Adobe Premiere Pro CC - Beginner to Pro Video Editor | Jeff Napolitano | Skillshare

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Adobe Premiere Pro CC - Beginner to Pro Video Editor

teacher avatar Jeff Napolitano, Video Editor

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

31 Lessons (2h 36m)
    • 1. Step 1: QUICK CRASH INTRO: Premiere Basics

      8:22
    • 2. STEP 2: Importing Your Footage

      0:50
    • 3. STEP 3: How To Rotate iPhone Footage)

      3:21
    • 4. STEP 4: Cutting Footage

      2:37
    • 5. STEP 5: EDITING BASICS - Working with B Roll

      5:51
    • 6. STEP 6: ADDING MUSIC

      3:34
    • 7. STEP 7: EXPORTING YOUR VIDEO

      3:39
    • 8. STEP 8: Get Ready to Start Editing

      8:07
    • 9. SOUND - Audio for The Bachelor

      6:03
    • 10. SOUND - Fix Audio Tracks

      2:44
    • 11. SOUND - Audio Interview Tricks

      5:36
    • 12. Working with Green Screens - Keying and Tips

      11:07
    • 13. GRAPHICS - YouTube Intros

      3:25
    • 14. GRAPHICS - Animating Graphics

      2:55
    • 15. GRAPHICS - Using Motion for Overlays

      4:59
    • 16. GRAPHICS - Animating Motion & Scale

      13:45
    • 17. GRAPHICS - Motion Backgrounds

      4:55
    • 18. GRAPHICS - Create Simple Logos

      1:23
    • 19. GRAPHICS - Business Templates

      4:21
    • 20. TITLES - Make Titles with Lighting FX

      4:43
    • 21. COLORING - Color Correction

      6:07
    • 22. COLORING - Filters

      2:46
    • 23. COLORING - Cinematic Looks

      6:27
    • 24. TRANSITIONS - Adobe Transitions

      2:25
    • 25. TRANSITIONS - Print Patterns

      8:25
    • 26. SIMPLE FX - With Photos

      7:42
    • 27. SIMPLE FX - Speed & Flash to White

      6:11
    • 28. SIMPLE FX - Scale & Motion

      6:57
    • 29. SIMPLE FX - Split Screen - Crop - Contrasts

      3:05
    • 30. SIMPLE FX - Speed & Slow Motion

      0:40
    • 31. You've Made it! Now Make Your Rolling End Credits

      2:30
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About This Class

Master Adobe Premiere Pro with Over 75 On-Demand Mini-Lessons

Video editing with Adobe Premiere Pro may look difficult, but these classes will make it easy. Just a few minutes a day could easily make you proficient in Premiere. Eventually, these classes could enable you to be an advanced video editor. 

Get Downloadable Motion Graphics and Project Files to make your own.

Download the Animated Arrows from Premieredrops.com included to use in your videos.

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Make money as a video editor by learning the most important things to get you up to speed. These lessons are designed to walk you through easy step-by-step activities to get you real results. Worry about the fine details later as these are designed to get you up and running quickly. Here is what you will walk away with from this amazing video editing course.

This scene below is an HBO True Detective Opener where I layer different images using Opacity. I also use Motion to add in a slow motion jump cut type of effect.  I Skew the titles to give it a 3D look.

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Here are some more key things you will learn in these Adobe Premiere Pro Lessons.

  • Go from Beginner to Advanced Video Editor with this Class.
  • Animate YouTube Graphic FX
  • Unlink Audio and Video
  • Learn to Mask and Cut Out Around a Subject
  • Make Fast or Slow Motion Speed Adjustments
  • Cutting Techniques Razor In and Out Points
  • Split Screen Picture in Picture
  • Place Four Videos on the Screen at Once
  • Animate Graphics to Fly In and Out
  • Green Screen Keying and Inverting
  • Audio Techniques to Enhance Voice Interviews
  • Layering Several Graphics Over Video
  • 3D Scaling
  • Replace Titles With Keying Footage
  • Color Video with Filters

This lesson is a Split Screen found on E! Online. I add a logo and key out unwanted color.

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More key things to learn in in this class for Adobe Premiere Pro:

  • Set Preferences in Premiere for Optimal Performance
  • Make Several Real-World Projects
  • Import Pictures and Scale or Dissolve Between
  • Add Movie Letterboxing
  • Exporting Footage FX
  • Learn H264 and 1080p Settings
  • Unveil Color Correction Tools
  • Add Filters
  • Scaling and Motion
  • Implement Keyframes
  • Enhance Audio Voiceovers with Bass and Treble EQ
  • Add and Import Music
  • Examine Movie Trailers and Commercials
  • Add Lighting FX
  • Ripple Delete
  • Sequence Timeline Settings
  • Zoom In or Out

In this lesson below, I show you how to change the colors of the videos with a Color Filter and also place and resize 4 videos on the screen at the same time with Scaling. I animate the titles using Motion.

