Adobe Premiere Pro 2021: Video Editing for Beginners | Creative Therapy | Skillshare

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Adobe Premiere Pro 2021: Video Editing for Beginners

teacher avatar Creative Therapy, Be Creative

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

20 Lessons (3h 42m)
    • 1. Welcome To Our Course!

    • 2. Introduction

    • 3. Keyboard Shortcuts (Skippable)

    • 4. How to Optimize Premiere Pro (Skippable)

    • 5. Starting a New Project

    • 6. Cutting Our Footage

    • 7. Cutting Part 2

    • 8. Cutting Part 3

    • 9. Arranging Our Clips

    • 10. Finding Flow

    • 11. Speed Ramping

    • 12. Warp Stabilization

    • 13. Keyframing

    • 14. Color Correcting

    • 15. Color Grading

    • 16. Introduction to Sound Design

    • 17. Sound Design - SFX

    • 18. Music

    • 19. Best Export Settings

    • 20. Bonus 1 - Additional Footage

  • --
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About This Class

Welcome to our Adobe Premiere 2021 Beginners Course!

In this course you will edit an amazing ad, from start to finish using free, high-quality footage shot by us.

You will learn:

  • Key concepts for editing on any software
  • Optimizing Premiere Pro for best performance
  • Importing and Organizing your footage for a more efficient editing process
  • Cutting, arranging and finding flow to make your videos look awesome!
  • Apply visual effects such as stabilizing shaky video for a more professional look
  • Speed up and Slow down your footage for a more cinematic outcome
  • Color Correcting to fix lighting issues
  • Color Grading to make your footage feel the way YOU want it to feel
  • Sound Design to bring your clips to life!
  • Add Sound Effects to give your footage that crisp finishing.
  • Find and Add music to your finished clip
  • Export Your Masterpiece with the best settings

... And so much more!

Join us in this journey and together, become the editor you've always dreamt of being!

This course includes two folders containing free high-quality footage that you can use to follow our lessons and create your own projects

Meet Your Teacher

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Creative Therapy

Be Creative


 A group of creatives, passionate students and friends who want to inspire your creativity.


Here at Creative Therapy, we love learning, we love discovering new technologies, coming up with crazy ideas and finding ways to make them reality. So we made it our goal to help as many people learn, create and achieve goals.


If we could describe ourselves with one word, we would choose "students" because above all else, that is what we are. We've attended countless classes, enrolled in many courses and studied all sorts of subjects, we know how to learn, that's why we want to help you. Our learning technique is simple "Understand, but not copy", we are the Creative, not the Imitation Therapy, we don't want you to copy us, but to learn from us, and ... See full profile

