4.
Clip
Q 41 / 48
1.
Creative Look
2.
Faded Film
3.
Input LUT
4.
Intensity
Q 42 / 48
1.
Touch
2.
Latch
3.
Write
4.
Read
Q 43 / 48
1.
Transcode
2.
Copy and Create Proxies
3.
Create Proxies
4.
Copy
Q 44 / 48
1.
Convert Image Sequences to Clips
2.
Convert After Effects Compositions to Clips
3.
Include Preview Files
4.
Consolidate and Transcode
Q 45 / 48
1.
Show Audio Time Units
2.
Rectified Audio Waveform
3.
Large Audio Waveforms
4.
Logarithmic Keyframe Scaling
Q 46 / 48
1.
Undock Panel
2.
Undock Frame
3.
Maximize Panel
4.
Maximize Frame
Q 47 / 48
1.
workspaces
2.
layouts
3.
panel presets
4.
events
Q 48 / 48