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There are even more things I go on to teach all in this course:

  • Blur FX
  • Rotate iPhone Footage
  • Make an Opener TV Show Sequence
  • Write Directly on Screen and Animate
  • Make Commercials
  • Clean Up Dialogue
  • See Animated Write On Fonts

Below are some more examples of lessons I teach you from examining a Jeep Commercial to Sports FX, Transitions, Coloring, Picture Matte FX, Paintbrush Wipe Effect, Basic Logo Graphics, Audio EQ and footage of dogs running for your entertainment while editing.

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  • Make Your Own Motion Graphics 
  • Make Logos
  • Use Transitions
  • Crop Out Unwanted Video
  • Animate Creative Titles
  • Use Special FX
  • Audio Fade with Keyframes

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Get to Know Premiere from the Basics to FX

This class is perfect for someone who wants some easy techniques that will attract an audience quickly. You'll also get some motion backgrounds, animated fonts, and transitions, as well as quick, useful strategies that you can use in your videos immediately.

Compatible with All Versions of Adobe Premiere Pro 

I use the latest Adobe Premiere Pro 2019, but prior versions 2018, 2017, 2016 will also work.

Just Drag the Mouse Where I do

Never used Premiere before? It doesn't matter. If you can drag and drop footage and follow the mouse, you can do these advanced steps with  ease. Have you used Premiere frequently but want some added tips with a  different perspective? That works also. 

Green Screens:

Learn how to use green screens and what to do with bad lighting if it happens while filming and how Adobe Premiere has the ability to easily fix your problem. Or cut to the chase and learn Ultra Key, the essential tool that makes keying out green easy.

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Use These Effects in Your Videos Right Away                                                                                             

To see  more of what you will be able to do, check out the free preview course  videos. Thanks for checking it out and hopefully I'll see you in the course.

Get Free Graphics and Animated Fonts to Take With You

You can use the animated fonts and graphics to place into your projects. Modify them however you want to make your videos come to life. I hope this class will help you and I look forward to seeing you in there.

Make Real Projects

Download assets and follow along to learn the steps involved to make real life videos used in professional settings.

  • Ranked from easy to advanced, graduate each lesson to move on to the next skill.
  • Follow step-by-step to be a Pro Video Editor in 6+ hours of 70+ On-Demand Lessons.
  • Also includes the How Do They Do That Series #1 - #4

You can skip and select subjects without having to go through the entire class, or start at the beginning and increase your levels as each class is more challenging as you move through it.

Also, download several assets to participate in the class if you wish, or just watch instead.

Section 1: Import Footage: Cut Footage: Make Transitions

Section 2: Making Logos, Graphics and Motion

Section 3: Working with Audio, Audio Gain, Pops, Clean Up, Convert to Sound Studio Quality, Voiceovers

Example of True Detective Lesson on Layering and Textures.

Section 4: Cool Tricks n Tips, Matte Layers, Green Screen Inverting, Razor Blade FX, Color Tricks

Section 5: Make the same FX found in a Jeep Commercial, a Netflix Opening, & Stranger Things Sequence

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Section 6: Learn Advanced Premiere Pro Settings and Preferences 

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Section 7: Participate in (5 Advanced Projects):

ABC TV Show Teaser, Real Estate Commercial, Chili's, 24 Hour Fitness Promo, Green Screen Travel Vlog

ADVANCED GREEN SCREEN TRAVEL VLOG PROJECT:

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ADVANCED PROJECT: ABC TV SHOW DECEPTION TEASER

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I've organized the clips so that you can start with no knowledge and by the end of the course have a pretty good idea of how to edit footage.

You will also have some advanced knowledge for some basic FX and Audio techniques, easy to use and learn. 

Create four video clips with motion with simple title graphics. Add in a music track and overlay a logo.

Learn to edit with Adobe Premiere Pro with these cool projects related to YouTube, TV and Film.

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In this class you will have a number of lessons that will teach you how to use Premiere Pro effectively. Learn audio effects like cleaning up dialogue hiccups, or make your own rotating graphics for YouTube.