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1. Welcome To Our Course!: So you want to learn how to edit videos inside of Premiere Pro. I personally think that that's an amazing choice. I remember when I first got started in video editing, I was so inspired and I was so excited. I would look at my favorite movies and I would watch him over and over again trying to see how they would edit certain things and I will be blown away and inspired. I couldn't wait to get started. But there was one kinda big problem. I had no idea where to start. So I knew that I wanted to edit and I knew that I wanted it to look really good obviously. But how would I achieve that while I started the same way as I'm assuming most people would. And I went and I downloaded the editing software Premier Pro. Still at this point, I'm filled with the motivation, inspiration that I previously talked about. But then it happened. I for the first time ever open Premier Pro and was greeted with the Confusing, Intimidating layout that Premiere Pro has. And once again, I had no idea what to do or where to start fast forward to today. And I've been able to edit for companies that I could have only imagined working for. I've been able to edit for social media influencers that I've looked up to and watch their content for a long time that I'm now able to edit forum. It's been a truly amazing experience. But how did I get from there to here? What happened in between? Well, I got here with a lot of determination in time. And the reason I say time is because I spent a lot of time blindly progressing, not really knowing what to learn, how to learn it and what order I should learn things really confused and left with a lot of questions. I have spent countless hours, days and sometimes even weeks wasting my time with YouTube videos, trying to figure out certain things, trying to put the pieces of the puzzle together on how to learn how to edit efficiently. And I just wasted so much time because more than half of the information I was consuming doing this method of YouTube learning was not applicable. And that is why the team and I at Creative therapy have decided create an easy to consume, an easy to follow along editing inside the Premier Pro course, we have literally spent months perfecting a strategic roadmap for you to be able to learn everything you need to know to get started as an editor today. And all of our lessons inside this premier editing Course is all in chronological order. As I said, easy to consume in the best part of it is it's just a little over three hours of training inside this jam packed, gem filled, exciting editing course, we go over everything from starting a new project. We go into Premier Pro and start cutting some footage together. We teach you how to organize a timeline and we even provide you with the raw footage that we're editing with so that you can follow along with us step-by-step if you choose to do so. And then we even go over the importance of understanding other things within editing, such as learning how to understand flow in pacing as an editor, which is a very, very important for you to pay attention to if you want to do this as a career. Now once we cover that and so much more on the fundamental side of things, we go into a little bit more complicated but fun parts of editing. We go in depth. Topics like color correcting color grading, and we teach you the difference between the two. We go in and teach you sound design, editing to music, Keyframing and animation. We teach you how to add and apply certain effects and so much more. We achieved our goal with this course because in this course, we give you the opportunity to avoid making so many mistakes that I made when I started. We aren't just teaching you in this course. But with this course, we're helping you avoid losing days and sometimes weeks of your time trying to learn something and figure something out when really you can learn it and figure it out with us in the next couple of hours. So don't miss out. Take this right here. Right now is an opportunity. Jumpstart yourself as a video editor. Learn everything you need to know to get started step-by-step, and you will walk away from this having learned how to create something that is truly unique to you. So I'll see you in the course. 2. Introduction: Welcome to the intro video of this course. We hear a creative therapy are so excited that you decided to take the first step in getting the education you need to become an editor inside of Premiere Pro. And I personally want to thank you for choosing us to help teach you along this journey inside this course, you're gonna learn the fundamentals and what it takes to be an editor inside of Premiere Pro. From keyboard shortcuts to learning how to optimize Premiere Pro to the best of its ability, taking you through and helping you understand the layout of Premiere Pro in teaching you professional yet beginner effects and techniques. And so much more, as I said before, we are the creative therapy. And because of that, we want you and urge you to be creative and not to follow along with us step by step. There's no problem with that. If you decide to do that, however we want to see your creative muscle shine. So I encourage you to download the eclipse in the resource section and to make those clips your own with the fundamentals and core concepts that you're going to learn inside of this course to conclude this point, follow our lessons, but create your own thing. Now we do want a voice that the footage that we are going to share with you in the resource sections do show products that we do not have an affiliate with or are sponsored by. We have filmed everything that we use in this course as passion projects. And we're not paid by these companies to do so there solely for education purposes. Again, we were not paid by Jack Daniel's Coca-Cola to create this course or provide you the content to edit with. This was solely a passion project. Help you learn how to create ads for companies like Jack Daniel's and Coca-Cola. And we do want to say that we do not encourage heavy or under age drinking. In this course, we will be putting ourselves in the place of somebody creating a Jack Daniel's ad. And that's exactly what we will show you how to do in this course. However, if you are under aged or for any reason, feel uncomfortable editing footage that does include alcoholic beverages in it. Please feel free to go down to the resource section and also download our Coca-Cola footage that we provide for you, as, as mentioned for Jack Daniel's Coca-Cola footage that we provide. Also passion project related and only for education purposes. Now, the team at Creative therapy and myself are so incredibly excited to be your mentors along this exciting, amazing journey that you decided to take. And we are filled with anticipation and further excitement to see the videos that you guys end up editing. Welcome to create a therapies first Premiere Pro editing course. 3. Keyboard Shortcuts (Skippable): How's it going? And welcome back to another video. And now before we get into the nitty-gritty of the software, we're just going to simply open up Premier Pro. And we're going to talk about keyboard shortcuts. My keyboard shortcuts are super important thing to learn when you're getting into editing. Now simply put keyboard shortcuts or combination of keys that make up a certain action. For example, a common one that you likely use every day is command or control c and control v, which is copy and paste. Even spacebar is a keyboard shortcut to pause and play a video, you hit Spacebar. So what we're doing today is we're going to talk about certain combinations of keys on your keyboard that we can use to speed up your editing inside a Premier Pro. So what I'm gonna do today is I'm going to share with you the ones that I most frequently used and the ones that I think are most important for you to know as you're getting in to editing inside a Premier Pro for the first time. So I'm just going to open up my Premiere Pro application. I'm not gonna go through the interface for yet. I'm just covering keyboard shortcuts. You don't have to open yours right now. You could just open your notepad and take notes. So without further ado, let's get into it. Now. I'm going to open up Premiere Pro here. Alright, so here I don't have any footage or anything. Don't get confused or get overwhelmed by this interface. We're not going through this yet. We will, you'll understand everything for now. Just focus on my mouse and what I'm going to be doing here. So first we're gonna go up to Edit, right, up here, top left. We're going to click on that and we're going to come down to this tab right here that says keyboard shortcuts. Now, a keyboard shortcut to access keyboard shortcuts, you can click Control Alt k. However, right now I'm just showing you how to get there manually. So click keyboard shortcuts and this pop-up will pop up right here. Now, if you're interested in my keyboard shortcuts, the set of keyboard shortcuts that I'm gonna be running you through in this video. I named it Dillon Reynolds, CTS. And these are my custom keyboard shortcut. This is the pop-up that you come to to edit your own keyboard shortcut. So if I wanted to make be my cut tool, my razor tool, which basically cuts a clip. I can just come here, type in razor tool. It's here and it shows me that the keyboard shortcuts B. But let's say it was dy. I could just click X and then I just type in where I want it. So I want it to be B. So I just type in B. Now my razor tool is set to keyboard shortcut b. So it's as simple as that. That's how you create your own custom keyboard shortcuts. Now I'm going to just simply import a clip, not gonna show you how to do that yet because we're going to have a whole section on that. So I don't want to confuse you. And then when I have my clip in my timeline, I'm going to show you all the keyboard shortcuts in what they do. So the first keyboard shortcut that I am going to cover, and the most important and likely you already know this one is spacebar. And what spacebar does if you look at the Premier Pro, when I have a clip in my timeline and I click Spacebar, it plays the video. When I click Spacebar again, it pauses the video. If you ever watch YouTube videos and use the space bar to pause and play your video there. Exact same thing in here. Now the next keyboard shortcut is plus and minus. So plus and minus. If you click minus, it makes your clip zoom out. So you can see much more of the timeline. And just so you know, all these tracks here, this is considered a timeline, and this right here is considered a clip. So basically we zoom out and our clip gets smaller. It zooms out of the timeline. And when you click plus, it zooms into the timeline. So if, if you're editing audio, for example, when you want to really get up close and see what that audio looks like, that waveform. This is a waveform. You can go ahead and click plus on your keyboard and zoom all the way. And so you could see that waveform. And then when you're done, you could zoom all the way out. A big part of editing is cutting parts of the clip that you do not need. And you need to access the blade tool or the razor tool in order to cut a clip. So how do you do that with my keyboard shortcuts, you simply click keyboard shortcut b, as I showed you how to set that, had a customize that yourself and then access the razor tool. I just hover over the clip. I'm going to, I'm actually gonna zoom in a bit with plus, and I can just cut the eclipse here. But now how do I get back to my regular cursor? Well, that's the next keyboard shortcut. And that's keyboard shortcut. A. I don't want to confuse you, but if you're not following along with my custom keyboard shortcuts, I'm just telling you if you're using Premier prose native keyboard shortcuts, you click See For the blade tool and you can click v to get back to the cursor. Again, just to repeat not to confuse you. My keyboard shortcuts which you could download below are going to be b for blade, and a further your cursor. Now, the next keyboard shortcut that I use very often and I find is incredibly efficient to use to speed up my workflow is I and O, the keyboard shortcut IN0. So basically what it does is, let's say, I don't want any of this video except just this clip right here. I only want to export and save this clip. So what I can do is I can go to the beginning right there. I could put my play head right at the beginning of the clip and I can click keyboard shortcut. I. And I can go to the end of that clip right there, and I can click keyboard shortcut. Oh, and now anything, any actions I do rendering, saving, exporting, it will only export are saved inside of these boxes, inside this box here. And that's called an in and out point keyboard shortcut. I, oh, so now if I want to go up to File Export Media, which we'll cover later, it will only export this area here. That's really good if sometimes I find myself often only wanting to render certain parts or certain clips when I'm editing and I in the o in an output keyboard, shortcuts are very, very efficient because if you don't use that, you have to manually come over here, drag drop and all that. And it's just a lot more time-consuming, not necessarily one time, but it adds up over time. So now let's get rid of this. All you do is you come right here to these three dots, you right-click. You come clear in an out click that and it'll disappear. So that's how you get rid of the in and out points. Another one of my favorite keyboard shortcuts that I did set customized to me is called ripple delete. So let's say I have these clips right here, and now I have an empty gaps. So I'm playing the video. And I have now this empty gap. Well, instead of highlighting all that footage and dragging and dropping over here, moving it manually, what I can do is I could click, I just click in between those two clips. The empty space. I click keyboard shortcut are in it. Rippled deletes, which means it will delete that empty space, bringing those clips together, saving me a lot of time. Now we're gonna talk about time remapping. Another word for this is speed ramping. Again, this is something we're gonna cover later. However, if you want to speed ramp, it's a big long process. You have to come here right-click time remapping speed. You have to play with key frames. I don't want to confuse you right now. So instead of doing that, what I said it too is a keyboard shortcut j. So all I do is I highlight the clip, I click on J and it instantly pops up the speed duration, the Eclipse Speed area. So I don't have to deal with any a time remapping speed RAM remapping, speed of the clip, reversing the clip, all of that I can access just by clicking keyboard shortcut J. Now I could slow down the clip to 50%. I can speed it up to 300%. I could reverse the clip and then I could just click OK. And you can only access that is if you manually set it yourself or you download my custom keyboard shortcuts. Okay, so now we're gonna talk about another keyboard shortcut that saves a lot of time. So the next keyboard shortcut is Command Z. So let's say I make an error like this where I just deleted some of this clip because I moved this clip Ford. All you do is you can click Command Z or if you're on a PC Control Z, and it will just redo that air. So you start from scratch. So let's say I do this. I have this, I have this, this, this here, this here, this here. Now I just made a bunch of mistakes. I don't know what just happened, what just go Command Z. Command Z and tell it is back to how I wanted it before the mistake happened. Now, another keyboard shortcut is alt, which all you do is click ALT. You click the clip and you drag up in it copies this clip. So that's the easiest way to do it. The other way is Command C, Command V, which is copy and paste. However, when you do that, it messes up your other clip. It will, it will pace itself over other clips. So I'm gonna click Command Z to go back. The way to do this error-free is by clicking and dragging up on the clip, and that will copy another version of the same clip. Now we have two more keyboard shortcuts. Discover, the next one is nesting. Now basically let's say I'm going to click ALT, drag, drag, drag. So now I just made a bunch of copies of this. So let's say these are all separate, different clips. And I, my timeline just looking crazy here, right? It's stressing me out. I want to make all this into one clip like here. How do I do that? Well, I nest the clip together. Basically I make another clip made up of all four of these. Now, a way you do that is you would highlight all these, right-click, Come up to ness and then you'd have to nasa sequence how you want it. My way, in the way I set my custom keyboard shortcuts to do is dragging over all of them highlighting clips. You simply click keyboard shortcut, n ness sequence. Yes. Okay, and now it's all nasa. So if I double-click into this, it'll take me to that nested sequence right here, where all those four clips are still here. But in my main timeline, it's right there. And it looks real good. And now my timeline looks nice and neat. So that's another really, really amazing keyboard shortcut to save time, especially because nesting sequence, There's a lot of steps in doing that. So just by simply clicking your keyboard shortcut n and you're able to NES it. It's a huge, huge time-saver. Now one of my editing jobs, I have to edit long form content, 15, sometimes 30 minutes long. And when I'm doing that and I'm looking for a certain mistake, I don't want to sit there watching it at regular speed. So what do I do? Well, it's simple. All you need to do is click keyboard shortcut L, and it'll speed up your playhead so you see how it's speeding up. I can click it again and it'll go even faster and even faster if I click it again. That is how I call it speed sifting. So to make your editing process more efficient, let's say I'm looking for one small error and I don't need to be watching it at regular speed. I could just click L. And it will play through that very quickly. And let's say OK, the errors there. So I hope that all made sense. I hope you guys understand and took notes of those keyboard shortcuts. Again, go head down below in the description, make sure you download my custom keyboard shortcuts and then set them yourself inside a Premier Pro. And remember that these are really important to learn, these keyboard shortcuts. These are the most common keyboard shortcuts I myself use and that I think are the most important when editing efficiently and effectively. So now let's move on to the next video in this masterclass. 4. How to Optimize Premiere Pro (Skippable): Welcome back to another video in this editing masterclass. In the last video, we talked about keyboard shortcuts. And now this is our last video before we hop into the nitty-gritty of Premiere Pro, we hop into the platform and get you editing. This, however, is a very, very crucial video in it's very important that you follow along because this video can save you from a lot of frustration in the future. Many of you may or may not know that Premier Pro has been known in the past to be a software that crashes in glitches out quite a bit. The new 20-20 one update that's changed a little bit. It premier prose interface is now a lot better, a lot faster and a lot more efficient with less crashes happening. However, it does still happen. In this video, we decided to make to help you optimize your Premiere Pro software in order to reduce those amounts of software glitches or crashes to prevent frustration and to prevent you possibly losing your entire project due to a malfunction within Premier Pro. I'm going to take you into the settings step-by-step and show you exactly what things to do, what things to change and what not to do in order to make your Premiere Pro interface in software. It is possible and ready for you to edit. So that further ado, let's hop into Premier Pro and let's get started. So we opened up here, Premier Pro, we don't have anything here. Again, as I mentioned, a keyboard shortcuts video. Don't disregard this whole entire screen. It can look confusing, I totally understand, but we're gonna go through it together and future videos. For now. We're just optimizing the platform. So all we're gonna do first is we're going to come here and we're going to click on edit. We're going to scroll down to Preferences. And you're gonna scroll over and click on General. Great. When you do that, this window is gonna pop up right here. First we have general. Now we're gonna go step-by-step here. However General here, there's nothing that we really need to worry about. We could keep that exactly how it is. Then we're gonna go through appearance. And again, this is not important. This is more a preference setting. So basically here, brightness, you can make Premiere Pro lighter. I don't know who would wanna do that because it's just disgusting. But I like to, I prefer it to be darker how it's set automatically. So that is the appearance setting. Everything else isn't really too important. This is just how you prefer. So now we're gonna go down to Audio. And with audio, again, this is another tab that we're just gonna keep the same. And now we're going to move down to audio hardware. And this is a section that we're going to want to change. So this isn't like this right off the bat. So what we're gonna do is first of all, your default microphone should be selected, which is the playback. So for example, I have mine right here, my default output as these headphones I'm wearing right now. And that automatically registers in my permit probe. For some people, when they plug in a device such as headphones, sometimes it doesn't play out of a headphones. They don't hear anything when they press play on Eclipse inside a Premier Pro. And how to fix that is all you do is you come here to audio hardware and you choose the device that you wanted to play it off. So if I wanted to play it on my computer speakers, I could just click speakers. However, I want to keep it out of a headphones. Now everything else we're going to leave the same except you're going to want to come down here to latency. Now, you're going to want to change this to 50. Exactly how I have it. Yours is likely not set like this. So go ahead and change this to 50 to improve audio playback in audio quality. So when, once you do that, we're going to come down to auto save. And guys, this one's very, very important. So basically, Auto Save does, is it automatically saves your project after a set duration of time. Now if you don't set this in, your Premiere Pro crashes and you reopen it. It will only open what you last had saved. So if you do not have auto save set, then you'll lose your entire project because that means you'll have to manually save your project. Now, all you do is you click control S or command S to save your project. But I don't recommend you do that. I recommend you come here into auto safe. You click automatically save every six minutes. So basically, what Premiere Pro is gonna do is it's going to automatically save your project every six minutes. So if your Premiere Pro does crash, does shut down when you reopen it, you'll have only loss of last six minutes of work that you did much better than losing a whole hour or two hours. Now if you want, and you're doing videos that are incredibly graphic heavy, and you're dealing with a lot of vectors, a lot of animations in six minutes. A work is a lot of work for you. Then you can shorten this down to every three minutes, every one minute. But for me, this sweet spot I found is to automatically save every six minutes. And you're going to want to come down to maximum project versions and set that at 200. Now that's it for Audio, say now we're going to come down to capture. We're gonna keep this exactly how it is collaboration. We're gonna keep this how it is, unless you're working with a big team and you guys are having a share Premiere Pro projects. You're not going to have to worry about the collaboration tab. So for now, we're just gonna keep this out is in moved down to control surface Kp this how it is. Let's go down to our next tab, which is device control. And again, we're going to just keep this exactly how it is and graphics. So here on graphics, what you're going to want to do is you're gonna wanna make sure that this is set to where you are. So I'm actually currently living in Europe at the moment. So I have mindset for Europe and East Asian. You could face a lot of glitches, crashes, or other issues inside a Premier Pro if you do not have the right text engine set. So make sure that you do have this set to your location that you're in. So once you have that set to wherever you are, Let's go down to the labels and this is an important, this is just another user preference setting. So basically you could set certain color codes to certain things. So for example, when your clip is in the timeline, you film a lot of interviews. You could set this color to interviews. So basically every single time you upload a clip that is an interview, it will upload or you could change it to this purple color. I usually don't deal with that. I like to keep that how? I like to keep that how it usually is just the regular label color. Again, this is not important at all. This is just user preference, so we're gonna go down and media now, this is an important, so immediate. We're gonna make sure that it's set to 23.976 frames per second. We're going to keep time code use media source, the frame count start at 0. Default media scaling. So basically, if you are editing in a 1080 timeline and you input a 4K clip, it will bring that clip in. The really, really zoomed in because it's 4K, it's high resolution, more pixels. So if you shoot things like weddings, where you have some 1080 Eclipse or some 4K clips, but you all want it to be in the timeline. The same aspect ratio come down a default media scaling and set to frame size. Very important if you want everything to be flushed clean in all the same aspect ratio. Next, right, x MPI D2 files on import. We're going to keep these top three here unchecked. We're gonna make sure include captions on import are checked on and automatically refreshed growing files, turn that drunk off, make sure that it's turned off. Make sure everything really hears turned off except include captions on import. And these last two down here, again, everything make sure that is turned off. And once you turn all this off except what I have checked here, you come down to media cash. You're going to want to come here if you edit off of a external hard drive or an SSD hard drive, whatever you edit off of, you wanna make sure that this location is set to that. So I come here, I click Browse, I edit all my videos off of a hard drive, off of the extreme SSD hard drive from San disk. So I go ahead and I save all my media cache files in here instead of on my computer because I wanted to avoid boggling my computer down with files. It doesn't need a come down here to remove me the cache files click Delete, and this will go through your computer and delete all the cache files that you no longer need. Make sure you do this every now and then I get now and again, I have a habit of doing this every single seven days to make sure my computer in Premier Pro are all running as fast as possible. So I'm just gonna let that delete right now. Great, so media cache database, you're gonna do the exact same thing, set this to the exact same location. I'm pretty sure it does it automatically. Next, let's go to immediate cash management. Makes sure do not delete cache files automatically is checked off. And here, the only one you want to keep checked is automatically delete cache files older than make sure this is clicked on. And you're going to want to set this to 90 days. So basically what's going to happen is every single 90 days, it'll automatically go through and delete all the cache files that you do not need. So if you forget to make this a habit up here where you remove cache files automatically or manually. Well, this is basically doing it for you every 90 days. So now we're gonna go down to memory, which is a very important one. Make sure you have this all the way turned down to three gigabytes because basically this is RAM reserved for other applications. So right here RAM available for Premiere Pro. So if you see if I make this higher, it will only make one gigabyte of RAM available for primitive pro, slowing it down. So make sure this is termed as low as it can go. So it gives Premiere Pro as much RAM as it possibly can. To make sure it runs faster. You're going to come down here to optimize rendering for and performance. So that memory tab here is all good to go playback. This you could just keep, keep exactly how I have it. No big deal enabled. Mercury transit just makes sure that this is turned off and then we can go down to sync settings, which isn't important. So we'll go down a timeline. This is a fun one. So Timeline, video dq transition, default duration. So basically when you put a video transition into your timeline, it will automatically make that transition 30 frames log. So you definitely want they're set at 30 frames in the same for audio transitions and then still images. So when you import a still photo or image into your Premiere Pro timeline, it will make it 55 frames long. The only time I ever put images inside a Premier Pro to edit with is if I'm doing a hyper lapse. So that's the only thing I use photos for insider Premier Pro. So I set myself image default duration for five frames. So when I do import a photo, it's only five frames long. Timeline playback, auto scrolling. Basically, I like to keep that at page scroll and timeline now scrolling, I like to keep that as horizontal. So if you're on a mouse like IM, when you scroll up and down, it will move the timeline horizontal. But if you'd like to move it vertical, you can do that too. So if you scroll down and scroll up, it will move the timeline vertical. Now let's go down to here. So make sure set focus on timeline when performing inserts slash overwrite edits are turn off snap playback in timeline when snap is enabled. Yes, keep that on at playback and returned to beginning when restarting playback. Keep that off. Display out a sink indicators for unlink clips. Turn that off play after rendering previews. Turn that off and then needs to make sure these are clips. So Show clip, mismatch warning dialog, and then fit clip dialog opens for edit range mismatches. Make sure those two are checked on. Match Frames set and point. Click that off and restore open sequences when opening projects, keep that on. Once this is all set to how I haven't go ahead and click on trim and we're going to keep this exactly the same and make sure when you're done here, just click OK. And then your Premiere Pro is officially optimized, but we're not done yet. Inside a Premier Pro were done. So you can just go ahead and x out here. Now we're going to do is now that we optimize our Premier Pro, we're going to come down if you're on a PC or a Mac, you're gonna wanna go and make sure that your computer is up-to-date. So you're gonna go updates and check for updates. Mine is up-to-date if you're isn't update your computer because Premiere Pro is running off of your computers. So if your computer's not updated, it's not edits full potential, so it will run slower. Finally, if you are on a PC like IM, or you're gonna wanna do is make sure we come to this G-force experience application, come over here to drivers, check for updates, make sure the most recent G-force driver is installed because this, it will make your Premiere Pro run faster. Once that's done, everything here for optimization is done. You guys are officially ready to jump into Premiere Pro. As an editor, you're ready to learn the nitty gritty of Premiere Pro, Get in there, headfirst and edit with me and I'm going to teach you everything along the way, don't worry. So in the next video, we're going to be importing clips and we're going to show you how to not only input the clips, but how to organize your clips properly when you import them into Premiere Pro, which is incredibly important, especially if you eventually go on to become a professional editor of freelance editor. A lot of times, understanding how to organize your clips are very, very important. So I'm super excited to go to the next lesson with you guys. Thank you so much for watching this video. I hope you learned a lot. I hope your Premiere Pro is all optimized and ready to go. And I'm ready to go to the next video. So I'll see you there. 