Classroom in a book

t
Normalize All Peaks to
: The default value is 0.0 dB. This is useful when 
selecting multiple clips at once. This feature will adjust all selected clips to a 
gain necessary for them all to peak at 0 db. According to the Adobe Premiere 
Pro Help file, “For a multiple-clip selection, each clip in the selection would 
have its gain adjusted by amounts necessary to boost them all to 0.0 dB.”
3
Set the “Normalize Max Peak to” option to 0 db, and click OK. Notice that the 
waveform on the Timeline will expand to show the increased gain.
Undo the gain adjustment. Now you’ll normalize the gain on Audio 3 and 
Audio 4.
4
Select both the Audio 3 and Audio 4 tracks. Right-click (Windows) or Control-
click (Mac OS), and choose Audio Gain.
5
Set the “Normalize All Peaks to” option to 0 dB, and click OK. Notice that the 
waveforms on both tracks of the Timeline expand to show the increased gain.
#
 Note:
Those are the mechanics of gain adjustment, but here’s the karma: Most professional 
producers tend to maximize volume at about –3 dB rather than 0 dB, leaving “headroom” in case 
an editor downstream needs to make further adjustments. That’s why both of these dialogue clips, 
which were obviously edited by a pro, have a Peak Amplitude value of –3.3. Wherever you set your 
peak, remember that consistency is more important than absolute volume. So, work hard to make 
sure that there’s a consistent volume within your clips and, on a multiclip production, among all 
your clips.

---

ptg
ADOBE PREMIERE PRO CS5 CLASSROOM IN A BOOK
233
Adding J-cuts and L-cuts
One frequently used technique for transitioning from one clip to another is to play 
the audio from the second clip before the video shows. This clues in the viewer that 
a change is coming. Similarly, sometimes you want to cut to the next video visually 
before the viewer can hear the audio.
The first instance is called a 
J-cut
, so named because it looks vaguely like a 
J
in the 
sequence. You hear the second clip and then see it. The second is called an L-cut, 
where you see the second clip and then hear it.
Although artistically quite powerful, both techniques rely on one simple editing 
function: the ability to unlink audio and video from the same file so you can adjust 
them separately. There are two unlinking methods—a context menu and a key-
board modifier.
1
Open Lesson 12-2.prproj, and play the Complete sequence.
This is how your J- and L-cuts will look and sound by the end of this 
mini-lesson.
The cutaway 
video
plays over the first few words of the sound-bite 
audio
,
and then the cutaway 
video
dissolves to the interview clip while the cutaway 
audio
fades out—a J-cut. That process is reversed for the end of the sound 
bite—an L-cut.