In the audio section we take a Justin Timberlake interview and remove unwanted dialogue and seem it together by patching over it with a video track. This is an effect that will make your audio presentations perfect without having to use jumpcuts. So removing the "uhs, ums," and replacing it with something else to look at, the audience doesn't have to be forced to listen to an unprofessional presentation. This lesson will fix that for you.

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I am convinced that after you do these activities, you will be able to apply them to just about any video editing project. Or, if it is easier for you to just watch on the first time around, it's great to see different video editors and the perspectives they have for each class when teaching Adobe Premiere.

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I use the ABC show Deception and the assets that go along with the TV show to show you how to layer images the same way you would in Photoshop, yet it happens in Premiere's video editing timeline.

Have fun and please let me know if you have any questions after practicing with the Adobe Premiere Pro lessons.

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ADVANCED PROJECT REMAX REAL ESTATE PROMO LESSON

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Meet Your Teacher

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Jeff Napolitano

Video Editor

Teacher

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Transcripts

1. Step 1: QUICK CRASH INTRO: Premiere Basics: so I want to be able to give you a quick crash course here on premier on Go through the Basics. So if you had to edit a video today, these basics would get you through editing a simple video. And then after I will populate this with footage and we'll look at more details for each section in the upper left section, you have the source section, and that's where you view your raw video clips in the upper right. You have your program section, and that's your end result with the video that you're building out. Then you have your audio meters in the lower right corner and that will monitor your audio in the audio tracks. Here in the sequence timeline and the sequence timeline is where you have your layers of video tracks and audio tracks, and you can use the video play head and different tools to cut and arrange your video. Now this next small section has eight tools, and you'll use the's in your sequence. Timeline. Once footage is there, you have your selection tool, your track. Select forward tool, a ripple edit tool, a razor tool that's gonna be your most popular a slip tool, a pen tool, a hand tool and a type tool. And we'll talk more about what these do. Once we have some footage and the bottom left over here is your project been? And as you import footage, this is where you will see all of your clips and you have a couple different view options there. Now, up the very top you have learning assembly editing, color effects, audio graphics, libraries, my workspace and five camera workplace. Now, the two that I use the most are editing and effects, and you can switch back and trouble between those to see what kind of layout you want. I also noticed you have these lines in between each section you can roll over left and right or up or down. Teoh make the workspace. How you want it to be Now, coming up here to the top, Um, you have different layouts, and if you want to see what Adobe has for you, you can click learning, and they have some basics for getting started. You know, looking at that might give you a few extra tips that you can use. Assembly gives you one less window and editing is the one that is my favorite. If you're dealing with color correction, you might switch to color. If you're dealing with effects, you might switch to effects. And if you're working on just the audio portion, you might switch over to audio. What it does is it gives you some extra filters and folders to play with. And if you click on the graphics tab, it will give you some additional templates that Adobe offers eso. You can click there, and there are some free templates for graphics and things like that. Now, if you get lost, this happens every now and then you got a window and work spaces, and you select all panels. That's a great one to start with, because it's not specifying only effects are only audio. It gives you a wide range of things to choose from, and you can even save your own workspace when you get the one that you like the best real quickly just want to give you, ah, real quick demonstration here gonna bring some footage in and there's a couple different ways to do it. And I have one lesson after this where you can just focus in on importing footage, but I want to be able to bring in just a couple clips here so you can now see what this program looks like when it's populated with some footage. Yes, I have some stock footage from New York. I'm just gonna bring that in. Now. I have my source been over here, and you can toggle back and forth between a list view or a Nikon view. Once you click on the footage. Now we populate that source window and we can see our footage up here on the left. Now there are a lot of different settings. One thing you might want to do is it's playing back at full resolution. So if you select this box here and maybe take it to half, it won't be so demanding on your processor. And it's a little bit easier to view. They have these icons here. One is a Nikon for just the video only, and you can drag the video only into your sequence timeline. And now all of a sudden, you have your sequence timeline, and this is where you do all of your editing. Now, on the right side, that's my final destination. That's going to be my end results. After I add all of my cuts and effects and I'm done with my video, you'll see your end results on the right side. So any time you want to see what you're doing, you just hit play on that side and it will play your final video what it's going to look like before you export it. Now, on the right side, we have some effects here, so you can see that I'm just clicking on that and I'm adding that to the video. So I just want to give you a demonstration of the difference between your end result here and your source. Clip your original source clip. And if