5. Starting a New Project: Welcome to another video in this course, we already covered keyboard shortcuts and we covered how to optimize Premier Pro for success. Next thing we're gonna do is we're going to start getting into the actual editing right now. And to do that, we're going to start a new project. But before we do that, I quickly want to say that every single piece of footage that we are going to be using affects available for you in the resource section of this course. So without further ado, let's start a new project and we're going to click New Project right over here. And then we're going to name the project and we're going to be editing with Jack Daniel's footage. So we're going to name this jack Daniel's misspelt that Jack Daniel's had. Perfect and then location. Just save it to whatever harddrive you wanna save the video to. I'm just going to save it to my external hard drive. And then I have a folder for Jack Daniel's already select folder and then let's get into it. Yes. Perfect. So and this opens up, it does look confusing. I know it can be overwhelming, but we're just gonna take it one step at a time. First. We have this media Ben over here, and that's what we're really going to want to focus on right now. So the first thing we're gonna do is we're going to organize our footage before we even import our footage because we don't want it to get confusing. So we're gonna create something called bins. If you come down here to this little folder right here where it says new Ben, you're gonna want to click on that. And you're going to want to label this video, namely video. And then just click this arrow to make sure the ben stays like that. And now we have a bin specifically for video and we're gonna do this for a couple other things. So we're going to make this also for music. So for any music we add. And then again for any sound effects we add. And then we're also going to create a fourth folder for just miscellaneous things like maybe certain effects or adjustment layers are screenshots or anything like that we'll put in there. Or if you want, you could also have color label this. So if you want your video to be labeled green, You could just right-click on the square and then just go to label. And then you could change the color to green. For example, I like to keep mine orange, but I just like to keep it the default color, but you could do it however you'd like. So now that we kinda pre-organized this before we even imported our footage, now we can go in and important for footage. So the first thing we're gonna do is we're gonna import our videos. So let's double-click on the video bin. And then now we just have a blank screen. So what we're gonna wanna do is double-click again, and that's gonna give us the ability to import the footage. So let's double-click. And now we're going to search for Jack Daniel's footage. So as I said, the footage you could download in the resource section, I don't know where you saved it to whether that was your desktop or a hard drive. But for me it's in my hard drive. So I'm just going to go to find that footage. So once you find the footage, just select all of it and then click open and that will come right into the media. Ben, I don't know why my Premier Pro is working so slow. Okay. So now when you come into the media ban, all your footage will be listed. If it's not listed in order as you see, mine is 49505152. It's an if it's randomized, You can come down to these three dots right here that says sort icons, just click that and it will organize it off how you shot it or how it was shot. In this case, Premiere Pro RD pre-organized mine. But for some of you then that may not be the case. So now if you go back, you see our bends are still here. And if you want to access the video, you can just drop down this arrow and all of your footage is right there. So now we're very organized. So if you ever need to go back to a certain thing, instead of it being Massey and your whole entire media, Ben, looking like this with a bunch of random files of music, sound effects, and video. Now you have certain bands where you can keep everything organized for your own sanity. So Let's go into video and I'm just going to quickly show you how to drop it into the timeline. There's two different ways people like to do. For me personally. I like to select all the video clips by clicking control or command a and then just dragging and dropping it into the timeline. And then I personally like to just sort through the clip one by one through the timeline. But another thing you could do, and more people, typically the more popular way of doing this as people like to start from the top. And if you double-click the footage icon right here, the source of media will come up here. And then you could go through the clip here. And let's say you wanted right here, you could click I for endpoint and you wanted it to end right there. You can click oh, for our point. And then you can just drag and drop that click clip in. The clip that you just it pointed in output, it will be right here. Just like that. So a lot of people like to go one by one. I personally like to do all of it. Put all of the eclipse in the timeline at once. Perfect. So now what we're gonna do, one last thing is we're going to actually take all that footage and put it in the Timeline. And now we're actually ready to go and start cutting the footage because we haven't picked out any music or sound effects yet and we don't have any miscellaneous footage yet. So right now, we're pretty much set and ready to go. Again with the clips. I personally like this, just a personal preference. I like to highlight it all and change the color. I like to edit this blue color right here, but you can choose whatever color you want. All you do is highlight your clips, right-click, go to label and choose your color. Now we're pretty much ready to move on to the next lesson where we're going to start going through together and we're going to cut all this footage and turn it into an actual video, not just randomized clips. So let's jump into that lesson right now. 6. Cutting Our Footage: Alright guys, welcome back to another lesson. In this lesson we're gonna talk about cutting. And we're starting where we left off from the last video, which was starting a new project. But before we get started and going through all this footage, I first wanted to just go through the layout. Take a couple minutes to let you, to explain for you what we're kinda looking at so you can understand what we're doing better. So first off, let's start off with the core of editing, which essentially is the timeline, which is what we're looking at right now and where all of our footages, and these are called tracks or layers. And essentially you have the video layers up top, which our video layer 123, et cetera. And then the same goes for the audio. So down below this thick line in the middle is audio, all the audio layers. And over here we have our media Ben as earlier. And then over here we have a few buttons that are good to know. We covered in keyboard shortcuts. I never use these buttons. I always use keyboard shortcuts to get to these tools. But if you personally wanted to come over and click here, this is a selection tool. You'll never use this tool. This is it attracts let forward tool. Again, ripple, edit, Delete. This is a good tool but you won't really use it as a beginner. And then right here you have the razor tool, which is how you will cut your footage. And then over here you have a slip tool. Again, this is a little bit more advanced. You don't need to know this right now. The Pen tool, the hand tool, and the type tool, the only tools that you're really going to be using for the cut page right now or what we're about to get into is this selection tool and the blade tool. Now, what we're gonna wanna do again before we get into cutting is sometimes clients will send you audio files that are unnecessary like this. If we play through, you could hear it's just background sound. See, we don't need that audio. And to save yourself from going crazy, what we're gonna do is we're going to, there's two things you can do actually. First, you could just mute it by clicking the button right here and then it's gone. Or what I personally like to do is I like to just get rid of it. I like to just highlight all the audio, then delete that. So now it's gone. And that way we could go through this and not have to be annoyed by the filters, the filmmakers audio. Alright, so now you guys are ready to start cutting and going through the footage. The first thing I personally like to do is I like to make some room for myself here because we're going to be spending most of our time looking at this right here. I like to make the media bent a little bit smaller by just coming over to this line. And when the icon pops up, you can just click and hold and then drag it to the left. So that way we have more space in the timeline. And then I'm going to do the same thing over here. I'm just going to drag this over. And now we have a bigger timeline to look at so I can zoom entities clips. And let's start with the first clip and let's just start going through finding the hero shot inside of each clip. And then we're basically going to put those together to form the final video. So let's start going through it. I'm just gonna play. I don't that wasn't good. Tom's gonna delete that, so I'm gonna highlight that and just backspace delete. And then just play through. So this is a cool video right here, cool clip. So what I'm gonna do is I'm gonna start this over. I'm going to click Play. And right there it starts to go and focus. So I'm going to click the keyboard shortcut b, which activates the blade tool. I'm going to blade right there because I like that effect, how it's coming in, blurry, but then it comes into focus. It's kind of a cool intro shot maybe. So let's click Play. And then, right, okay, so right there the light starts to come in. So I'm actually going to go back a couple of frames. So the arrow keys on your keyboard, the left arrow key will just go back a couple of frames. You can just click that and until you see this start disappearing. Until that disappears right there. So I'm going to cut right there. As you can tell, editing is very tedious. So I'm going to delete that and I'm just gonna go through the rest of this clip to see if there's anything else good that comes out of here. So let's just play through. It's just very repetitive. It's the same thing here. Let's see what this one looks like. Comes in again. That once ice too, but it was a little bit more shaky than this one, I think. Yes, I am going to stick with this one. So I'm just going to delete this one right here. And then here is a clip that we have from that. Perfect. So now we have this empty gap between this clip and these clips. So what we're gonna do is we're going to highlight that empty space. We're going to click on the empty space. And you could just click backspace and then backspace again. And then it will bring those clips together. So right here is your play head, this blue line. And you want to come up here to this yellow line to be able to maneuver through your timeline as I'm doing here. So I'm just going to take that playhead and I'm going to drag it to the beginning. So that cut looks nice. So now let's go to, move on to the next clip. C, spinning around the bottle. I think we might be able to use that right there. So let's click our keyboard shortcut b to activate the blade tool. Let's just go little bit further back. Shaky and then it starts to smooth out right there. So let's start the first cut right there. Let's click the spacebar to play. And it gets the shaky right there. So let's go back and see right there. So I'm going to pause it and then make my end cut right there. So I'm going to delete that first part. And then again as I did with the last video, since so clips a little bit longer. I'm just gonna make sure I don't miss any potential hero shots or better shot. So I'm gonna continue to go through this clip. All right, so let's see, Get him a little bit closer. Not a fan of that shot at on this slide is so I'm actually just going to delete that. Okay, so as we did last time, click the empty space backspace. And you can see are, are, are two clips. You can just see how it's starting to come together just by two clips. So if we go back and we click Spacebar, and then boom. Now, I'm not going to put it in that order. I'm first going to cut and then put it in order. But you can just see how, you know, finding the hero shots and each clip, how it could just immensely improve your video already just by doing it to two clips. And now we're going to move over in the timeline. And we're going to start with our third clip, which seems to be repetitive in pretty much the exact same thing as the last clip. So I'm just going to trash that and move on to the next one. Another thing really quickly that a lot of professional editors do, I'm just reckless and delete my footage. But what a lot of editors do is there are a lot safer than I am. So if they don't like a clip, for example, if I don't want this clip, they'll just move it up and then they'll come over here to the eyeball and turn, you click on that and it essentially disables that track so you don't see it any longer. And that way just in case they need that footage later, they can have it. But as I said, I'm a reckless editor, so I just like to trash my footage if I don't like it. But to each their own, you can choose what you prefer. Okay, I think that could possibly be a cool shot. So let's start right there and let's click the B for blade tool, blade right there. And they were just like a weird missing framer dropped frame in that video. Maybe it was just the playback on Premiere Pro. Yeah, that was that was my fault. Okay. So I'm going to stop it right there. And later on we'll fix these clips up to make it look better. But let me just see if there's anything else in this video now. Okay, so let's delete that end in the beginning and then we're gonna keep this part of that clip. Perfect. So we're gonna go back, highlight the empty space by clicking on it backspace. And now we got three clips ready to go. We're making our way through this video. Okay, cool. So we've already gone through three clips so far for you go-getters out there. I want to invite you to do a little bit of exercise. I'm gonna continue to edit the rest of this video, but as you see, there are a lot of clips. So if you want to go off on an exercise and do it yourself, you already have seen the concept of how to do it by watching me do these three clips. You can go out and edit your own video with this clip and just go on and do it yourself. Or if you'd like in your more comfortable just falling along with me step-by-step. You can continue along editing journey with me as I go through the rest of these clips. It might be a little bit longer of a video for you, but again, we invite you as an exercise to go edit yourself if you prefer to do that and not fall along the rest of this video. So now that's out in the open. Let's continue out with are, continue on with our next clip. Alright, so let's look at this clip I already liked away this clip looks I'm pretty sure that's a hand and I don't like that. Let's see. Come on. Get it, got out of there. Really nice, really nice clip of the bottle. And I really don't want to enter their houses. Looked a little weird. It looks like it's stopping. Okay. I feel like it's it's like while it's spinning, it's kinda jittery. And I don't know if that's the software or if that's the videos. So there's a solution to this. I have to do this all the time. So let's OK, so let's do this. We're gonna go to the beginning of this clip and we're going to click the keyboard shortcut I. And then we're gonna go to the end of it and click the keyboard shortcut o. And that's for in and out points. And what we're gonna do is we're gonna do something called rendering this clip, because sometimes the playback and Premier Pro can be a little bit glitchy. And you want to render out your clip if you're not sure if it's the footage or the software. It's always good to be safe and rendered out. So now that we put in point and out point on this clip, we're going to go up to sequence. And we're going to just click render in and out. And it's going to specifically render the points that we selected. So once that renders, We could, you see these three lines right here. We could right-click that and then click clear in an out, and that'll get rid of that. So now you see the line is green, no longer yellow, which means it has been rendered and it will play back perfectly. We'll see if those jitters where because it Premier Pro or because of the filming. And it was because of the filming because it's still there. So that's good to know, nothing's wrong with their software. See you when you're editing, you have to make it really hard choices. Like, I don't know if this is I love this shot, but I don't know if I want to clip it or if I want to cut it in, save it, but it's a little bit jittery. I'm just gonna move it up top. I'm going to be a safe editor right now. Move it up top and save it for later and see if there's any other clips like that that aren't jittery. And we'll see later on, so we're going to skip that for now. I can't I can't decide. Okay, so this is a similar clip, but it's still let's see. Okay. So there was just a lot of unnecessary movement in that. So I'm just gonna delete that. I'm not going to use any of that. Okay. This we can definitely use I like that. That was clean. It's a little bit shaky, but we can fix that up later. Also, a little trick we could do later is you see how it ends blurry. I really like the look of shots starting blurry and going into focus. So we could always just reverse that clip, which I'll show you how to do later. But I'm going to save that because I really like that. So I'm gonna cut that there. And if you move your head and reverse the playhead and reverse, you kinda get an idea of what that would look like. So like that. I really like that. So it kinda looked like that if we reversed it. So I'm gonna save that. So because this is similar to this one, I can delete that one. The clip that I save for later. So I'm going to highlight them DSpace again, backspace. Bring those clips together, keep my timeline all nice and tidy. And let's move on to the next clip. Let's see. Okay, this is a much, much, much, much better spin than earlier. Let's see. So I'm going to stretch right. There's so many B for blade tool. And I'm going to make my first cut right there. And it goes a little bit out of focus, which I don't like, let's see if that if they fix that. Let's see the bottles on a piece of paper I just saw. Okay. Yeah, that's much better spent. So we're going to just pretend we didn't do that and we're gonna make another cut right here. We're just gonna disregard that. And we're gonna make that cut right here. So it starts right there. And then let's make our second cut right there. Let's go back a couple of frames right there. Perfect. So let's just. Delete these. And then again, let's see if there's any other nice euro shots in this clip that we could use? I'm thinking not. Okay, so let's delete that. So we did at least get this nice clip out of it, which is cool. I think we could do a lot of cool things with that. So another thing to, if you don't want to highlight and backspace or sometimes Premier Pro, like suggest not work with people. So when you highlight the empty space in backspace, sometimes it won't work. You can just click on your clip and drag it and it will connect to the other clip. But when Premier Pro is working nicely, I really like this feature of highlighting and backed spacing because it just saves you some time. So let's go on to the next clip. And a huge fan of that. There's not enough bottle too much table. Okay, there we go. Let's see. Okay, so that was a cool shot actually right there. Again, this is something we could reverse because you can see it goes out of focus. So if we move that back like that, that might be kinda cool. So let's cut here. And then let's make our second cut right there as it goes out of focus. Perfect. Let's move that up before we start deleting this clip and see what else we can get from here. Okay, so Okay, let me rewind that. You know what, I kinda like that clip right there. I'm kind of torn on it. So I'm going to make my first cut right here and I'm going to just end it right there. So a little bit shaky. We might be able to fix that clip up, but I'm gonna save it just in case. All right, so we're switching angles now. Let's see. I don't think that that shot would flow the moving down to up very vertically like that. I don't think that would flow with any of the shots that we have so far because that's another thing. As an editor, you have to really understand flow and pacing. Otherwise your videos won't flow nicely together. Because as you see, these are hard cuts that are being put together. Like if we look at the beginning of our video. These are all separate clips that are like if we zoom in, these are cuts and they're hard cuts. But if there, if there's pace in flow, you won't even realize it, it's cutting because it will just flow together very nicely. So like that vertical shot, I don't think we'll go well, just because the pacing and the flow of that doesn't really go with the video so far, I feel like the theme of this video so far as a lot of spinning shots or like close-up shots, not really anything vertical. So we're gonna delete. Well, let's see, we're going to go through these again. Yeah, so we're going to save this one right here. And we're gonna delete this. And then we're going to save this one right here. So those were the two parts of that clip that we cut it there or that we cut? Perfect. Okay. So really okay, so I'm just going through this past clip right here, and we forgot to cut this. So I'm actually going to delete this clip because that's unnecessary. I just forgot to delete that. So now we've made it pretty far into this video. We still got quite a little bit more cutting to do. But just to make this a little bit more digestible for you, we're gonna go into the part two of this video. And that's going to be cutting part two. And we're going to continue to cut and start where we left off here. So if you guys are interested in continuing to cut with me or if you guys like to go off on your own exercise, you can go ahead and just cut this video yourself. But if you want to continue with us on the next video, you're welcome to come along with me. So that's it for this one. Let's move on to the part two. 7. Cutting Part 2: Hi guys, welcome to cutting part three. As I said, we're leaving. We're starting where we left off on part one. And so far we have about 15 seconds done. We have quite a little bit more to go. But guys, this is the nitty gritty part of editing. This is arguably some of the most time-consuming or the most time-consuming part of editing. If you guys like to go ahead. That's why I'm making it in different parts. So you guys are able to skip ahead if you'd like. But for now, I'm gonna keep going. I'm going to keep going through I'm going to finish this. And if you'd like to go along with me step-by-step, I know some people learn better that way. You're more than welcome. So without further ado, let's just hop into it where we left off. As I said, we have, we have 15-second sound, which is some awesome progress. And now we have to go through all of this still. So let's see what we can get from that. So let's start. Let's play this video spacebar to play. Also just a little tip that I use in a lot of professional editors use. Is there a keyboard shortcuts l? And if you click that when it's playing, you could, it's basically like fast-forwarding your clip. Like if you don't want to just sit here and go through this, or if you shot the footage so you kinda know more or less what it is, you can hit spacebar to play and then click L, and it starts to speed that club up if you want a site through it very quickly. But in this case, we're gonna go through it at regular speed. Not a fan of this shot really. Let's see let's see if it turns in anything nice. I don't know what is happening here. Okay, here we go. Let's see. Another thing to factor in is when you're looking at clips like this, like this is really dark. This will be a lot of work for us in the color correcting