Adobe Premiere Pro ACP study plan
Adobe Premiere Pro ACP · Give each week a clear focus.
8 weeks · About 6 hours per week
Project Setup and Media Management
Build a new project from scratch with custom scratch disks, a saved sequence preset matched to your footage's frame size and rate, and auto-save set to 10 minutes.
Organize at least 40 mixed-format clips into labeled bins by scene and asset type using the Media Browser and metadata columns.
Generate proxies at quarter resolution, toggle them on and off, and confirm which toggle states are baked into an export.
Resolve three deliberate media problems - offline file, frame-rate mismatch, unsupported codec - by relinking, conforming, and re-encoding.
Your checkpoint
A reusable project template file containing named bins, one custom sequence preset, and a working proxy workflow, accompanied by a one-page ingest checklist you wrote yourself.
Project Setup and Media Management & Timeline Editing and Assembly
Perform at least 20 three-point edits using mark in, mark out, and insert or overwrite, with source patching set correctly each time.
Create subclips and merged clips from a multi-take interview and label each usable take before touching the timeline.
Assemble an opening scene using only keyboard shortcuts for insert, overwrite, and ripple delete, tracking your keystrokes.
Set up a multicamera sequence from three angles and cut between them live, then refine two cut points in the timeline.
Your checkpoint
A 90-second rough cut built entirely from keyboard-driven edits, plus a written list of the shortcuts you used and the three you still had to look up.
Timeline Editing and Assembly
Refine a cut using slip, slide, roll, and ripple trim on at least 15 edit points, verifying neighboring clips stay in sync.
Configure track targeting and sync lock deliberately, then demonstrate one edit where wrong targeting visibly breaks the sequence and correct it.
Restructure a scene by nesting two sections, then reopen the nests and adjust internal timing without disturbing the outer cut.
Audit the sequence for flash frames, duplicated frames, and stray one-frame gaps, and document each fix.
Your checkpoint
A polished three-minute scene with zero gaps or flash frames, plus a personal shortcut map covering every trim tool you used.
Transitions, Effects, and Keyframes
Apply video and audio transitions to at least 12 cuts after trimming proper handles, and set a custom default transition duration.
Replace and retime three transition types (dissolve, wipe, motion-based) and judge which reads best for a given cut in a written note.
Apply and reorder video effects in Effect Controls, then save two custom presets that reproduce a look in one click.
Use adjustment layers to apply one effect across multiple clips and confirm the layer's opacity controls the effect strength.
Your checkpoint
A two-minute sequence demonstrating four transition types and two saved effect presets, exported as a reference file with a written rationale for each transition choice.
Transitions, Effects, and Keyframes
Animate position, scale, rotation, and opacity on a clip using at least 12 keyframes with deliberate ease-in and ease-out velocity.
Convert linear keyframes to bezier and adjust handles until the motion reads smoothly when scrubbed frame by frame.
Build a masked effect with a tracked mask so the mask follows a moving subject for at least five seconds.
Copy keyframe attributes between clips and save the animated effect as a preset that reproduces the motion on a new clip.
Your checkpoint
A 30-second animated sequence with a tracked mask and at least 12 velocity-tuned keyframes, plus a before-and-after export showing the same effect with linear versus eased motion.
Audio Editing and Mixing
Normalize dialogue to a consistent integrated loudness target using the Essential Sound panel, then verify the result against a loudness meter.
Automate music ducking under speech and hand-adjust at least three keyframes where the automatic result sounds wrong.
Set up an audio submix with a limiter and EQ, then route dialogue, music, and effects to separate submixes in the Audio Track Mixer.
Repair one noisy clip with noise reduction and dehum, A/B testing against the original to avoid over-processing.
Animate clip volume with keyframes to fix two uneven level jumps inside a single take.
Your checkpoint
A fully mixed two-minute piece with dialogue normalized, music ducking automated, and three submixes routed, accompanied by a screenshot-free written level and loudness report.
Graphics, Color, and Export
Build three graphics with the Essential Graphics panel using shape layers, text, and alignment guides, keeping all text inside title-safe.
Export one graphic as a Motion Graphics template with editable text and color controls, then apply it to a different sequence.
Generate and edit closed captions for a two-minute clip, then correct at least five transcription errors and adjust caption timing.
Apply a basic Lumetri correction to three clips using the waveform and vectorscopes, then match skin tones across all three.
Your checkpoint
A sequence containing three on-brand graphics, one reusable Motion Graphics template, and accurate captions, with a written note explaining each scope reading behind your color corrections.
Graphics, Color, and Export
Grade a short sequence with a creative look using curves and color wheels, then compare the result against a reference still at matching exposure.
Test three export presets for the same sequence, compare file size and quality, and justify the final choice against a stated delivery target.
Export a master file plus a web version and confirm both against your target resolution, frame rate, and loudness spec.
Complete two timed 50-question practice sets, log every missed topic by domain, and re-study the three weakest areas.
Your checkpoint
One finished package - graded master export, web export, captions file, and a one-page delivery spec sheet - plus a scored practice-exam log identifying your lowest-performing domain.
Milestones
Week 3: You can ingest, organize, and assemble a three-minute scene using only shortcuts, with no gaps, flash frames, or sync errors, in under 45 minutes.
Week 5: You can apply a transition, build an animated effect with eased keyframes, and save it as a reusable preset without consulting notes.
Week 6: You can take a raw dialogue-and-music sequence to a mixed, loudness-normalized track with routed submixes in a single sitting.
Week 8: You can move a project from setup through graphics, color, captions, and two-target export end to end, and you score at least 80 percent on both timed practice sets.