you wanted to add some effects, you could just double click on that. Or you could just drag it over into your footage. Once we had our effects, we can go to effect controls. And on the left side it records all of the effects that we've added here. So you see, I added six or seven of them, so I'm gonna just click on them, right click and clear to get rid of them because I don't want all of those. And now we're back to our footage. And now, if you want to cut footage, use this razor blade. That's one of the most popular tools that I use there. And if you select that, then you can start making your cuts. And if you wanted to select the footage after you make those cuts, you can grab the arrow, which is this selection tool, and you can click right on the footage. Now, this isn't the best way to edit footage. I'm just showing you how you could cut footage in the timeline. If you want to get more precise, you would look at the footage on that left source window and edit that way. But I'm trying to give you just a quick crash course as to how this program operates. So when you start your lessons, it will make a little more sense. So now you see, I've cut this clip into five different parts. Now what I want to do is I just want to bring in a music track. So I'm going to search my computer for an MP three or way file, drag it into my project, been down on the left and again. I can select the icon, the audio icon this time, and I can drag it into my audio track. So you have your video tracks up north and down south would be your audio tracks, A one a two and a three. So I dragged this one into a three. You might have a voiceover on any to, and you may have some sound effects for cars passing my beyond a one. Something else you can do is you can roll over the footage on the end, so it gives you this tool where you can just roll over the end and then you can hold the left button down in the mouse and you can extend it or shorten it that way. And if you want a fade, Music used these key frames here, and you add a key frame and you bring out the audio all the way down by taking the second dot there, which is a key frame, and you bring it all the way down, and then you could do the same thing to the video. So I add a key frame and then I bring it all the way down. And as I roll over it, it fades out and it would fade out the music as well. So that's a basic rundown as to how premier works. Now you have your video. You want to export it because you're done. So you come up here to file export media, and you have a lot of different formats. Their age to 64 is one of the most popular compressions there is. You would change the output name by clicking there, and you can also select the type of video. So if you want it to be four K or 10 80 p or 7 20 there's a lot of different formats there , and then you would hit export, and it would save the file for you. All right, so that's a really quick introduction as to how premier basically works, and we'll get into more of the details in each individual lesson that you proceed 2. STEP 2: Importing Your Footage : All right, So here's a quick way to import footage. Now, one thing you can do I'm gonna Mac. So I could just open up the finder and find the clips that I want and hold command, see down and select as many as I want to drag them in at once. Once you have them in this project, been you can click on the icons down below, back and forth. It will give you a list view or an icon view. Now, if you don't like dragging in the footage another way, you can import footages to goto file import, and it will open up the finder window for you. And you can go ahead and find the clips and select the import button or just double click on the video file. So for this Sal, just grab a different clip. Teacher teaches in a classroom, and there I have it. So those were the two ways that you can import footage 3. STEP 3: How To Rotate iPhone Footage): All right, let's take a look at this now. This footage. She used her iPhone and placed it right in the center, which covers her face. And sometimes you get your iPhone and it comes in straight up or it comes in, you know, filling up the whole screen. But it's going the wrong direction, so either way, you can bring that in and rotate it. I'll show you how to do that real quick. So in this video clip, I'm just going to make this my background video. So I'm going to select the marker in and marker out and I'll bring in the whole thing and I'll bring in the audio as well. And now I have my iPhone footage and you can see that sometimes it comes out crazy like that where it's, you know, tilted to the left or right. So if you bring that in and then go to effect controls, you can use thedc untrue oles here to scale it down, and then if you go to rotation, you can rotate it by typing in 90 degrees. Now, when you're using this X and Y coordinate, you could bring it to the left or right or scale it in or out. So all position it on the right hand side and then I'll show you a couple other things that you can do so now. If you wanted to cut it, you could cut it there, and then you could use the second portion and move it over to the left. It just keeps the audience entertained for a bit as you're moving things around. Then if you wanted to duplicate the image, you could hit command, see, and then just click out of there and paste it where the marker is and hit Command V and bring it over the top. And now we have a duplicate of the same image. If you didn't want to have the exact same, maybe you could roll over the end and trim a little bit off. But that's an interesting way to, you know, make your video a little bit more entertaining. Now, if I really wanted to get more detailed, I could select my source video on the bottom. And as I'm positioning the iPhone, I could scale you know, the background video in her out or move it left to right. So for this uh, I'm going to move it to the left just a bit, and then I want to scale the iPhone footage and make it a little bit closer. So that shows you how you can take. You know, a long video without any cuts, and you can duplicate it or cut it in half and zoom in or zoom out and move it to the writer left. Now I can even duplicate my source of her talking, and I can hit Command C and Command V and paste it in there again. And