and color grading part because it's very dark. So we're going to have to we're going to have to go through this and really do some work to it. But that was an awesome shot and I think that it might just be worth it. So we're going to pause it right here. We're going to click true keyboard shortcut b for the blade tool, we're going to hit our first. We're gonna do our first cut right here. And we're going to end it right there. That was an awesome shot. I love the way the light comes off the label right here. Okay, perfect. Sweet. So I think the rest of this clip is pretty much garbage. Yeah, so we're gonna delete this and delete them before. And now we have the hero shot that clip. So we're going to select empty space, delete. Perfect. Alright, now let's continue. Let's see. Ok, this is cool. So this is definitely something we're going to use. This whole clip is actually kinda nice from start to finish. I don't know if you guys pick that up, but you guys need to have attention to detail or practice that skill because this just went a little bit out of focus. Yeah, right there. Just for I think it was like for one frame, it went a little bit out of right there and went out of focus. So I'm not going to want to use that. I'm going to want to start it like right here. So be laid tool. And I'm going to want to start it right there. Yeah, that's all in focus. It gets a little bit shaky there, so I'm going to stop it right here. I'm going to end cut right here and delete the before, see if there's anything left. No. Okay. So I'm going to delete the after two and now we have our clip right here. See you guys gotta be very attention oriented when it comes to editing because. Those little, little mistakes like getting one frame that's out-of-focus. That just little things like that that, you know, differentiate professionals from beginners. So let's continue with this next clip. Alright. Is that vertical again? Not a huge fan of but let's see, let's give it a chance. Let's give it a fighting chance. I don't know. I don't think so. Let's keep going here. Okay. That was more of like a panned to the right and tilt up, which is nice. I think we could do. This. Clip needs some work, but I think we can make it look pretty cool. So let's, let's do our cuts. Let's make our cuts there and then delete it before. Let's just take a look at the after, see if there's anything, anything that we could have missed. Also, another thing is try to stay away from repetitive shots because you don't want the viewer to get bored. It's, you know, it's also good for editors to know the psychology of people. And nowadays people lose attention after six seconds. So a common tool or a common, a comments back to know as an editor is you want to put something new onscreen or change the video every six to ten seconds. Otherwise your viewer will lose their attention. So if you're able to, to switch it up every few seconds, that's really good for your videos. So we're gonna delete this last part here. We're just gonna keep that clip. And if you, you know, like for example, with this, I would never let one of these clips go over six seconds because you would just lose your viewers attention. This was a pretty good shot to right here. But again, I don't want to be a hypocrite. This might be repetitive because over here we have a similar clip right here. So I don't think I'm going to use this one because the viewer is already seen that fire in the background with a Jack Daniel's. It's a really cool shot, but they've already seen it. So let's keep going here. See this is a close-up shot, so we could use this because now it's just a lot closer up and it's more focused on the Jack Daniel's label. So let's just cut it there, and then let's save that part and then let's delete this and delete this. Move this back down to our track number one. And then let's highlight empty space and delete it. And now we got that perfect. Now we are, how many seconds are we in? We are 26 seconds. We're making some good progress here and we're starting to speed it up. So let's keep going through here. I really like the lighting in the bottle, how you could really see the color of the drink. And I like this close up right here. So let's see, let's start it right there. Let's do our first cut there. And let's do our second cut, right? You see the light starts to come in right there, so we do not want that were just, let's go back a few frames by using our arrow key, left arrow key on our keyboard, and it will end right there. So now it's pretty much gone. So let's cut it right there. And I know that's a very small like 1 second long clip. But later on we're going to cover speed ramping and speed duration where we're going to be able to fix that up. Right now we're just cutting. Okay, I don't want this clip right here, so let's delete that and move on to the next one. Guy says colors are so nice in that bottle. I really like that. Like Dutch angle that's going on right here. Although something went into frame right here. That's so unfortunate because now I can't use that part. We could buy we could use this because it came in a frame a little bit by just zooming in into the footage a little bit, but it will, if we zoom in a little bit, it will lose quality. And we don't really want that, but we can start the cut right here. And I think it's good to write something when in a frame on the right side too. Right there. No. I just need one good second of nothing in-frame except the bottle. Let me zoom in here. Right? Maybe. Let's try that. So right, right here. Let's start the cut there. And right there. So they're perfect. So that's like, I mean, that's really short. But we're gonna mess around at the speed later and we're gonna see if we can fix it up because I really like the colors in that shot and it's a different angle. Switch it up. Okay, so we're going to zoom back in over here. We're going to delete this and we're going to look through the rest of this. And I think there was another shot there that might work from here to here. Let's try that too. So we're going to cut this because there's nothing in frame. And we're going to move until the next thing comes in frame, right there you see the top right. We do not want that to come into frame, so we're gonna stop it right there. So now we have these clips right here. Let's try to use that to. Let's put this over here and the rest of our time on, let's zoom out and then let's highlight the empty area, delete, bring all those together because they're starting to get a little bit spacey. And let's play that really quick. Okay, perfect. So we have a couple of clips to choose from here to fix that up, play with. For that. That's a no-go. And let's continue to watch the rest of this clip and see if there's anything else. I like the angle in the beginning better than this one. So I do like that. It's turning. That's nice. You might be able to use that right here. That little part. The problem is it's turning, it, the turn isn't super smooth, so I'm just gonna make the call and I'm gonna trash that, not going to use it. Okay. What do we got here? Okay. We got a glass coming into this shot. This could be cool and you see the camera's panning towards the product. As you can see, this is taking quite a bit of tries. No. Okay, so we're going to trash that. We didn't get anything good out of that. Zoom in a little bit and see. Okay, that one was awesome. So we're going to use that one. So that's in-frame right there. So we're gonna cut it right there where there's nothing in-frame except the product. And boom, right there, we're gonna cut it. That's such a cool shot. I wanna let it hang for like an extra second once it comes in right here, I want to let it sit there for like a second to really sink that, like sinking which has happened. That's not natural CAPTCHA scheme in a frame in it looked awesome. So and then just let it sit. Perfect. Okay, so we're going to delete the beginning of that. Let's just click play. I'm not going to let it sit for that long. Okay, so let's delete this. There's nothing good here, so perfect. We have that clip that's an awesome, awesome shot. Loved it. Okay, so let's just drag and drop that over there. Let's highlight this and delete just to bring all our clips together. I like everything to be close together when I'm editing. So I love that. Okay, let's see what else we got. It hasn't fallen. It's pretty cool. Okay. So let's OK. So let's cut rate. I don't know how I wanted time this. Ok. Let's cut right here. And so we have like a split second before it falls. So it's not just right when we cut to this clip. It's not just ice falling. We have a second to like taken the empty glass and then it falls. And then I'll let it sit for a quick little second and then delete it. So I cut it right there. And then we played through the rest of this. I'm pretty sure it's just the ice in the cup, so I'm gonna delete that. And I'm going to delete that before. So we have this. Perfect, awesome. So we're going to bring that together. And you see this is like a hard cut as I was talking about earlier. But because there's flow in this and it's like in order of how you're making a drink and real-life, look how nice this flows together. And then I syndicate, it just flows even though they're two separate clips with a hard cut in between. It doesn't feel like that because we have, now we're starting to get some flow into the video. So that's what you want to try to do with all of your edits. So let's just delete this empty space again, bringing those clips together. This was another ice shot, but from further away, a little bit of a different angle. I think I'd like to close angle a little bit better even though the Jack Daniel's label is in this shot. I think I'm seeing that's the problem with being an editor is you gotta make some really hard decision sometimes. And it's all on your shoulders, especially if you're a one man band. I don't know what shot I like better because I love the light on this glass right here. And I love this showing the Jack Daniel's labeled here. But here I love how much emphasis is on the ice falling. Like, I feel like I'm in the glass falling with the ice. I think I think I'm gonna go with the other one I chose. I'm gonna go with my gut instinct. Ok. So let's keep going. Okay, perfect. So we have three clips left. Let's quickly go through what we have so far. We're making some awesome progress. Now really quick, what we're gonna do after we're done cutting is we're gonna like go through and organize it to make sure and optimize the flow of the video. Right now there's not a ton of flow because we're just going in order. There's flow with certain clips like the ones I just showed you. But with that being set, with that being said, let's just play it from the beginning and see what we got so far. And again, as we're watching this, it feels like there's something missing obviously, and that's sound. And that's because sound is easily, easily 50% of the video. If you have good sound effects and good music picked out it, and your videos just subpar. It will make your video great. Yeah, so you can see there's a few, few parts in this that we still need to cut. There's just some extra little fat that we need to clip off. But we'll do that in a second. Let's just finish. Let's get the bulk of it down. We got three more clips to go through and then we'll go through this very quickly and just cut the excess fat off those clips that we don't need like when the eclipse starts or ends. Guy. So we made a ton of awesome progress in this video so far. We still have three more big clips to get through. And then we're gonna go through all of these. And we're going to just cut off the excess fat and unneeded parts of the clips. And then we are also going to kind of organize them and put them in a nice order that makes it a, you'll have some flow, has some flow to it. So let's move onto cutting part three. 8. Cutting Part 3: Hi guys, we are back for part three of cutting. And in this part where essentially what we're gonna do is we're going to finish cutting these last three long clips or to long eclipse in one medium-sized clip. And then we are going to go through and just cut off any of the excess unnecessary parts of these clips just to clean it up. So that's what we're gonna cover in this part. Feel free to follow along. And without further ado, let's get straight into it. So let's start where we left off with this clip right here. And let's see what we got. We got some whiskey pouring into a cup, which is awesome. Let's see. Okay. Alright, let's see if there's a better one. We could use that, but I would like to have a better poured to be honest. I feel like there's too much hesitation and that poor C. Yeah, there's like like that. Could use that. Okay. So let's go back to this first clip. We're going to have to use that first poorer because I really wanted a poor. Because if we don't, if we just go from this shot with ice and then we go to the cup automatically having whiskey, that would make no sense. So unfortunately to have flow in this video, we're going to have to use a pore. Unfortunately, it's not one that I'm in love with. So let's just start at right. Let's pause it right here. Wait, hold on it right here. Alright, let's blade, blade tool and then make our first cut their pen down. Not gonna do a lot of work to this clip right here, okay, and then we'll stop it right when it starts to get all wonky right there. Perfect. So we'll delete that beginning played through. We already played through and we found that there was literally nothing else. So we're going to delete that and we're going to add that to the rest of our clips. All right guys, to more left to go. Let's do this last one. This is a cool shot. I hate that was out of focus there, but no worries because it goes right back into focus right there. So Let's blade tool there and the rest of that clip is pretty good and usable. So we could just go through here and add that to the timeline or to the rest of our clips. And I'm pretty sure we could even use the first part of that too. I think I'm gonna stick with what I have. Ok, so I'll delete that. And we are on our last clip. So let's do this. Let's get our last hero shot. Is anything going to happen? Okay, there we go. I am came in. I wasn't sure if that was if it was just a bottle. Alright, let's see. I don't like those bracelets. Okay, good. Not there. I was cool. How to spilt. Let's see if we got anything else. So this is a long clip, so let's see if there's any other cool shots. That's another thing you wanna do as an editor. Just because you find a cool hero shot in the beginning or like in the middle of a clip, does not mean you should delete the rest of the Glut because there could always be an even better hero shot later. So never get out of yourself. And just because you think you have it, delete it. Like always look further through the clip and see if there's anything better. Like I found one that I really liked here. But let's see. If, let's see, like for example, you see now, now the bracelets her off. So now I'm more inclined to use anything now. Like that right there. So yeah, I was gonna use one of these are that came in earlier. I was going to use this one right here where it's with a whiskey splashes off. But I went through further. He and now the bracelets are off. And the splash is way better because now it hits the if we go frame by frame, now it hits the glass or it hits the bottle, moves it. That is awesome. Okay, see, that's exactly why my point. Why you always want to continue and look through your Eclipse. No, that's not it. So we're gonna do cut right here. Boom. Let's see. Okay, so ends right there. Loved that shot. Perfect. Alright, so there we've got our shot right there, so we can just delete everything beforehand. And I don't want to be a hypocrite. So I'm going to finish looking through here, even though I was really excited about that clip. That was kinda cool. I like to, I mean, I hate how it just slam down, but I really liked the splash at like came towards the lens. Boom. Okay, we got it. I love that last shot right there. This is so cool. I love how it just hits the bottle on, splashes up and there's no bracelets out of like there to be no ring right there too. But you know what it is, what it is. We get we still got a cool shot. Perfect. I guys. Now we have all the eclipse cut pretty much. Now we've just zoom in. Now what we're gonna do is we're just going to quickly go through site through these and just see if there's any excess fat or any excess like parts of the clip that we don't need or want. And we're just going to cut those. So let's just quickly play through and see what we got. So, so far, the video is 37 seconds long, which is perfect for like something like Instagram or an advertisement. Okay, that shot looks good. That one looks good. That one looks good. I feel like that was a little long. Let's see. I think we could like start at right there. So I'm going to I think that clip was a little bit long. Because again, like I said earlier, we'd never want to lose the attention of the year. So I'm gonna cut that perfect. Hide. Think that I miss something pretty big, which is this giant thing in frame. As an a hand. How did I miss that? I missed things like this all the time. I'm talking about paying attention to detail patches, misery giant, and in-frame. So let's go back and no. Okay. I think I'm going to the problem is I could cut it right here right before it comes in a frame and zoom in a little bit. But if you look at the bottom like the core of the idea of this clip, it's the whole bottle spinning around. And if it just spins like 60 degrees, then that's not really much of a clip. So I think I'm going to have to make the tough calls and editor, and I'm going to unfortunately have to delete this clip. That's always terrible. Alright, I'm gonna click this highlighted area, delete. That's unfortunate. Okay, so let's see what else we got. Okay. That's fine. I don't know. Does this clip show more bottled and table or does this clip? Let's see, because I want more of the bottle, not the table. This one's a little bit more shaky, so I'm gonna delete the second one. I'm going to highlight the empty space backspace. Ok. That was a cool clip. Alright. Did you guys see that little bit of jitter or like lagginess? That wasn't the clip. That was Premier Pro. I can tell that that was Premier Pro. And we're going to render this out in a second, but just for right now, it's fine. Just leave it there. So see I when I when I press pause and then played it again, it didn't lie anymore. Okay, so that clips good. That one's good. Okay, perfect example of why we should go through, again, another example of why we should go through a second time to make sure it's all cut up nicely. Is this the way this starts is all shaky and I would not want to start it there. I would want to start it right there. So if I didn't do that out of a video that has eclipse like this, that starts off like there's an earthquake. So you definitely don't want that. So let's cut that. And now we got perfect. We got the nice part of the clip. Awesome. Let's see what else we got. Okay. I don't know what happened there. Let's go see oh, yeah. There's two there's two versions of these clips, so we gotta choose and how we got to choose which one they like better. I think I'm gonna choose this one. I really like that, like Dutch angle, the way the camera is tilted a little bit sideways. I really like that. So I'm gonna keep this first one. I'm gonna delete the second one, which is this clip. So I'm gonna delete that one and then highlight that backspace. Alright, perfect. Awesome. And like this right here, I'm going to slow this down. I'm definitely going to slow this down. A lot of these clips, but that's for a later lesson. I, I personally would slows down right now, but just keep the course nice and organized. But we're gonna do that a little bit later. Perfect. Love that. Love it. Love it. I feel like bow is a little bit kinda threw it off. Okay, I'm going to get rid of that clip. Loved it until that clip came along. Alright, perfect, perfect. Awesome. And it would be cool to, is what we could do later is we could even because, okay, don't get me wrong. This shot is really cool. But imagine if we had like sparks in the background from like fire, That would be really cool and that we could easily add that. So maybe we could do that later. But for now, I think that this is really nice and I think it's looking good, so perfect. So now let's move on. What we're gonna do is we're gonna go through each of these clips. We're going to decide how we want to place them. For example, this clip might be in the beginning. We're going to, we're going to place it in where we think it will have the best flow. Because we want this video to just flow and literally looked like a Jack Daniel's commercial. So that's what we're gonna do next. So far. It's I mean, it's looking really good. We I just feel like it's lacking flow. So let's move on and let's, let's solve that problem. 9. Arranging Our Clips: Hi guys, welcome back to another video. So in this one we've already, so previously we already cut the footage. We have it nice and neat. Now we're gonna do in this video is we're going to go through, and we're going to organize all these clips in an order that makes it feel like it has flow. Because right now we're going to watch it through. And we're going to see the eclipse look nice, but there's not really any flow to it. So we're going to just replace clips in and switch them out for other clips and just organize them in a way that it has flow. So let's take a look at this so far. You can see somebody shots just don't really like, I don't want to sound like a broken record, but they just don't really flow together super well. So let's see. Like that for example, that was a double label shot. Triple label shot showed the labeled three times. I would want to spread it out throughout the video. Perfect. These last few clips have flow because it's kinda like a, it's kinda like how you would make it drink. Okay, perfect. So now we're going to start from the beginning and we're going to look for an intro shot. I think that this is a really good introduction shot because it's just of the bottle. So let's see if we could find any other good introduction shots to how you would imagine in ad for Jack Daniel's to start. So I'm just gonna highlight all my clips and as you just saw it and just gonna move forward a little bit. Because I'm going to place, I'm going to start placing like the intro clip over here. If I use a different clip, you'll see what I mean in a second. So let's start here. So that's a good introduction clip, but let's see if there's anything else that we could use. No. No. I think that we, I think that that first clip is a great introduction clip, but I just wanna make sure that could also be a good introduction, but okay, so yeah, I'm going to stick with this for the introduction, so I'm going to highlight it. I'm going to move it to the beginning, so we have that. So what can go after this? Which clip flows best after this to you? And I mean, just because it feels like it flows to me, it may not feel that way for you. So feel free to go off and, you know, you could stay along with me, but feel free to put it in whatever order you want, whatever flows best. Q. This is a great exercise to practice your flow skills if, if that's even a real thing. So let's see. Okay, so that's definitely great intro shot. What would GO good after this? Maybe? No, definitely not that. No. No. Not really a fan. And this might go good after let's see, let's try it out. So let's move that clip over. So I would do a few things. I think that this, it doesn't flow together by itself. These two. However, I think that we could do a few things to make it flow like, for example, I think we could speed ramp at the end of this clip. And then we could play with the speed of this clip and make it look like it kinda comes together, kind of build like a speed transition. That makes sense. And I think we could essentially just play with the speeds of both these clips to make it look good. And I think we can mess with zooming. So we could zoom in a little bit and just make that looks seamless. So I think I'm gonna do that. I'm gonna stick with these two, and I'm going to play with these a little bit later. But let's see if there's anything else that could go better instead of this one. Okay, Premier Pro is lagging. Let's see. All right, there we go. This one might go good actually. Now, I like this because, you know, this is kinda dark and moody with that red rim lighting. And then we move on. And this kinda has that dark and moody vibe as well. And this is very like the has the focus on Jack Daniel's and most of these do. But I like this one that the focus is just on the bottle turning and kinda like not necessarily the, the label itself. So I think that's why this goes well together. Okay, so we got the first two clips. Now let's see what would go well after this. And I already have one in mind. And I think it was I think it was not this one. No, it was where is it? It was this one right here. I would like to okay. So again, you guys have to really understand like once we play around with the speed of this, for example, we could slow motion that to make this a lot longer than like 2.5th. So it could have flow, it has potential for having flow. Maybe. Let's see. Sometimes what I'll do is I'll go in between the two clips and I'll use my arrow keys to toggle back and forth using the right and left arrow keys to see how those really work together. Because the problem with this is the only reason it would cut the flow of it is the colors. You see, this is this right here is really dark and moody, as I said with that red rim lighting. But then you move here and it's very like warm. The white balance is very warm and the color tone is just very like orangey. And it kinda just, it goes from dark to bright, essentially is what I'm saying. So that's the only reason that I think there could be a little bit of an issue here. So I'm just gonna keep looking. I'm gonna see if there's anything else that you'd go after this clip right here. So I'm trying to make a mental memory of that. Let's see. And this one I would reverse this clip because it ends blurring goes in, so it wouldn't go left to right, you'll go right to left like that. So I don't know, maybe that could go well, after, you know what, let's try that. Let's move this back over here. And let's try this clip right here. Editing as a lot of trial and error. So let's see. So it's good if we reverse this, it'll be good because you see this, the bottle is moving to the left. And then I feel like the clip is moving to the right. It's panning to the right. The cameras. So it's kinda like it goes left to right and it just kinda throws your equilibrium off. So if we go here, the bottles turning left, and then we reverses, the camera will be we will be moving to the left as well so that in itself will like, it will just flow. So we all have this and then it will start here and go left. So I think that that would go well together. Let's see. I'm gonna keep that there for now. And then I'm going to try to find a little bit. So you see here it's very dark and then this clip is a little bit brighter. So I'm going to try to ease my way into the brightness and warmth so I can start bringing in the fire Eclipse and the brighter bottle clips like this one here. And that way the color isn't aggressively changing. So this what we have so far. And then try to imagine this next clip in reverse. So actually, why don't we go ahead and put this clip in reverse so it's easier for us to figure this out. So it's very easy. This is not speed ramping, we'll cover that later. This is simply changing the speed, duration or like the speed, whether it's going fast or slow. All you're gonna do is you're gonna right-click and you're going to come here on the speed duration. And you're going to come down and click reverse speed and click. Okay, so now let's take a look at it. Okay, let's take a look at that one more time. Yeah, I'm not a fan of that actually, so I'm going to get rid of that. See you there. So it's good, we reverse that because now we could actually see it in action. It's kinda hard to find something after this clip, I'm having trouble here. So let's see, let's keep going and see if there's any other clips in here. That one might be nice for this. Let's see. I think I'm going to try to, alright, so now that you know how to do speed ration, let's bring this clip back in because I really like this. Let's right-click. Let's go to speed duration, and let's slow it down. So let's put this at, let's say 50%. And because we're slowing it down, it might get a little bit glitchy if you will, because what's happening is it's losing frames. This lower it goes. So we have to do, is there's a simple fix. We'll just go down at time interpolation, click that and go to optical flow. And that will basically replace any missing frames in the footage to make it smooth. So click OK. And now let's just play that back. Okay, so that actually wasn't too bad. Okay. I like that. I think that we might be able to slow it down a little bit more. So let's right-click speed duration. Let's try slowing it down to 30%. Let's see if we could do that. Let's see how that looks. We might lose some frames. I definitely Let's see. Okay, I want to speed it up a little bit. So let's go right-click speed, duration again, trial and error. Let's move this up to 45. Let's meet, let's meet somewhere in the middle. Make sure optical flow is still selected under time interpolation. Can click OK. Let's go through, you know what, I'm gonna keep that for now. I think that might be good, even though there's kind of an aggressive color change between the two clips, I think that that might work. So let's keep going. Let's see what clip would go. Well with this. Let's see, I'm not really, this one might actually, let's see. We could even tie in some of the fire clips right now. We could tie this clip and let's just see how this would look. I'm just curious. Let's move these clips over, highlight all these and move them over. So we have some room. And let's just see how this looks. Note, I absolutely hate that. So let's keep going. This video is tough to find flow for actually. Let's try this one. I'm having a bit of trouble finding finding which clips to put with which in this video. But just because I think the biggest issue I'm having here is you see the bottles moving in separate directions, which throws you off. So for example, this bottle is spinning to the left, but then there's other bottles or camera movements that are going to the right. So it's like they're conflicting with each other. And I really don't like it because it throws you off. So let's, let's cut this right here. Delete that and move this over and see what we could do. Let's see if that looks a little bit better. Okay, so I'm gonna do is I'm going to reverse this. So I'm gonna right-click speed, duration, reverse. Okay, remember time interpolation, optical flow, we don't need that for reversing speed. That's only if you're slowing something down. So right now the, how it was set at frame sampling. Totally fine. So click OK. Let's see. Hmm. Okay, so I'm actually, I'm gonna Command Z or Control Z to get rid of that reverse effect that we just did. And I'm actually going to read or undo some of the clip I deleted by just dragging it. So all I did was I just came here with the arrow, comes up to this audio clip and I just click and drag it to bring some of that back. And right when it goes out of focus, I'm actually going to delete that because I like the way it's moving originally, so this is what it looks like now. Okay, that might look good. Let's see. Alright, so I think I'm gonna keep this how it is like that because I'm going to, I'm going to add a certain effect to this, which we'll cover later, which is key framing, to do something called a digital zoom. Again, we're going to cover that later, so don't worry about what I just said. But I think that that will make this clip flow a little bit better together. So, so far, we're making some good progress. We don't have too many clips to go through. We're going to move on to the part two of this of kind of creating flow, if you will, within the video. So we're gonna move on to part two of that. And you can continue to follow along with me and just organizing clips of where we think goes bash. Or you could even skip those videos and go off on your own exercise. And you could just put the clips where you prefer to put them yourself and then come back for the lessons after this. 10. Finding Flow: All right, welcome back to another video, Ladies and Gentlemen. We're going to continue Part two. And we're just going to, what we're doing here is we're just continuing trying to find flow, if you will, just organizing the clips in a way it flows. So, so far this is what we have. Keep in mind, we're gonna add other effects to kind of spice it up a little bit and make it flow a little bit better. But as of now, just rockets, this looks pretty good. So let's keep going. Let's see what would go well, after this clip right here, this one, you actually might go pretty well. Let's see what that looks like. Let's keep going right here. What we could do is we can actually reverse this because as you see this, this clip right here, it's moving left to right. And then this one's moving right to left and not just kinda conflict with each other. So let's right-click hit speed duration. And this was already reversed. So let's and reverse that and click OK. And let's see that looks like now. Okay, so this might actually work if we do this and we kinda cut a little bit sooner actually, because then it's like It's one spin. They're both spinning. But then we cut it in the middle of each. So it looks like it was just two cameras filming. You'll see what I mean in a second. So play, pause right there. Cut that. And then what we can do is we can actually, so we can look at where the bottle, so the bottles like let's see this. Ok. So the camera's moving right there. So where I'm just trying to look at the shape of the bottle and then compare it to this. I think it was like it would match up pretty well right here. So I'm going to cut it right here. And I'm going to put those two clips together to make it look like it's just one spin with two different cameras filming. So let's watch that back. That was kind of an aggressive cut. And also it comes out of focus. That would work with the eclipse. We're little bit longer, but unfortunately that was a fail on my part. So let's continue. Yet. Those cuts are a little bit too aggressive for me, so I'm going to keep going here. Let's see, I need to make a mental memory of this clip. And then no, that actually might work. You also get a factor and you gotta keep in mind when you're editing a video like this, like this clip, it doesn't look that great. But we still have a lot of work to do. We still have to color correcting colored graded. And that will make this clip look really nice. So you've got to factor that and you've got to try to have a little bit of imagination when you're doing this. So that actually, that actually wasn't that bad of a cut together. Actually look quite nice. I'm going to, I think I'm gonna go with that right there. And then cut to that. And I'm going to add some effects to that later, definitely. But for now that looks good. That actually might work too. So you not stuff. Now that we're getting less and less clips, things are coming together a lot faster. Man, I don't know if I'm a fan of that. Let's see this one. Let's just try it. Instead of doing that, let's just bring it over and try it. I feel like there's something missing. Wait, we could do something like this. Actually, we could pull this back a little bit, couple clips, flows. What if we did it the other way? What if we put that there? I actually liked that better. And maybe I'll change my line a little bit, but for now that actually looks better to me. So, and then let's see what it looks like if I actually put this clip behind the one that we just did, let's play that back. Know that that doesn't flow. Okay, so this is our last clip right there. We just switched it out for different clip. And now this clip might actually be applicable here. I feel like it goes out of focus a little bit too fast because we were planning on reversing that. But I think if we cut here and we get rid of where it goes, blurry, let's go. That might look nice. Yeah, cuz then I could actually slow this down. So what I can do is I could actually right-click the clip, go to speed, duration. And I can slow that down to, let's start off with 60%. Let's come down to time interpolation, optical flow. Click OK, and let's see what we got now. That might be a little bit too slow because the other clip was fast. You don't, I'm gonna do is I'm actually going to save this clip for later. And I'm going to speed ramp it. And I'm gonna show you what that is later. So I'm gonna put this clip back to a 100%. Perfect. And we're gonna work on this clip a little bit later in a later lesson just to make these two clips come together a little bit nicer. So what clip would come? Nice. Go nice after this one. Let's see. Maybe this fire shot right here. I don't want this to interfere with that clip. Okay. So that looks like No, no, no way. That's not happening. Okay. Let's keep going. And what about this one? Let's try challenge. See, maybe this shot right here, just that one small little shot right there. Let's slow this clip down. Let's move these over because we're about to slow that clip down. So right-click speed duration. Let's do 70% and optical flow under time interpolation. Okay? And let's just get an idea what that would look like if it's a little bit slower. Okay. So the clean part of that shot was I right here. I'm going to cut even more. Right? Just like right there, really short. You see? I'm even starting to cut more than I originally thought I would need to just to make it kinda flow nice together. So I'm going to speed, right-click, go to speed duration. And I'm going to drop this to 50%. Keep it at optical flow. Click OK. Let's see what that looks like. Hmm. I don't like how slow the fire is moving now though. So we'll make Control or Command Z. And let me go back to let me try lengthening in this clip back out and see what it looks like. Ok, I'm going to save this for later because unfortunately I liked the way that looked, but it was just a little bit too short. And it kinda I was like, well, where did it go? So I'm going to have to ditch that clip for now. Okay. So that was last clip. Let's see. Let's keep going. Oh, maybe this one or here actually this might go nice right there. Perfect. Boom, boom, there we go. That's definitely going to need some stabilization, which we'll cover later. But I'm going to try to also slow it down, speed duration. So I right-click the clip speed duration. And now I'm just going to slow it down to 70%. I'm going to turn the time interpolation down to optical flow. Click OK. And let's see, let's play it back, a couple clips back. And I'm going to try to expand this a little bit and see what else. Maybe I missed something earlier. Yeah, actually wait. And there'll because that light came in frame. I might do this. I might, I might use this clip right here, so I might cut it right here and stop it right there, right before the LED because this kinda blends in. Now it doesn't actually, I'm just trying to make excuses now. Let me let me do this, let me cut this, cut this, take that, and let me try to slow it down even more. So right-click speed, duration, 50% optical flows on. Okay, let's try this. I think that's gonna work for now. I'm going to try to try to make it a little bit slower. The only thing that throws this clip off, let's try to make it 40% and makes your optical flows on. The only thing that throws this clip off is now the fire in the backgrounds moving very slowly. But luckily with this one versus the other clip that I had that issue with, the fire hears a lot more blurry and out of focus, so it's easier to get away with gamma to keep it like this for now and I'm gonna move on. Okay, let me try this one right here. So let me go back a few clips, see what I got. Okay, so that's repetitive because I feel like I just watched this and my brain tells me use the same clip even though it wasn't. So I'm gonna delete that. These back here. We don't have to touch because these are already in, in, they go on or really well together. So these are pretty much done. And that's if you go back. We didn't even actually have to reorganize these these clips were an order. So luckily we only have three more to find a place for. So let's see. Let's go back a couple of clips again. See this one just cuts to quick. It's cutting too quick for me. I'm not a huge fan of it. What if unfortunately, I love that shot, but what if we replace this shot with something else? It's a little bit longer because we can't make that clip longer. I already tried. So what if we do something like this? Boom. Add some, we just add a little bit of, we could slow it down it and add some warp civilization later. And I think that might look nice. So let's right-click speed duration. Let's bring this down to 60 optical flow. Let's bring this back over and let's see how that looks. You know, I think that's going to have to I think that that looks nice. Actually. I'm con, unlike in how that looks. Unfortunately, I'm gonna have to make the tough call to delete this one. Breaks my heart, but it has to go. Let's see. Ok. Boom, boom. And maybe let's see. Oh, oops. Okay. Okay, so as you saw, I just accidentally move this bar which affects the volume even though the volumes gone. But I'm just going to Control Command Z to undo that. Okay, so I'm gonna bring this over. Let's see how this goes together. Now, not a fan. We really only have one other option switches this clip. Boom. What would it look like if we took these two out and move this over? And let's watch this back like full video. Okay. I like it. I like what I see. I would fix that up a little bit. Okay. You know what? I'm thinking that I really like the way this looks. Alright, I'm making the call. Boom, those things are gone, those clips are gone. This is what we got so far. I'm just going to zoom in a little bit. So this final time is 18 seconds long, which is perfect like for example, for Jack Daniel's with this amount of footage, that's like a perfect, perfect like pre-roll advertisement or like Instagram posts. Quick to the point, get someone's attention, get them to say, wow, there are a few things that we're going to do to make it a little bit longer. We're gonna speed ramp, which we'll go over a little bit later. We're going to add some stabilization of a few these and just some other effects that we're gonna go over later. But for now, I like the way this feels. And I'm a fan of it. Premier prog glitched out a little bit. Okay, so we're gonna do, to finish this up, we're going to we don't need to make in and out points like we did before because instead of wanting, we don't want to render just one clip. Now we want to render the whole timeline. So no need to do in and out points like we did earlier. What we're gonna do now is we're just going to look to sequence a project automatically saved. We're going to have to sequence render into out. And this will now render. It should take few seconds, minutes, hours depending on your computer. Perfect. So that my timeline is now rendered out. So all the clips are perfectly rendered out. Let's watch it back one more time. Now, there will be no lagging or glitching. And I'm very, very, very excited to add some sound effects and music to this. It's going to just bring this absolutely to life in its gonna look amazing once you start getting into effects in it's going to really come together. This is always the most exciting part for me because you get to see like how those raw clips they looked, okay. But now that it's all starting to come together and starting to look really cool. So that's it for this one. And now we're gonna move on to the next, the next lesson, what we're going to actually go through and we're going to start speed ramping our footage. So let's get into that. 11. Speed Ramping: Hi guys, welcome back to another lesson. We previously just finished the kinda finding flow within the video. You, if you, if you would, just kind of putting these clips together, making them flow together. Now what we're gonna do in this lesson is we're actually going to go through and we're going to start speed ramping. I'm gonna teach you how to speed RAM. And I'm going to start applying it to some of these clips in showing you how it can just make it better and make it flow even better. And kind of just connect and make it feel rather than different clips. Make it feel like one full video. So first off, what is speed ramping? Well, essentially, speed ramping is taking a portion of the clip. Imagine this point to this point in the clip and slowing that down. So at the end, you would have this part of the clip, regular speed and then the middle part, slow motion, and then back to regular speed out. That's a little bit confusing. I'm actually going to explain it to you and break down right now. I think the best way to do that is just to go through and kind of find where we could speed ramp. You do our first speed ramp and then just do it together. So why don't we do that? So right here, I think that clip looks nice. This actually might be a good clip to speed ramps. So why don't we do that? So I think that this speed is good, but I think it'd be really cool if from here to here, just so we could see that that light go into the Jack Daniels. I think it'd be really cool if we slow motion that and then it sped back up. So let's do that. So let's zoom in. That's the first thing we're gonna wanna do when it comes to speed ramping is we're gonna wanna zoom in so that one clip that we're going to speed ramp takes up most of the timeline. Then we're going to come to our video track number one. Right here. You're going to toggle up on that line. You're going to hover over this line right here. So then this icon pops up and you're going to click and drag up pretty high. So now you can see a lot of your clip and let's go even higher. So let's drag it up even more. Perfect. And now we're gonna wanna do is, let's click this very thick middle line that's separating the video layers and the audio layers. And let's just move that down so we can have this, this just personal preference here. So I could have it more in the middle. Perfect. So now after that, what we're going to want to do is we're going to want to come up to this fx, a little display here. And we're going to hover over it and right-click. And then there's a difference. You'll know if you have it right. For example, you see when I right-click on the fx, it only gives me three options, motions, opacity in time remapping. If I accidentally clicked on a clip, it gives you all of these options. So that's how you know, if you're in the right place or not. So if this pops up, you're gonna have your, you clicked on the clip. But right here, just click on the right-click on FX. And you should only have three options, motion opacity, time remapping. We're going to come over here to time remapping, which is also another name for speed remapping or speed ramping. And we're gonna go over to speed, and we're going to click that. Then. Clip will turn into this with this white line up here in this middle line. So we're gonna wanna do, is we're going to want it. You could do one or two things. You could click the keyboard shortcut p to access the Pen tool. Or you can come over here and click it right here. I'm gonna do she keyboard shortcut P. So now what we're gonna wanna do is take the playhead and we're going to want to find out where we're going to start this bead ramps. So I want to start it right. I want to say right here. So I'm going to come right here on this line with the pen tool selected. And I'm going to click. And then this will happen where it'll create your first. Then you want to move to where you want the speed RAM to end. I wanted to end right there. So I'm going to make another point right there. Then once you do that, what you're gonna wanna do is you're gonna wanna click either keyboard shortcut a to get back to your cursor tool. Or you can just come up here and click it right there. Now what you're gonna wanna do is you decide, do you want this middle section that you want speed or do you want it to move faster than your normal speed are slower and in this case I want it to move normal speed and when it gets to this point, I want it to move slower. So what I'm gonna do is I'm going to hover over the line and I'm going to drag it down and it's going to slow down. But as I said, if you want to move it faster, you just do the opposite. You move it up and it'll speed up the clip. I want to move it down. Don't wanna slow motion that. And I'm going to move it down just until it gets over there. I'm actually going to zoom out. And I'm gonna get the cursor tool. I'm gonna select the first tool. I'm going to select all my footage and move it a little bit over just so I have more room right here to work with to expand the clip if I want to slow down more so it doesn't overlap on that footage. So let's go back here and let's move it down and see now it moves out without overlapping right there, because we gave that extra space. Perfect. So now just for an example, this is what it would look like, right? So we speed ramp this middle part, Normal and slow motion, and then normal again. Now let me make it more, even more dramatic for you. Super slow. Oh, that's like ultra sludge is completely stopped. It, let's go a little bit less like right, 28%. What happened? Okay, Command Z, I made a mistake. There we go. It's back to normal. I just click Control or Command Z until I got back to this page. So just drag it down. There we go. Perfect. And it slow motion. But you see how aggressive that was, as you can see here, it's just like a cliff. It's a drop-off. It just goes regular speed and then drop off to slow motion. Watch again. And it's like what? Okay, so what you can do is this gray area here, click it, drag it out like that, and then you see a kinda ramps. But to make it even more like a ramp, aka the name speed ramp, you just take, you, click on this and then you, these will pop up these little icons. And you just want to click the bottom one and drag it to the right. So it kind of creates a ramp and then play it back and it eases in so much more nice c, and then it kinda slow motions. I actually want that even wider, like that. There you go. And then boom. Much nicer. But then I'm going to Control or Command Z just so I can get this back. This keeps disappearing because I didn't leave enough room. I actually need to move all these clips over even more because it keeps overlapping that clip gets in the way. So I'm going to move those other clips to the side even more and I'm gonna continue doing this. So right there. You know, what, I think what I actually want to do is I want to start this speed RAM even earlier. I think I want to start it when it gets to right here and then speed rampant only two right here and then make the rest of the clip go. So I'm going to, I'm actually going to, if you want to do that, you can control z and go back to this page right here. So Control or Command Z a few times. And then let's move these clips over again. And then let's zoom back in. And remember shortcut, keyboard, shortcut p for the pen tool. And let's, let's decide, let's make that a little bit sooner. So I said I wanted to start about right here actually. Let's see, right about right here, a little bit sooner than I had it. And then I wanted to end with a little bit quicker to probably like right there. Perfect. Now what's a for a commercial? And then let us bring this down a little bit to about 64%. And then let's grab these over here, drawn out and the same thing over here. Let's move it to the left and then highlight one of these gray tools, I guess. And then just take the bottom one and move it to the right to ramp it. And the same thing applies over here. Click on it, take this and ramp it. And then what you have is a speed ramp. Now that one was very subtle because I didn't slow it down a lot, but we can slow it down a little bit more about right there. Let's try that. Yeah, that looks nice. Okay, so let's play this back. So that looks cool because then it just gives a little bit more emphasis on the window. Jack Daniel's comes around and then it goes back. We could even expand it even more. So let's expand these even more like that. Perfect. And then let's slow motion. That's even more. Let's try 35. And then let's expand it more like this. There we go. Okay, so let's render this out because it's playing a little bit weird. So remember from our last lessons you just go to the beginning of the clip. Click keyboard shortcut. I have to create an endpoint and then go to the end of the eclipse that needs to be rendered and click keyboard shortcut o to create an out point. Once you've done that, you come up to sequence, you click Render into out, and then it'll render. Perfect. When it's done rendering, you come to these three lines, right-click, you click Clear in and out. Now we have this clip rendered out, so it should play much smoother. So let's, let's try and play that back. There's some off about this speed ramp. Maybe we need to move it in a little bit more. Let's try doing that. So basically all I did is I took these two sides and I just moved them closer together to make this be ramp happen a little bit sooner. I think I might want to speed it up a little bit. 48% was tried again. Let's just do a very, very small speed Ramp. Let's go up to 75. 76, I guess. Okay. Let's see playback. It feels like because this clip so short, it feels like when I speed ramp, but I feel like it's making it look like the turn is a little bit jerky. So in sometimes this will happen. Sometimes you'll spend time speed ramping a whole clip like this and then you'll realise it actually doesn't really work well. But you can also, for tutorial sake, you could move this up instead of down. And this would look like. But again, it's so hard to tell because this clip is I mean, I'm pretty sure this clip is only 1 second long or like two seconds long. So it's tough to tell when it speeds up and slows down with speed ramp because it kinda just looks like a glitch in the video. To me, that to me right there, that doesn't look super good. So I think I'm going to kill this speed RAM for this one. I'm not gonna do it, but I'm gonna keep going and other clips and I'm going to try to find a place is speed ramp that so I'm just gonna Control or Command Z and tell the speed ramp is gone. Perfect, so it's back to normal. Aldus. Lower these clips back to how they were. And I'll delete this space. And now from here on, I'm just gonna keep going. So unfortunately that was that one didn't end up looking while as a speed ramp, which is totally fine. That happens. What I might do instead is I'm just gonna take that clip and I'm going to slow it down a little bit. So as we talked about in a previous lesson, all you do for that is right-click speed duration. Let's look down to 80, just very, very, very subtle. And unless change the time interpolation to optical flow and click OK. Perfect. So now let's play back. I don't know. I think I'm gonna make it a tiny bit slower, just a tad bit slower. Let's go 75. Okay? I think that, that's gonna be good for now. I think the 75% is the call. And then Let's just continue to move on. So I'm gonna delete that space and let's try to find another spot where we can speed ramp. This clip right here maybe, but it's shorter than the last clip. Let's see. We could could take this clip in speed ramp it from here to here. I don't think it needs it though. Let's keep Let's keep looking for something else. That one's good. This could be speed ramped. We could try to find a cool way to speed ramp this. So let's take this clip and let's move it over. And let's try to find where we could speed ramp this. So. Well, we could do is we could make it go really fast right here until right here. And then slow mo this part, and then fast out. Let's try doing that. Let's give it a try and see if it works. It may not work, but at least we we could say we tried. And of course on certain clips, speed ramping will work better than others. So as I just saw as you saw I did I basically just as they did in the beginning, I just took my track one and just raise it up so we can see the club better. I'm gonna zoom into it. And I'm going to right-click on FX time remapping speed. Now that the clip is like this, we're gonna click keyboard shortcut p for the Pen tool. So we want this to go really fast until right here, and then I want to slow mo it until right here. Perfect. So what I'm gonna do, first thing I'm gonna do is I'm going to speed this up and I'm going to slow this down. So the middle part, and I'm going to speed this up. Usually when I speed things up, I like to spin off to about 200 to 500%. As you can see, it's at one ninety, one, ninety five, perfect. So let's go 195 over here. Perfect. And let's take this in. Let's move these grade things like this so it can actually ramping. Look smooth. Then we're gonna click on the grave little icons. And we're going to, this blue line will pop up once again. You'll take the bottom one, move it to the right just to give it a nice little ramp. And the same thing applies to the right. And then we're gonna slow motion. There's about 73, that should be good. So let's see how that looks. Let's actually, I'm a fan of the way it looked. Let's just bring these ramp a little bit, a little bit further out. And then let's just make that slow mo period down to like 46. Let's see how that looks. I like that. I like the way that looked so that went actually worked out, which is good. So I'm going to bring this track back down and I'm going to delete the extra area there. And now when I bring it back, this is what the speed round clips looks like. Right here. Slow and fast out. Boom. So I personally thought that looked good. For some people. They might want to speed around for different clip, but now you know how to speed ramp and you know what it does. I really like the way it looks. It looks pretty cool right here. So you could actually see just from zoomed out bird's eye perspective, if you will. If you look at this clip, you see that it's fast in and then you could see where it ramps down and goes slow and then ramps back up to fast speed. Let's just take another look at that one more time. But first let's render our timeline. So sequence render into out. Let's wait for this to be done and then let's watch it back. Perfect. So now let's watch the whole, entire video over again and keep your eye out for this second to last clip where the speed round comes in. I thought it looked pretty cool. There's just a few things I need to fix up, like this clip right here, I need to fix this up. It just happened a little bit too quick and narrower as you can see that there is overlapping and frame. So I don't know if any of you guys caught that, but if you go frame by frame with your right arrow key, frame by frame, you could see that. You see how there is a different picture for one frame, this right here, that's not supposed to be there, that overlap somehow. So let's go ahead and fix that. So start over here, frame by frame. So it starts there and stops here. So let's just get our b for blade tool, cut that. And then let's just highlight that empty area and click backspace. And now let's see that glitching issued go away. And then it got to the get. It cut perfectly that time. Perfect. Awesome. There's that speed ramp. Perfect. Love it. Awesome. Perfect guys. So that's literally I speed around, but it's very simple. It can get complicated. And sometimes you're like you saw in the beginning of this video, you're gonna make mistakes as I did and you're gonna have to go through the process, go through the motions. And as I did on this clip and find out, okay, well, the speed or impure actually doesn't work. So let's just so Control or Command Z, go back and undo that, bring the clip back to normal and see where else we could use Speed ramp. And keep in mind, you don't always have to use a speed ramp in every single video you create. But I just think it it can help your video out like this clip especially I thought that was really Court slow mode and went back to regular speed. So that's it for this one. Next, we're gonna go through the rest of this video and we're gonna see where we can add warp stabilization in just to improve some of the shakiness on this footage. So let's let's get into it. 12. Warp Stabilization: Alright, perfect guys. So starting off, we left off in the last lesson we talked about speed ramping. Now we're going to start today's lesson, width, warp stabilization. So we're gonna go through this same video that we're making great progress on. Now we're going to look for any clips that we could add warp stabilization on. But first off, I quickly want to tell you what warp stabilization is. So warp stabilization, if you come over here, warp stabilization is in effect. It's considered an effect and what it does is essentially exactly how it sounds. It stabilizes your footage. So if you have shaky footage, it makes it look very stable like Gimbal. So we're going to just go through here, we're gonna site through this footage and we're going to see where we could maybe take a little bit shaky footage in AdWords civilization. So let's get started. Bounce up, doesn't yet. I might actually add it on this clip right here because it's, it looks nice, but it's the ending little right there. That n kinda just, there's a little bit of shake right there that from there to there. So I might add warp civilization. So let's take a look at it before and after. So really take a mental note of this. So here's before. And now let's add warp civilization. So what you're going to want to do when you go to AdWords, wait to add warp stabilization. You're going to want to come up to the effects tab. You're, you're Premier Pro might look like this. So just click on effects, come up to the search bar and type in warp. And then stabilizer. And right here it should be right down here, right here, this is where it is. So you're going to want to click and drag it onto your clip. And then over here you'll see warped stabilizers is applying and it's at 20%. And then it should tell you there's nine seconds remaining, OK, which Premiere Pro always lies. There's never nine seconds. It always takes forever. Or maybe it's not. Alright, my computer's working fast today. Perfect. So let's try it. Let's go through it's warped civilization has been applied knowledge. Take a look at it. So that was that little bump that I was talking about is completely gone. It's completely gone. And that's what I love about warp stabilization, but you need to be careful sometimes when you use it. If you're footages too shaky, it'll distort your footage and make it look really weird. Again, perfect. Here's the second clip. We can use it on back-to-back. So I love the way warp stabilization looks on this clip. So we're gonna go to the next clip and we're gonna add it right here because it just looks handheld. And I don't want that. If this is an ad, I want it to look professional like it was done and filmed with a robot. And it doesn't right here. So let's add warp civilization and see if we could if we could fix that up a little bit right there. I don't like that way, the way it kinda jerks right here. So let's add warp civilization to this. So it same thing, my tabs already open, just click and drag it on. However, warp stabilization and speed can't be used on the same clip, perfect, no problem. Let's just Control Z or Command Z. So you see that there's art in effect applied to this clip. And you can tell because this fx psi1 is already lit up, yellow. And if there's an effect already put onto your clip, this will be a certain color, whether it's purple, yellow, whatever. If there's not an effect on your quit, it'll be gray. The FX sign like this clip, warp stabilization will not apply to a clip if there's already an effect on the clip. But we want to keep the effect that we already have on here. So the way to get around that is to Ness the clip. Essentially what that is doing is we're basically turning this into a new clip to trick Premier Pro and make it think that there's no effects on it. So what we're gonna do is we're going to right-click on the clip. We're going to go up to nest. Click nest. I, most editors will say to name this, but honestly there, it doesn't do you any good. You could just leave it as it is. Click OK, then it will turn into a new clip. And you see the FX is gray, which means that we created this and turn it into a new clip, but it plays exactly the same. And it just essentially trick Premiere Pro to think that it's Eclipse without effects. And if you look over here in the media Ben, you're nested sequence, or this clip is now created as a new clip over here. So now we can go up to warp civilization and we can simply drag and drop it and apply it. And it will analyze. And let's see if it wants to be just as fast as time. No, it doesn't. So we'll just fast forward to this and come back to you when it's done. Perfect and it's stabilized. So now let's take a look at it and let's see what it looks like now. Okay, it looks good as you can tell. It zoomed in on the clip a little bit. And that's sometimes what warp stabilization, it'll do that when you apply work civilization. One of the ways that the AI stabilizes your footage is it zooms into the clip a little bit. So unfortunately some of the bottle is cut off here. But I think overall, it looks a lot better. So let's look at these clips back to back. It's a lot smoother now, definitely lot smoother. And I also want to add warp civilization to this clip as well. Yeah, because there's a little bit of a shake, maybe you didn't notice it but I did. Right there. There's a little bit and I would like warp civilization just to clean it up a little bit. Which is good practice because this also has an effect already applied to it. So as we did last time, we're going to have to nest this because this fx is lit up, meaning there is an effect on an already on this clip. So let's right-click what's go to nest? Click OK. Next sequence, Yes. And now it is nested. And now we can go ahead and simply drag and drop warp stabilization again, it's going to analyze and we'll fast-forward to this again until it is finished. Perfect, so that's stabilized. We're gonna take a look at how this looks really quickly. And while that looks, Let's see, was there a little bit of distortion there? No, there wasn't as good. I just gotta fix that up a little bit. I'm just going to cut it at the end of this. Alright. Let's see. Now that's good. There is no distortion. Okay, our guys so so far, that's pretty good. I do want to invite you to go ahead and add warp stabilization to any clips that you use. Maybe use different clips from the download section from this footage than we did. And that's totally fine. Just go through the video and add warp stabilization or you want to do it and kinda just play around with it and see how you like it, get used to adding it and using it. And if you'd like, you could still stay along with me. I'm going to finish going through the rest of these clips and seeing what else needs warp stabilization. So let's take a look at this clip again. And OK, there's something that's weird happening only go frame by frame. Yet. There was just a little bit is zoomed in just a little bit right there. So I'm just going to cut the end of this clip because for some reason, from here to here, it zoomed in a little bit and its kinda thrown me off. And I'm just gonna go right here and cut this just to get rid of any excess mistakes it could be in there. Perfect. So now let's play that back. Let's play all three of these back together. These three have warp, civilization. Perfect. Awesome. And I'm pretty sure that doesn't need it. Yeah, that's it. That's the only one that needed warp stabilization. So that's it for warp stabilization. I only apply them to three different clips and they all turned out really nicely I think. And now what we're gonna do is we're gonna get into Keyframing. So there's a few clips in here that I saw that I definitely want to do certain effects like zoom in over time. So I wanted to start out like this in zoom in towards the end of the clip. And we do that. We achieve that by doing something called Keyframing, which we'll explain in the next lesson. So thanks for following along with this, and I hope you guys are now on your way to becoming pros of warp stabilization. And now you can come along and move on to the next video, Keyframing. 13. Keyframing: Our guys, welcome back to another lesson. Now, we're going to go through and we are going to begin Keyframing. Now, Keyframing can be a little bit of a complicated subject. So I think the best way to go about this is to just do it and have you follow along step-by-step and just kind of learned as I go. And I've been explained Keyframing before. And I've found that the best way to learn it is definitely just by falling along with somebody else. So the way we're gonna be using Keyframing today is to create an effect called a digital zoom. So essentially that's if we start a clip here, we end it at the, here at the end of the clip, but zoomed into the Baltimore. And I'm gonna show you exactly what I mean right now. And I'm going to show you what this second clip of that video that we've been working on, because this clip I actually do want to do digital zoom on. So what I'm gonna do is I'm gonna take the playhead to the beginning of this clip. And I'm going to come up here to motion. And I'm going to click on position and scale, but make sure you click on this, on this toggle, this clock right here. So it is lit up blue. And you'll see that these two key frames right here just appeared right there. And those are keyframes and they'll only be activated if you select the toggle clocks right here, and they're turned blue, that's how you activate your keyframes. So now we have the, those activated. We don't have to do anything yet. Now we're going to skip to the very end of our clip. And we're going to zoom in to where we want. So let's say I want to zoom in. So I'm just right here and I'm just going to drag my mouse to the right to zoom in. And let's say I only want to zoom in like that and then I'm going to position it lower. So I'm gonna take my position. I'm going to move my mouse to the left, position it down. And let's say I want my clip to end right there. So now my keyframes are set right there at the end. Perfect. I'm just gonna highlight those and move them all the way to the end. Now, we can play back and you could see what we just did. This is what, how you create a digital zoom. See how it zooms into the bottle. And that's because we set key frames at the beginning, at how it was shot in camera. And then we set new key frames at the end of this clip. Right here. We set them on our own custom scale and position numbers, and it zooms n. So let's play it one more time and you could really pay attention and it zooms in, digital zooms into the bottle. Perfect. But we can actually make it a little bit more smooth and we could simply do that by doing this. So come over to this on right here and move this over just so your keyframe editing area right here can be more visible. And I want you to highlight the first two key frames. And I want you to right-click on them, come down to interpolate in temporal interpolation. And then come in, click, ease out. I know you're tempted to click 0s N because it's the beginning. But Premier Pro works the opposite where you want to click ease out in the beginning. So click that and it will change your keyframes to what is called in the industry a Beziers keyframe. You don't have to remember that, Don't worry. And then you highlight the end key frames of your clip. Let's, I don't know why that's not highlighting. Let's go to the end. Let's zoom in. I just zoomed in with this right here. You could zoom in and out of your keyframes. Highlight those. There we go. Now they highlighted right-click and temporal interpolation and ease in. And then they'll Beziers again so that we can zoom out and we can see both are keyframes again. Now basically what we just did here is we made it so those keyframes ease in and ease out. So that way it's more smooth. You can't really tell it's, it looks more natural. So now we have that digital zoom, which is nice, perfect, and it's as simple as that. That's how you keyframe. So these are called keyframes, these tools right here. And you activate those with these clocks right here. And you can do crazy stuff with it the more advanced you get with it. But for now that's how you do just digital zoom. So let's play it back again. Let's play it back from the clip before is we get for digital zooms in. Perfect. And, you know, I'm gonna do a few more clips to, let's go through this one. I think that this would look really go the digital zoom actually. So let's go to the beginning of this clip. Let's zoom in a little bit. Let's hit, don't forget to highlight the clip. Hit position, toggle the clock, so it turns blue. That is so important if you do that really quickly. If you ever tried to digital zoom and it doesn't work, make sure you go to the beginning of your clip and make sure that these are toggled on and they look blue because a common mistake people say, oh my keyframes in at work, it's because they forgot to do this. It's a very simple step, but it's easy to forget. So don't forget to toggle these on. Then you go to the end of the clip and you choose where you want to zoom it into. So there we go. I think I'm going to just take my plaid or at my mouse, and I'm just going to slide it to the right, just, I'm just gonna do a very small zoom in that was too much like 115. Maybe I'm gonna zoom in and I'm gonna move my position. I think I'm gonna move it. Actually, I'm going to keep out was just like that. Okay, perfect. So now I'm going to highlight these and move them all the way to the right. Now let's look at it before we ease in the keyframes. Llc. Pretty cool. Yeah, I think that looked really cool. So let's take it. I think if I were to do it again, I wouldn't zoom in as much. I think I zoomed in a little bit too much. So I'm actually I'm gonna show you how I would fix that. I'm actually going to delete the last two key frames. And my two beginning keyframes are still set. So I'm gonna go to the end. Again. It went to the other clip. I'm gonna go to the end again. And I'm just simply going to zoom in just a little bit to 111 and I'm going to leave the position exactly how it is. So you see there's no position key frame because I didn't touch it. So now let's move that to the n and let's see what that looked like. Yeah, that looks super cool. It looked better. It wasn't as aggressive. So we're gonna do is we're going to now ease those n. So we're going to highlight the beginning. Right-click. Temporal interpolation is out. Then we're gonna go to the end and highlight just a scale key because that's all we use. We didn't touch the position and we're gonna go ease in. Perfect. So now let's look at it again. And boom, cool, that looked awesome. Let's see what else we could digital zoom. I think I'm gonna keep that out is that's good. That's good. That's perfect. Perfect. I think everything else is good. So I'm going to replay. The first thing I'm gonna do is I'm going to render out my whole timeline and then I'm going to play it back to see if there's anything else I could do a digital zoom on and keyframe. And if there's not, that's pretty much it for this video. So let's render it out and let's take another look. So to render it, you've got to sequence render into out, and then we just wait for that to be done. Perfect. So now that that's done, let's go to the beginning. And let's go to the beginning. You can either move your play head all the way back like I just did. Or if you're over here, you could just come up to this arrow right here. And you can just click that and it'll take you to the beginning. If you click this one, it'll just take you frame by frame. But this one put you all the back to be any soil tip. Okay, so let's watch that again. Okay. All right, those are gone. Perfect. Alright, so let's play that through. There's a digital zoom. Looked really good right there. Another one. Perfect. So there's still a few things that I'd fixed, but this video is starting to really come together. Just wait until we start adding color. We still have a few more effects that we're going to add throughout the next few lessons. We still have sound effects, which is going to make the video have a completely different feel. And then we sell music to choose. So there's still a lot of steps that go into it. But we're, we're making some really, really nice progress. And this is starting to look really nice in my opinion. So that's it for Keyframing and kinda learning how to digital zoom by using keyframes. Now we're gonna move on to our next lesson. So I'm excited and I'll see you there. 14. Color Correcting: Hi guys, welcome back to another lesson. In this lesson we're gonna talk about color correcting. And if you've looked at the curriculum, there is color grading as well. And yes, there is a difference. I'll get into it. So first of all, before I explain it, the first thing I wanna do is go to the actual color tab. So right now we're in effects. If you've been following along, just access out and then just click on effects to close that. And then we're gonna do is come down to luminary color. And we're going to open that. And now you have your basic correction tab. You have what's called the creative tab. You have curves, you have color wheels, you have HSL secondary tab, and then you have a big net tab. I know it can feel overwhelming, don't worry, we're going to go through it together and it's gonna feel easy when we're done. So first of all, color correcting is different than color grading. What color correcting is, is basically going through your footage and just fixing up images by using your basic, your basic color editing tools. If you're a photo editor, if you've ever edited any photos on your iPhone or whatever, they all have, the basic exposure contrast highlights, shadows, whites and blacks feature. If you use Instagram, they have them too. That's essentially what we're going to do. We're just going to color correct. We're correcting the color. So if there's if there's too much black and image, we would correct it. Add a little bit of white and a little bit of exposure. That's all color correcting is. And so we're gonna go through here all these clips and we're going to correct the colors. So first we're going to start with this. The color's already looked pretty nice. There's not gonna be much work that we need to do. But I'm going to run you quickly through what each of these do. So right now with color correcting, I only stick in basic correction and curves. I never go anywhere else. So let's start with basic correction. So first of all, we have temperature, and this is very self-explanatory because they give you colors. If you go to the left, it turns very blue. If he turned to the right, it turns very orange in warm. So let's go. What's Control or Command Z to go back to 0. And tint is exactly the same thing. If you go to the right, it's gonna get very purple or magenta. And if you go to the left, it's going to get very green. And we're just going to control and command z to get back to 0 as well. So that's what these two do. And down here under the tone tab, we have exposure. And if you go up and exposure, it's gonna make your image really, really bright. And if you go down, it's gonna make it really, really dark. So we're going to control Z, Command Z to go back and contrast essentially what it's gonna do if you move it up, it's going to take your darkest points in your lightest points, and it's going to contrast them together to make this a very like moody image. If you could tell the difference from like around 0 to very high contrast, there's a big difference. It gets a lot darker your image. And then if you go down, it essentially makes it more of a flat image. Contrast. When you go down it gives it less depth. When you go up it gives it more depth. So let's go back to 0. Highlights. It essentially as it sounds, it brings up all the highlights. So, you know, these reds and whites, these highlights in here, it'll bring him up. If we go down, it'll bring him down. Let's go back to 0 on that and then down shadows. So if we bring up the shadows, it's going to, as you can see, show more imperfections on the bottle. So I, you know, this was purposely shot this way too in that dark, moody vive. Because if you raise up the shadows, you can tell there are imperfections like right here. I think that this is a shadow from in our maybe, but that's definitely not wanted. And I can tell that there's something right here in object standing in front of the bottle when the shadows are moved up. So I'm definitely gonna keep those at like 0. So it's a lot less noticeable. And then move down to whites that we'll just take all the whites in, brighten them up, and if we go down, it will dark in them. And the same applies for the black. So if we move the blacks up, it'll take these blacks back here and just make them white. And it looks super, super bad. But some people do this to get a like a certain style on purpose. I personally dislike it and if you go down, it makes everything really, really, really dark. So let's go back to 0. And then underneath that you have our last part of the basic correction is the saturation. So you can saturate this like crazy. I'm sure all of you know, saturation is, and then you go down in it, makes it like black and white. Which actually for Jack Daniel's, This is kind of a cool look, that black and white look. Actually kind of a fan of that. So that's what the Saturation does. So let's control commands e to get back to regular. And then that's it for the basic correction input LUT. Don't worry about this yet. We're gonna talk about that in the color grading section. But for now that's all you need to know in this. And then the second part of color correction is curves. So in the color grading industry, or the standard for the industry is a common S curve, which all you do with that means is you take this hover over this part right here, this first box, and you just make a point right there. You come to the middle, you make a point right there, and you come to the top right boss and you make a point right there. And you make a very, very, very subtle and small S curves. So you just take this and drag it down just a little bit. And you take this and drag it up just a little bit and then it looks like an S. The more aggressive you move it down or up, that's called an S curve. And if I come right here to the checkmark, I toggle it off. You can tell there's a difference right here and those highlights on the bottle right here. Watch when I turned it off. You can see it's a lot brighter when I turn it on. Usually this S curve always makes your image look nicer. So I'm actually going to start this color correction process with this S curve. So go ahead and do that yourself if you'd like to just make these three points and just do a very small, slight S curve. Just to bring this a little bit more cinematic looking a little bit more depth, then we're gonna close that curved section. We're gonna disregard everything else right now except basic correction. So for this image is already pretty nice. I might add like maybe 5, 5% of contrast. So I'm gonna type in five. And I think that's good for that. I might bring up the lights a little bit just to bring the Jack Daniel's. A text a little bit wider. And then I think that's literally all I would do for this because this, this was shot in camera with already really, really nice colors. Sometimes as an editor, if you're just editing and you don't film your own footage filmmakers, we'll send you something called raw footage. And that basically means the footage. The footage will look like this when they send it to you. And it's because it's super, super dull and they do that for colorless. So when somebody sends you footage that looks like this, it's called the raw footage. You're able to do a lot more color grading capabilities with it. Because it's such a flat or profile, you're able to boost the colors up a lot more. And if you see like if I boost up the colors here, it just blows out and make the image look bad. But with a raw image, I could do this and it would look, it would look good, no problem at all most of the time. But for now, you don't need to worry about that right now. We're just editing with a regularly shot image. So that's all I would do to correct this image. I would just add just to repeat, at a small S curve. And I would really just bring up the contrast by five and the whites up by like 3029 around there. So I think this is now a good point. I'm going to continue to go and color correct. The rest of this footage. And you're more than welcome to as an exercise, go off on your own, pause the video and you're more than welcome to go color correct your own footage. Just make sure you don't go off in any of these other tabs yet because you'll complicate your mate, you're confused herself. And I'll explain those a little bit later. So just stick within the curves and the basic correction if you decide to go off on your own. So if you want to follow along with me, we'll start that in 321 and awesome. So now let's move on to the next clip. So really quickly, I'm just going to turn off my colors, all the adjustments I've made. I'm going to turn it off with this fx tab just so you can see what we've done so far. So this was the before and this is the after. So before, after. There's just a few subtle differences before, after. Awesome, perfect. So now we have that and awesome. So now let's do this. Okay, so this one, there's gonna be a lot more work to do because you can't really see the label to well only for a couple seconds. And if you were to send this to accompany like Jack Daniel's, they would definitely make your advise us and say, hey man, what's up with this? Like, why is it so underexposed? Why so dark? This part being dark is fine, but the label, it should not be that way. So let's take our hero image from this, the best shot. I'm gonna say that's right here. And I'm going to use this as a reference. So I'm gonna stop. I'm gonna use this right here is reference. I think this is the best shot to color, correct? Now I'm gonna come into the basic correction. I'm not going to play with the white balance, the temperature or Tent. I'm not compose any of that, so I can actually just close that. And I did that by clicking this arrow by white balance to close it, I'm just gonna focus on the tone. So the exposure, I'm gonna try bringing up the exposure just a little bit, maybe by like 0.7. So if you see the before and after, this is before, and this is the after, just show you how powerful exposure is. I never go more than one. I'm going 0.7. right now. Again, before after that was just 0.7. I'm going to bring the shadows up maybe by 13 before, after. And I bring the highlights up a little bit to maybe like 2725 around there before, after to see could see each one. And then I might come over to curves. And I'm just gonna do the top curve. And I'm gonna do a middle curve right here. So I'm going to, I just made a point right here and right here. I'm actually not going to do the bottom one. Because I just want there to be more light, a little bit more exposure without making the image look all grainy and rough. So if I were to bring this down, it would actually bring my image darker. So that's why I'm not doing that as well. I'm only bringing this up right here. So let's get rid of the curves. Basic correction. Let's get the before and after. Starting to look a lot better, you're able to see things more. Okay, so now what I'm gonna do is there's a feat. I think that that would pretty much be it. I would do the rest and color grading. There is one more thing. It's a little bit more intermediate, if you will. And essentially what we're gonna do is we're going to mask, so we're going to mask out this part of Jack Daniel's or even the whole label. And we're just going to make just that brighter so everything else can keep that dark, moody vibe. So to do that, we're going to have to start from the beginning because we're going to have to track this mask all the way through starting, I think right here would be a good point because that's where the light starts to leave the label. So I'm going to come over here to effect controls. I'm gonna come down to luma tricolor. And right here where it says free draw busier. I'm going to take that, I'm going to highlight it. Please, please make sure you toggle mask path, you toggle that on or else everything that you do right now will be for absolute nothing. So let's highlight mask again. So our pen is activated. And let's start going in. What we can do is right here where it says fit, we can come up here and zoom into a 100% and use these to guide us. So now we can get a really, really good proper mask. And then we just draw around the label. That's all I'm doing. I'm just drawn around the label just to try to make sure I get everything perfect. And it's kinda hard to tell where the lines are because it's so dark, but because the whole image is so dark, it doesn't really matter and we're gonna do something called feathering. So it kinda will ease in a little bit more to the image and kinda fade in. So let's go up and let's just connect that. Perfect, Awesome. So now let's come here and go fit. So it goes back to normal. Make sure again, please make sure mask path is on. Come to mask feather and we're gonna feather this a little bit. And then what we're gonna do is we're going to want to click inverted. So now all the images, wait, sorry. No, we're not. We're gonna wanna keep it regular. Let me see. Yeah. Okay. Perfect. So we're going to want to keep it regular. So exactly how it is to make sure inverted as unchecked. Sorry, I don't want to confuse you. Okay. So we created our mask, we feathered it right here to 16%, and now we're going to boost the exposure even more. C You see this Jack Daniel's is becoming a little bit lighter now we're gonna go white and it's not affecting any more the image just this. We're gonna even boost up the saturation a little bit. And then we're going to come into curves. And we're gonna make this just a little bit more cinematic, cinematic, if you will. That's even a word. Okay. I'm gonna bring this contrast a little bit down. I'm gonna bring the lights up even more. Blacks not gonna touch because I did not like the way that looked. Shadows. I might bring up the shadows a little bit and then highlights. I might feather this even up to like 80%, just so it really, it doesn't feel like it's a mask. It feels like it's a really like actually color graded that way. Perfect. So now what we're going to want to do is this is the long, long, tedious part. I'm gonna show you how to do it for the next three minutes and then I'm going to fast forward the rest. So this video isn't just eight hours long. But this next part is very tedious because you're going to have to move frame by frame. And when the bottle turns. So you're gonna have to adjust your mask to where the bottle's going. Now luckily, we decided to track the whole entire label rather than just jack Daniel's. Otherwise, I would have taken a lot longer. So basically, if mask path is not selected, this frame by frame work that you do, it will not register and that will be a huge waste of time for you. So I'm just going, I'm using my right arrow key to go frame Fords. And I'm just moving a few frames and then moving this with it. So I'm going by like 510 frames every time and then I'm moving it over 12345678910. And then I'm just moving it over. And I'm going to have to move this a little bit over because now it's coming off. So I'm just gonna move, oops, Control or Command Z. I'm gonna zoom in like 75. And I'm gonna come over here. And you see how are our points are starting to come off the labels. So we just want to come and adjust those and move those back over. Just like that. This one's a little bit off. And let's just make sure they're all lined up still. That one's nice, it looks good now. Perfect. Perfect. So now we could go back to fit to screen and we can keep going. Let's go few frames. Oh, Anita, highlight the clip. Okay. If you friends are 5678910. Perfect. Just move it over just a little bit. And 12345678910. Perfect. Awesome. So all I'm doing is I'm moving ten frames at a time. And then I'm moving the color mask with it. And I'm just going to fast forward the rest so you don't have to sit here and watch me mask this out for the next five minutes. And you can just do this yourself. And I will see you back here when you are done. And if this happens, which has happened to me, sometimes that happens just click Control or Command Z and then just try it again. And if, you know, if it keeps happening, try zooming in right here, fit, zoom in and then try adjusting it closer up and that'll be better. Perfect. So I'll see you guys in a second. Perfect. Alright, so now we're all done. You can see all the key frames that we did right here. You can even highlight them. All right-click. And just kidding, it does not give you an option to Betsy I them I was going to try to ease him in. Ok, So that's it. The mask is done. So now watch it back and look. You could already see the bottles glistening right there. That looks so clean. Okay. Perfect. So see now the bottles all nice and shiny, whereas before it wasn't. So this is perfect. So that's all I do. Now. I would go back to the basic correction and just double-check everything is how I want it. But I'm pretty sure that this clip looks pretty good so far. So I'm going to play these back, these color corrected clips back so far. Alright, awesome, love it. And now let's do this one. Let's see. Now let's colour corrected this clip right here, our third clip. This is yes, our third clip. So perfect. So let's go in. So this one's a lot warmer in orange and this one. So I might actually mess with the temperature. Let's just try it. Let's bring it down a little bit bluer. Yes, see it's a lot less. This blends in a lot more already. Now, this is the before. This is the after. I love the colors of the whiskey, but I also want it all to flow well together. So boom, perfect. Now we mess with the white balance or the temperature. Let's go over to exposure and let's bring it down just like 0.2. Let's bring the contrast up a tad bit to about 20. Actually, that's too much. What am I saying? About 15? There we go. And then let's bring those shadows down just a tad, just because this image was so bright in this image was so dark. We just wanted to kind of bring the colors up in this and bring a little bit down in this so they can kind of flow a lot better together. Now we're gonna go down to the curves and we're gonna upload the S curves. We're going to make a point here, point the middle point right here. And we're going to bring this down. While you could already tell the difference is so huge and we're gonna bring it down just a little bit because I don't want to overdo it here. And then we're going to bring this up just a tad. Perfect. Now if you look at curves before, after big difference my opinion, basic correction. I'm going to bring this saturation like 97%. So now let's look at it. You see those images flow so much better together now, in my opinion, just because the colors match up a lot more now. So this is the before, and this is the after, before, after, before, after. Perfect. Awesome, I love it, love it. So let's see what these clips look like together so far. Now, a little tip for you. What Hold on 1 second. I see a mistake. If I right-click, there, is. All haha just caught a mistake. See how the colors shifts. And that's because there's a frame that should not be in here. So I'm going to be for blade tool. I'm going to go back few keyframes. I'm actually are not that many. I'm going to cut it right here. And I'm going to cut it right here. Perfect. Now let's get rid of that space. And now let's play back. Boom. Alright, cool. So I know these are two different clips with different colors and different shadows. But if I wanted more or less this same colour grade right here on this image, I could come and click on this image. I can control or command C to copy. And then I come over to this image, I click on the clip. I come up to edit. I come over to paste attributes. And then this will come up. And when I do that, I want to select luminary color and I click OK and pay attention to the clip. Now, all the effects that I added on this clip just applied to this. And you see that this clip got a lot darker and it looks nothing like this clip. That's because there were shot with indifferent lightings and it was just a completely different clip, but these same exact adjustments that I made it, this clip is now been applied to this clip. So if you want to copy and paste colour grade or colour corrections from clip to clip, that's exactly how you do it, but I'm gonna Command Z or Control Z to go back. And I'm going to work my magic on this clip right here. So right here we're going to, to match this little bit more. This has more of a yellowish orange now and like an orange right here, but yellowish here, and it's very dark and moody. So I'm going to kind of keep the darkness of this, but I'm going to try to bring up a little bit more if I no, I don't think it's going to be with the temperature. Think if I bring up the exposure just a tad bit. Whoa, that's too much. 1.8 or seven. Bring up the contrast, maybe are actually flips, bring it down a little bit. And then the highlights I'm gonna bring up just so those whites can pop a little bit. And again, I'm gonna bring the lights up just to pop those whites even a little bit more. And, you know, when I did that, the bottle looks great. But now the background, I'm having a little bit of an issue with this background. So there's two things we could do. We could create another mask for this and make sure the background says dark. Or we can adjust the bottle, sacrifice some color from the bottle that make the background a little bit darker again, for example, bring up the contrast. No, I don't want to do that because I like the way the bottle looks like that. And then the shadows we could bring up a little bit, I maybe want to make it a little bit orange or a little bit more orange like that. And then I do not want to touch the black. So it was an accident. And I'm gonna make a mask because I do not want to sacrifice the bottle and I want the background to be dark, so I'm gonna create another mask. So let's start from the beginning of this clip. I highlight it. Come over your symmetry color down in the effect controls. Click on the pen tool. And we're just going to mask around the bottle. And I'm going to zoom into seventy-five percent. So I get a really good mask. And the first thing I'm gonna do is click mask path, so it tracks it all. Click on Mask again. And let's start masking. Perfect. And there's gonna be a feather on it, which means it's going to blend it, which means you don't have to make this mask super, super, super perfect. It could just be like me, I'm not getting these edges perfectly. So that's totally fine. You can just do it I'm doing. Alright, so let's continue doing this mask, which is mascot out really quickly so we can make this background darker. So we're not sacrificing any of the colors on the bottle. Perfect. Move it over and let's connect that mask. Awesome. So let's fit it to screen. And let's make this feather a little bit thicker. And then let's bring this exposure. Sorry, let's click invert. There we go. Now it's only affecting the background. And now let's bring this exposure down like that and then that contrast up. Yes, like that where you can still see a bit of the red but it's not totally there. I'm gonna make this masks feather even more perfect. Now let's see what that looks like. Cool, awesome, awesome. I went through and I color corrected a bunch of these. You guys kind of get the gist of it, how to do masks and how to color corrector images. I'm gonna continue on because this video is getting a little bit long. So I'm gonna continue on. I'm going to finish his last few clips. I'll meet you back at the end. And then what we're gonna do is move on to the next lesson and colour grade the footage. So thanks for following along. I'm going to finish these go head before you move on in the next lesson, finished color correcting all of these, and I'll meet you in the next lesson. 15. Color Grading: Are you guys good job? If you guys followed along, then you have just finished the color correcting process. Finished up with that. Now we're gonna move on to the color grading process. And essentially what the color grading process is is giving your image a certain look. So blade, if you look at blade runner for example, Blade Runner hazard of very orange, very orange vibe and look to it and they didn't achieve that through color correcting. Because color correcting, as we talked about, is just your basic exposure contrast highlights, et cetera. But they did that through and achieved that through color grading because color grading is giving your image of certain Look. Now there are certain things called Lutz. And if you go and close a basic correction and open the creative section in your laboratory colour panel. This is where you can add lots, and what lot stands for is a lookup tables. And a look up table, or LUT is essentially, imagine it like in Instagram filter before you're about to post something on Instagram, you have filters that you can choose from to give your image of black and white look or a cool, cold look or whatever. That's essentially what lookup tables or lots are there premade color grades that you can apply to your footage should give it a certain look. All the Lots that I'm gonna be using in this video or applying to my footage I'm going to give you guys access to and it will be in the resource section so you can download it yourself and apply the lot. So I'm gonna show you exactly how to import a lot into your footage and give it a certain look. So the first thing we're gonna do is we're going to add something called an adjustment layer. So we're gonna open up this media then over here. And we're gonna come over here to this paper image right here where it says new item. We're gonna click on that, call out to Adjustment Layer, select that and just click OK. Then it'll come up here. You want to click and drag it onto your timeline. Close out this media Ben. So we have more room on the timeline and just drag out your adjustment layer throughout all your footage. Now, what an Adjustment Layer is, it's essentially an empty track or an empty clip, if you will. That is like a been. Imagine this as a band where you can add effects or colors too, and it applies to your footage. So for example, if I took the Adjustment Layer and put up the temperature, it makes my image look orange. But if I turn it off, then my images back to normal because I only made that change inside the adjustment layer. So we're gonna apply, well first we're going to go back and fix the mistake, which is that. Next we're going to apply a lot to the Adjustment Layer. Never ever apply a lot to the footage itself because it makes it a lot harder and a more time consuming. Because if you did that, then you'd have to do to every single clip, it's a lot easier just to do it to the Adjustment layer and then you only have to do it once. So. We're gonna go to our creative tap once we have our adjustment layer created and on top of our clip, we're gonna go up here to look in Premier Pro already has some built-in lots that they have for you or lookup tables. So like blue ice for example, it's gonna make my image will go up bluer and ICR and more dark and contrasty. Blue, intense, you know, same thing. Let's go to gold rush or yeah, gold rush. It gives it this like gold western kind of look and vibe to it. And these are just built-in ones. I never use built-in ones, but that's just as an example. So I actually purchased and made like professional color grades or looks. And I've actually spent quite a bit of money on Hollywood grades and sell the so if you guys want to get the Lots that I'm using in this, I'll leave a link in the resource section where you can go and purchase them yourself. If not, you can go on YouTube and look up free lunch for Premier Pro. And there's a lot of people who give away their free Lutz or locked away for free. But if you want the exact ones I'm using, I'm using Hollywood lots that they've used in movies. And you go ahead and purchase that with the link that will provide. All right, so I think I'm gonna go with this ad astra look, which is very orange than TO look, I'm just going to turn the intensity down about 30, I wanna say, or maybe even 40 or 45, because I still want to keep that look. And this is what it looks like. So you get that. You can tell that it's a lot more contrasty and it has a more of a cinematic feel. They definitely de-noised it with this. These lights are very, very high-quality. They're a little bit pricey, but they come, they de-noise your footage and they're super professional and they're actually the ones that use on the Hollywood films. As I said, we're gonna leave a link in the resource section to the seller who actually sells these lots and a lot of other lot's, not just Hollywood lots, but it's actually a group of directors and filmmakers who created these, let's, and who actually sell them and sell their personal lives as well. So I'll leave that link below as well. So I'm just gonna go through here and just cut this adjustment layer over this clip because I want this clip to be, have a little bit more intensity with I like it like that. And then let's press play. Perfect. I'm really liking the way that looks awesome. Perfect. So I think that's a pretty much for color grading. I guys. So congratulations you officially, once you've finished the color grading process, you have officially finished your full first full video with me in this masterclass. It's awesome and it's starting to look great. Now we're gonna move on and we're going to really bring this video to life. Now that video itself, the core of the videos done. But a video is really not a video without audio and music. So now we're going to bring it to life. We're going to add some sound effects, do some sound design, play with some music and really see what we can turn this into even more so as far as visual goes, You guys have officially done at you as a finish. As far as these lots in the color grading section go, again, we're gonna leave the link to purchase them. But if you want free lots that are also really high quality, you can just search on YouTube. Free Lutz or that spelt LUT. And there are a ton of filmmakers that give away quality free lots all the time. So make sure you go do that if you want some lights as well. So that's it for this lesson. Now let's move on to audio and let's start doing sound design before you get into music. 16. Introduction to Sound Design: I Ladies and gentlemen, welcome back for another video. I'm extremely and especially excited for this one because this is my favorite part of editing. And the part that you've made it to, which congratulations, is the sound design, is by far my favorite part of editing because you see, we've finished the visuals. The visuals look good, they look cool, whatever. But once you add sound effects to it, it changes the game on a completely different level, and that's exactly what I'm going to show you. So first, in this one we're going to add sound effects in, in the next one we're going to add music. That's what we're gonna do after we do sound design. I liked a lot of people like to do music first, I don't, I'd like to hear nothing except the sound design to make sure I optimize the quality of it. So I'm gonna be going through a few different platforms to get my music and sound effects. A couple of which I want to run you through now. So let's open up my Chrome browser and let's start here with epidemic sounds. So Epidemic sound, it's a little bit on the privacy side. Per month. It's a monthly payment. But they have copyright free sound effects and music that you could go through. I have an account, I pay 90 bucks a month and it's a little bit ridiculous. So I'm actually planning on switching to this, which is art list. And if you're just starting and you do not have a license anywhere, I highly recommend that you start here. When you get a license, it's only $300, but that's for the whole year. And when you do that, that's for music and sound effects. And the reason I say that's better is because one, I mean, 90 bucks a month is ridiculous into 300 bucks to the whole year's amazing. Plus the quality of music and sound effects from art list is absolutely amazing. Epidemic sounds really good too, but I just, I, personally, I get along better with art lists. I just feel like I can find songs and sound effects a lot better. If you're still really new to this, and you're just dabbling in it. And you're still not a 100% sure if you wanted to do this as a career and you don't want to spend a lot of money. You go over to YouTube, Go over to your account, go to your channel, come over to manage videos. And then when you do that, you're gonna be opened into a new tab and you're gonna want to come down to, you're gonna wanna come down right here to audio library. And when you come here, there's going to be free music that's copyright free, that you could use it. I mean, decent quality. Let's listen to it really quick. Yeah, like, I mean, it's not like a super cheesy songs based off of what I've heard the first five seconds, it sounded decent and then sound effects. And I mean, it's free so you don't have to pay either these. Now obviously if you're doing this professionally, I highly recommend that you either go with epidemic sound or artless. But in this, today in this tutorial, we're going to go through the sound effects or sound design. I'm going to be going through epidemic sound. And I'm going to be going through, sorry, I'm gonna be going through epidemic sound and I'm going to be going through YouTube. And also I have some sound effects and music on my hard drive that I'm gonna be using as well. Alright, so if you guys are doing this professionally, I recommend going to epidemic sound artless, getting a license there, a much better quality music. But for this, I'm going to try to get as much as I can from YouTube just to show you that you can't do this without getting an expensive license. And we're gonna go through the free sound effects and the free music here. So there's your introduction to sound design. And now you kinda have an idea where you can get free music and sound effects or paid music and sound effects. Now let's move on to actually building out our timeline in sound design. So let's move on to that. 17. Sound Design - SFX: All right, welcome back to another video, Ladies and Gentlemen. Now that you know where to get your sound effects and music as we ran through in the last video. Now I'm gonna kinda show you how to download your sound effects into Premiere Pro, how to import them, how to keep your bed nice and organized. And then we're going to show you what kind of effects that you can do with your sound, that sound design in why do you even use sound design in the first place? So let's quickly do that, but let's start with one thing at a time. So first let's go in, let's go to the YouTube library, like we did before. And we could type in anything here. Let's say ice. I'm not sure. I dropped. Maybe. Maybe not, maybe. Let's just take any sound effect here. Truck driving, straw squeak. Sure, this works. And then to download it, all you do is you come over here to download. You'll download that. And then once that's done, you'll come over here. You come right here, and then you widen out your media Ben so you can see more and then double-click on your sound effects Ben, RDF sound effects in here right now, and then double-click again. And you go over to downloads and you will see your straw squeak right there. Click open. It'll import and then you can simply drag and drop it to your timeline. And there you go. Now obviously we're not going to use straw squeak, but that was a perfect example of how to import it into your timeline. That's incredibly annoying. So I'm going to stop doing that. Sound design is very important to bring your video to life because, for example, why use it? Well, here's a perfect example. We see in this next clip, ice falling into a cup and we don't hear any sound in it just feels like there's something missing. There's something missing from this video and it's a sound effect of what you would hear in real life of ice dropping. Well, I've already downloaded ice dropping sound effects, so I'm just going to drag and drop that over. And I'm gonna kinda show you what you can do with sound effects. So the first thing I would do is listen to it. So I would look for where it drops. I'd go with my right arrow key on my keyboard. And it looks like the ice hits the cup right there. Perfect. So I would start the sound effect right there. Let me just zoom in a little bit to get that perfect. And boom. And then there's another one that drops right there. So I'll, I'll highlight that clip and then to copy and paste his clip. The easiest way to do it is by clicking the clip, click Alt on your keyboard and drag up, and it will create a second one, and then I'll drag it over right there. And let's play that back. And then you got awesome realistic sounding ice sound effects. I wouldn't really edit the audio anymore in this, but let's say you wanted to. So in this video we are going for a very powerful, I'm personally going for a very powerful fast pace vibe. My challenge to you guys was to edit it, how you want, how you personally think is best. So maybe you're going for a different vibe. Maybe a luxury slow pays five. But given me going for a powerful, fast-paced five, I want allow Bram type of sound effect right here in the beginning to just introduce you, which I do have downloaded here. So I'll look for it. I think that this is the one right here, but it starts off really loud and I don't want to scare my listeners, so, oops. So one of the sound effects are one of the effects that I'll due to this audio. And in effect, it you'll likely need is to fade it in. So let's listen to it before it's faded in. So it's kinda like, OK, that's a little aggressive. That if I was watching that on Instagram, like in a waiting room at a doctor, I would scare everyone else and myself. So at least in it fades in, you kinda get a warning to turn down your volume. So all you do is you come right here and you go to the beginning of the clip and where that red arrow toggle. When the red arrow activates like that, you just right-click. Go to apply default transitions. And now you can fade in your audio. And if you just hover over it, you can make it as far as you want. So now let's listen to it. The fade it in and it was a lot better, a lot less, a lot less aggressive. So now what if you want to turn your volume down or adjust the volume? And how would you do that? Right, that's loud, so I want to turn it down. So first thing I'll do is I would click on the clip out, come up to volume up here and effect controls and its key frame right now because this is toggled, toggled clock is toggled on. So I don't want it to be keyframe. I want to turn that off, so I'm going to click on the clock. So it's deactivated, is no longer highlighted is blue. And I'll turn this down. I'll just move my mouse. I'll hover over it and move my click and hold and move my mouse to the left to turn that down. And negative 11. Now let's give it a listen. I wouldn't make it that low, but that's how you adjust your volume. And there's a lot of audio effects that you could do if you come up here to the effects tab at the top right, you have a whole Audio Effects tab filled with audio effects. I personally rarely, rarely do anything else my audio other than what I just showed you, the only thing I really ever do is do a fade-in or adjust the volume. It's really as simple as that. When doing sound design and music, and sound design is literally sound effects. And we're gonna do music, the music later, but for now we're just focusing on sound design. So, so far, this is what we have just with the fade. Right? So it faded in right there. That was nice. And then right here at the ice, you could see when you place those perfectly, how good it comes out in how realistic and how much life at ads. And let's listen to that again. And now let's listen to it again without the sound effects. You see how much that made a difference. Let's do it one more time. Without width. So you can see how much more realistic sound effects make your video How Much more life it brings, as I said. So now what I'm gonna do, because I'm gonna get my music from different platforms. You may or may not have the paid version of epidemic sound or art list. If you do, great, if you don't, no problem, go to Youtube Studio, get the free music there. There's also You have to sign up, but you can get free sound effects from there as well. And just go ahead. I'm gonna go ahead and fast-forward through a little montage for you so you can watch me do my sound design. But I'm not gonna do a follow along here because I have no idea where you're getting your music from. An I don't know if you want to purchase these licenses just yet. So go ahead and decide for yourself what you want to put. Maybe you want to put a whoosh sound effects somewhere in here. Just what is your gut telling you? What do you feel like you should be hearing? Watch it and what do you feel like you should be hearing like right here? I feel like I should be hearing Fire crackling because there's a fire in the background. Don't think too hard about it. Just use common sense and just kinda think, okay, well, I should hear right here. I should hear a glass sliding on wood right? Right here. Ice. Just things like that. It's very simple. Don't overcomplicate it. I'm gonna go ahead and fast forward through this and I'll catch you when I'm done. Guys. Great job. I hope you did as we recommended. And you went ahead and did some sound designed for yourself. If not, if you are waiting for me to finish and you watch that montage or maybe you did finish and you want to see how I did it. I'm gonna quickly break down what sound effects I used and why I used them. So as I told you, the tone or the mood or Vive and going for, for this video is very almost aggressive, very powerful and strong to Manley whiskey type type vibe. So I'm gonna break down it section by section first, this section, then I'm gonna break down this section and then the last section. So let's start with the first section and let's first just give it a listen. Perfect, so it was very aggressive at first. So let's start out with the most aggressive sound effects. So I'm going to click this S solo track to only play this track right here. So we're going to listen to the biggest sound effect first and why I put it. Right. So that's called a Bram, and that's often used in Hollywood films. If you've ever watched any movies like Interstellar or Ad Astra, they use it in a lot of space movies or superhero movies. The Superman movie, when the spaceship came down, they use this similar sound effect a lot. To signify like something powerful, it's about to happen. Which is why I wanted to use that sound effect as an intro like, hey, give me your attention. Sums powerful is about to go down in this video. So now let's solo track these other ones, and let's turn that one off. Give it a listen. Right, cool. So the beginning, This right here is called a riser, and that means it starts low and goes up. And that's often used in horror films. Or again, a lot of superhero films use it. It's often made to create suspense. That's typically what risers are made for. In this case, you can't hear it too much because the Bram is a little bit overwhelming in the beginning, but I still put it in there underneath, just in case it caught anybody's attention, maybe subconsciously, it's like, hey, you know, please have some suspense right now. So let's listen to that again. Boom. And then I go straight and after that riser ends the light right there. I instantly back it up with a wish. So let's turn that riser off and you'll hear that. That it's very subtle and small, but it's just just one small Bush right after the riser. And that's just to tie that. Because if I didn't put that in, listen to the riser. And now it would be empty that spin with the bottom moving or just feel empty. So I backed it up with this. So when it feels empty, C, And then I back it up every time I see one of these corners spin, I add a new whoosh sound. Perfect. So that's why I use those sound effects in the beginning. So let's just clear in and out here and then I'm gonna make a new in and out point for this section that we'll cover next. Perfect, so now let's cover this section is sound effects. Let's give it a listen first. So this is a lot less strategic and more just a matter of fact, as you saw the first section, the reason I added some of those sound effects were more strategy purposes, right? To get somebody's attention, to get them into it, to create suspense right off the bat. This in the middle section, I eased up on it. And instead what I did is right here it kinda goes in. So I put this on effect right here. Just to emphasize that unnecessary. Let's be honest, but I put it in just to add a little bit more life to it. The main sound effect along these clips were Fire crackling, which I'll let you listen to now. And the reason I put that as because there's fire in the background and it's as simple as that as a, as I said, this was a lot less strategic. There's middle part and more a matter of fact. Alright, perfect. So as you saw, that was just Fire crackling, very basic. And then the other sound effects I added were what I saw. It's so right here, what do I see? I see glass sliding on wood, so I doubled up. So I'm gonna show you the first sound effect I used, which was this. But it seemed a little high pitch to me, like, why is it so high pitches it going on metal or wood? That's sounded like metal. So I brought in the second sound effect which sounds like this. Sorry, wrong one there. But it sounds like this. Just making you have some more suspense. Perfect. Now, I put those together on top of each other and it makes much more of a wood sounded. C. So when those play together, Perfect. And then the next was just simple IceCube fall, just ice hitting glass. There's nothing. Nothing very exciting about it. So now let's play that middle section back altogether, and let's give it a listen. Perfect, so that middle section is pretty good. So now let's clear this in. Oops, let's clear this out. And then let's do another section and let's finish it off with this end section. And what I decided to do and why. Perfect. So let's give it a listen as we do first. Perfect. Perfect. So let's first break down the fire because we already did all that. So the fire here, it's just I the reason I continued the fire, even though you don't see it, is because right here I'm going to add an effect at the end, which is going to be fire, sparks or ashes coming up. So it makes, it ties into video from here to, and then when there's not fire, it ties it instill because it's gonna tie back in right there, which is why I added the fire. And then I want it to continue when the logo comes up, Jack Daniel's logo, I'm all you can hear is fire. That's why I added the fire there. I kept it going. And then if we break down these ones right here, these are all done. These are water pouring. So the first one almost sounded like somebody was playing and I didn't want that. So I'll show you that sounds like it sounds like somebody's paying. So I needed to add a little bit more. There was a sound effect of liquid falling on ice, but it wasn't strong enough. So this what that sounded like. Right. But when you add the two together on top of each other, it sounds like pouring a bottle of whiskey. And that's why I added that because I don't want it to sound like somebody's paying. And then I added these three sound effects. And that's just hitting that. So if I break down each one of these, let's start with this one. They all sound a little weak and not like the right sound effect by themselves, right? Imagine I just put that. It's so anticlimactic. It's like do this super powerful video and then it's, it's not very cool. So that's why I put them, this one underneath it. A little bit more powerful. And then I put this one underneath that one. Right? Which is like dragging on wood. So then when they're all together, it sounds like this. Boom, awesome. So now let's listen back to that one more time. And then logo. Boom, awesome. So now we're going to wrap this video up, but just really quickly. I don't want it to go on too long. I just want you to watch the whole video now a sound design. I want to do it once without an once width. So let's do that right now. So how did you feel about that? Just take a second and think about that. Like I'm sure you felt like there was a lot based saying you're like, wow, now that I heard it with sound effects, I realize how much was missing there. So now let's listen to it again with sound effects. I mean, just could Jillian million times better in my opinion. So guys, that's why I use those sound effects. That's how you do sound design. That's the purpose behind sound design. And now you know how powerful a sound design is. So now we're gonna do, is we're going to break down finding the song which is very similar to finding sound effects. And now we're going to edit the music to the video because music tracks are usually two to three minutes long, but our videos only 17 seconds long, so we need to edit the song to get down to 17 seconds. So let's go ahead and go to that lesson. So good job guys. 18. Music: Alright guys, welcome back to another video. In this one we're gonna be breaking down editing music. We already went through the sound design and it was an absolute blast. And we really got to experience the full power and capability to what sounded good design can do for your video. But now we're going to bring in another and our final attribute to making this video in official Finnish video. And that is with music. So I already picked out my song for this video. But if you have not yet, again, the same resources as I showed you for sound design. You can go over to epidemic sound. They have great songs, art lists, they have great songs as well. They actually wanted Award for some of their best songs for 20-20. And then if you want free resources, Freesound is only for sound effects, so you don't use this for songs, but audio library, they have a lot. They're free music is a lot better than their free sound effects. So you can go through here and find a song that could be applicable for the vibe you're going with. So those are the places you could find music for your video. As I said, already found mine. So I'm gonna go ahead. I'm going to put mine into my timeline and I'm gonna go ahead and edit it. So I'm just gonna drag and drop it. And you import your music into your media. Bend the exact same way as I showed you with sound effects. But what we're gonna do is if you zoom out here, you can see that this song is three minutes and 18 seconds, and our video is 17 seconds. So now we have of challenge or a roadblock here we have to figure out how to make a song that's three minutes long and when you have to make it into 17 seconds. So the first thing I'm going to do not to complicate my or not to confuse myself, is I'm going to highlight all my sound design layers. I'm going to right-click, go to label, and I'm going to label these different color. I usually go with mango. And that way I can differentiate my music from my sound effect tracks. It just helps me stay organized. Then the next thing I'm gonna do is I'm gonna come over to my music track at right here. And I'm going to expand this very big like that so I can really, really see what I'm doing. Perfect. So now all I'm gonna do, I'm gonna give it a quick listen through. Perfect. I was waiting for a job and I just heard it. So let me try to zoom in and find where it is found that okay, so I'm going to cut it right, right about five seconds before the beat dropped. And I'm going to delete everything beforehand. Now what I'm gonna do because I want this video to be very be oriented. So I'm going to drag it to the beginning. And now what's going to happen is I'm going to try to line up with it. Beat drops to my second clip. So after that loud sound effect comes in, the burbs sound effect that I have. I'm going to have the beat drop. So let's see if I can line that up. Let me unmute all my sound effects. What I'm gonna do is I'm going to shorten this really loud sound effect that I have. And I'm going to actually go had come to the right, right here, that red arrow is gonna appear and I'm just going to clip it a little bit. So it's not as long. And I only want that sound effect to last for the first clip of mine. So, and then what I might do. So the drops right here and the music. So I'm gonna go ahead. I'm going to cut that. I'm going to try something. I'm just experimenting right now. I'm experimenting with what if I have this sound effect is nothing but the sound effects for the first clip. And then the second clip comes in, in the beat drops. So let me see what that sounds like. Let me try fading in and starting just a second before. So also let me fade in that sound effect a little bit more. And I'm also going to, oops, I'm going to come to the beginning. I'm actually going to turn down that sound effect, that really loud one by just toggling off the level and turning it down, try negative five. So now let's give it a listen. Let me try one other thing now. Okay, so I don't like the way that sounds. So I'm gonna start from beginning and I'm gonna do this. Alright? So I'm gonna turn this down a little bit first off, so I'm gonna go ahead and click level toggle that off. I'm gonna turn that down to negative seven. I'm going to try that and see that it gets a little bit too over the top loud. And now it's a little bit too low. Okay, but what I'm gonna do is I'm gonna do, I'm gonna keyframe my audio, which is very simple. And essentially I'm going to drag this music track even bigger. I'm going to highlight it. I'm gonna go to the beginning right here. I'm going to click this little ad keyframe. Boom, it added my audio. I'm going to move a couple of frames, Ford, boom, do it again. And a couple of frames for it and do it again. Now, i'm going to have this frame right here. I'm going to turn that two right there. And this is basically a more professional way of fading in and out your audio. So I'm gonna bring this down and I'm going to bring this down even lower, so it just fades in even better. So let's give that a listen. Okay, so I'm going to turn this part up. Let's look about. Perfect. So when it comes to right here, I'm going to start to fade it down a little bit, just a little bit. So I'm gonna create a keyframe right here. And I'm gonna create one right here, and I'm just gonna move this down right there, just a tad. So let's listen to that. So you can see when I unhighlight, you could see the keyframe, the Keyframing that I did. So let's just say this. Perfect, that sounds amazing. So I'm going to bring this back up. And now we have a ton of music. So I'm going to show you two ways. So I'm going to show you the noob beginner way of how to end your music. And then I'm gonna show you the professional way and the way that you should do. If so, the first way is s. So you're going to come to the end of your clip and you're going to be blade tool. You're going to delete that. And then you're going to come right here to the end of the clip when the red arrow peers right-click and add a transition just to fade out the music, which in the middle of the song, right? So let's bring this out a little bit just to faded out. And let me show you what that sounds like. Right. So sure. You can get away with it. And if you do that, just don't ever tell anybody you learned it from this course. And instead I'm going to show you a much more professional way to do it. So I'm gonna Command or Control Z to go back and perfect. So now what I'm gonna do instead of doing it that way, I'm going to go to the end of my music. And I'm going to, this is when you have to really listen. I'm going to widen up my track. And I'm gonna see, I'm gonna try to hear for instrumentals that I heard over here, right here. And I'm going to show you what I mean. So I'm gonna go ahead and listen. Yeah, that ending was awesome. So I'm going to start it right here. And I'm going to just blade tool that. And then what I'm gonna do is zoom out. I'm gonna come back over here to the video and I'm going to zoom back in and I remember what that last instrument sounded like. I'm going to try to find a similar one here. And that's why I'm going to cut it, because that's where I'm going to connect the two. Okay, right here. Boom. So now I'm going to delete the in-between. And I'm going to bring the end of the clip over here. Perfect. And I'm actually going to bring it even more because now I want this to end right on that. So you see, you know, okay, so let me move it in a little bit more. C Now, you just have to try to find, like you gotta see the audio waveforms when they're at a level that are similarly the same, hidden instrumentals have to sound decently close to each other. So and then when you feel like you got instrumentals and sound decently close together, it's still going to sound terrible unless you do this step right here. You come in between these two clips and you have to go ahead and once this and you have to hover over it until you see this right arrow appeared. And then you're gonna right-click apply default transition, and it's going to transition that to together. So then it'll sound something like this. Much, much better. I think I'm going to have to edit this a little bit, but I'm just going to play it through and see and give it a listen. Okay, so I might widen out this transition just a little bit more because there's just one small instrumental that's coming in here. Where did it go? Way far off, okay, right here. I'm just gonna widen this track just a tiny bit and I'm going to listen to it one last time and I'm pretty sure that now it is perfect. So I'm going to shorten this up and just like that. And now I'm going to listen to the whole video and perfect, now you could give it a listen and see what you think. I absolutely loved that. I loved that. So that music just came together perfectly. It starts where the music originally started in, it ends where the music is supposed to end. And the transition in the middle makes it sound like it's just one small 18 second, 19 second long video with it. So all you need to do now is just find an image online of Jack and his logo. Just put it on here. And that's the only step left to do. Other than that, congratulations, you guys have officially finished the whole entire editing process. We started out with starting new project. We went cut through the footage together, speed ramped, warp, stable, warp stabilized everything. We went in keyframe some stuff, colour corrected, color graded. And then we worked on sound design, which was an absolute blast and we ended off with music. And now we have a video that is textbook, very professional sounds and looks great. Now we're just going to move on to the next. Now we're gonna move on to the next lesson where I'm going to show you how to export the video and the best export settings for certain platforms. So Good job guys. And once again, congratulations. 19. Best Export Settings: Alright, ladies and gentlemen, you guys have officially made it to the last video in this masterclass in this course. And we're gonna be showing you in this video how to export your beautiful video that you've done. So the first thing we're gonna do minus already rendered, but the first thing you're gonna wanna do is come up to sequence, come up to render into our, and then your project will render minds already rendered ie. If yours is not, then go head and render that. The next thing we're going to want to do is come up to File. Come up, actually, sorry. The next thing we're gonna wanna do is watch through your video one more time to make sure there's no more mistakes. Then you'll come up to file. You'll come over to export, go to media. And then this pop-up will come up. And what you're gonna wanna do is make sure your format is in H dot H.264. Match Source high bit rate. If you're, if you're saving this for YouTube, you, what's really cool about Premiere Pro is they have, for Facebook, they have if you're, if this video's 4K and it's for Facebook, you can save it as 4K Facebook. They have presets in here already. For Facebook. They have presets for Twitter, they have presets for Vimeo and YouTube. So if this is, let's say this is a YouTube video, then it's shot in 4K. I'm going to save it as YouTube, 4K ultra HD. So perfect. So then I'm gonna go ahead and output name. This is where you name it and where you choose a place to save it. So I'll name this Jack, Daniel's. Jack, then you'll add. And then where I'll save it is my hard drive. And then I'll go to client projects, product commercials, Jack Daniel's finished video, safe. And then all I do now is I come down to export and I click on it. And if you're exporting for face, ifs, somebody hired you to do a Facebook ad, then you'll want to choose the Facebook preset. If you're uploading for like what we upload for this course, we don't upload this course to YouTube, we upload it to other third party platforms. In that case, I would not save it as a preset. I would save it as not a YouTube preset or anything like that. When this is finished loading, I'll show you one thing for a course or anything that's not a social media channel, or I'm delivering it through Dropbox or Google Drive. I'll always do match source, high bit rate. That's the highest quality preset that you could choose if it's not going to a social media platform, if it is, most of these social media platforms are good to go. For Instagram, I do high bit rate as well. So that's the best Exploiting settings. Great job guys. You, I hope that you guys video looks great and I hope it also looks nothing like mine because we are the creative therapy and we're all about we're all about endorsing people to go and get creative and, you know, are its objectives. So we all want you guys to do your own thing with it. I hope you guys took the footage we gave you, follow the principles of everything we taught but made it your own. And if you didn't go back and try again, remake it and make it your own, or take some other footage, maybe go shoot your own film, bring it back and edit it and make it your own. Get really creative with it. We're so thankful that you guys joined this course. We're really excited to see what you guys come up with. And if you guys want to see more tutorials or tips, and just learn more about overall filmmaking and editing and just everything to do with creativity. You could go ahead and check out our YouTube, which is a creative therapy. So that's it for us guys. Now you know how to export, amongst many other things. Were so excited and we're super happy. So thank you guys so much. And that's it from us. 20. Bonus 1 - Additional Footage: Ladies and gentlemen, I know I said that the last video was our last video, but I miss you guys too much, so I wanted to come back and briefly do a little bonus video for you. I know that Raul videos are very hard to come by to practice editing when you're first getting started. I know that that was a big problem that I had when I was starting as I didn't have enough footage to practice with and it was a big war deals. So we wanted to do it. The creative therapy team is we wanted to actually give you guys to the raw files to, to Coca-Cola projects that we worked on. We did one for Cherry Coke and vanilla Coke, and we wanted to give you guys the raw files for that and let you guys practice with it. They are tough files to practice with, but I think it's gonna be great practice for you guys. So let's first I'm going to play you the Cherry Coke commercial, and then I'll play you the Vanilla Coke commercial C, you know what we were able to do with it. And then we're going to, in the resource section, we're going to have it for you that you'll be able to download. So let's give that a watch. I said If you guys paid attention to that, I know you don't see all of the eclipse here and all of the sound design here, because it's a video that we did quite a while ago. But if you listen to that and saw that we, everything that we covered in this course we actually use in this video. There were speed ramping, there was warped civilization, and there were sound design in music in his video. So guys, if you've followed along and of course you should make an amazing video with this raw file. So now let's show you the Vanilla Coke on really quickly too. Awesome. So there you guys have it. You guys have the Vanilla Coke commercial and you have the Cherry Coke commercial, the raw files that we actually shot and edited with. So you guys go ahead and you guys have fun and go subscribe to us on YouTube. I guy, so you should see our email on the screen right now and go ahead and send us an email with the work that you created. We'd love to see what you guys have come up with after taking our course and after editing with this raw footage and just seeing how far you guys have come. So that's officially it from us. Thank you guys so much and I will see you guys in the next course.