then I can scale that down and place it in the centres, and I've got three images now. If you want to crop out the left and right, you can go to effects and hit this transform folder and grab crop, and then you can drag the crop filter over, and then if you go to effect controls, you can take out the left and right. So now we've got three images there, so it's just a little more interesting, and you can see that it's endless. You can just keep copying and pasting and moving videos from left to right, scale them in or out cut them, Um, all for an interesting look, and I can get a little crazy, but the idea is there. All right, so that's pretty much it, and hopefully this helps you out. And when you bring your iPhone footage in, you can just rotate it and scale it and make it work. 4. STEP 4: Cutting Footage: all right, So let's look at these two clips. I want to show you a couple different options that you have for cutting video. I'm holding the left button down on the mouse, and I'm grabbing this slider and I'm just going back and forth. It's Ah, give me a little more freedom or I can just hit the play button. Now, if I want to access the video down below, you have to double click on it. Just clicking on it once won't do it, so double click on it and it will access that video. And again, if you don't like the list view, you can come down here to the icon. There's also a slider down below that you can grab. I don't recommend that, but that's good for like a quick reference. If you want to rename the clip, you can click on the title and then rename it. So let's grab a section of this video so I have my in point in my outpoint. Then I also have the option of just bringing in the video or bringing in the audio or both . So for this, I don't want the audio tracks. I'm just going to bring in the video track once I dragged that in my sequence. Timeline appears now. There's a couple different ways I can cut the video. I can roll over the end and it gives me this out tool or in tool. And if I hold the mouse down, then I can drag the clip in her out. Or I can use the razor blade and come down here and cut each section. Once I do that, I go back to the selection tool and select those parts and then hit delete on the keyboard and they disappear. Now let's go to my other clip. So I have my in point in my outpoint saw Select where I want it to end and I have in and out, and I'll bring in the whole clip that way. Now, if you don't want to see it, you can talk all this I and it will only show you the tracks that have the i un selected. So I'm gonna roll over the end and trim that part, and I'm gonna use the razor blade and it will snap to the edge. So as you roll over these points, see how It gives you that white line there. It's snapping to the edge for you, so it makes a little bit easier. And then I'll go ahead and select the clips that I don't want and hit delete on the keyboard. And now I've got my two clips going back and forth as if the dog is dreaming about the other dog is the story that I'm trying to tell. All right, so that's a quick way on how to cut footage. 5. STEP 5: EDITING BASICS - Working with B Roll: All right, So this is a role and B roll footage. Ah, B roll. Is that supplemental footage that goes over your main piece? This goes back to history of filmmaking. 16 millimeter footage would alternate back and forth, and so that's where that comes from. So for this I have two pieces of footage. I have my main interview footage and then I have my B roll of military training. So I'm subject was in the military, and he's talking about things that, uh, his comrades have done. So now I have a couple different options. One is, Aiken, just bring in the audio, or I can bring in both the visual part, the video and the audio. So now you see that they're connected. Now, one thing that premier does is they allow you to unlinked the audio and video, and sometimes this could be useful if you need to separate these two, but it can create some confusion as now you can make these things not sink. And so, uh, it's on advanced step, and it can create some headaches because it may not line up. But if you need to cut away the video, this is a way you can do it. So now you see, I can roll over the end of the video and it's not connected to my audio, and that would allow me to create a gap to place my B roll footage in there. It's just in advantage to know that you can separate the video and audio. So now that they're separated, what I want to do is I'm gonna use the razor blade and just cut out some pieces here. So this is a really basic way to add B roll footage. I'll show you an advanced step that's going to save you some time in a minute. But it's good to know all the steps that you can implement into your B roll strategy here. So now go to my B roll footage and I'll select something that matches what he's talking about. I'm not going to concentrate so much on listening to the entire interview. I just want to show you how you can look for B roll footage that matches what he's talking about and show you how to implement that. So now I've notched out a section for my B roll, and as he talks we see the B roll footage and then it goes back to him. So now I'll look for another section of B roll footage and I'll have my in point and find a couple shots here in my out point. And then I'll just drag the video only typically. B roll footage. When they sent out a second unit to film, they didn't shoot sound. So that made it a lot easier. And they could just go get the B roll stuff without any sound on it. Now, more advanced technique would be adding a little layer of sounds as thes guys air running around on the field. It might be okay to have ah, on audio track. That's very low, and I've seen that before, and that's okay. But following the history of this, it ah b roll footage was shot without sound. All right? And so we'll we'll grab one more clip of my N pointed out point, and as you bring it in, you can close up the gaps. Eso it's not enough there, and I can take my interview back and you can really find Tunis when you're listening to your main subject. So that's a basic way. And what I've done is I brought those shots down into the same video track. So that way it leaves room for other videos as I'm working on my project. So now it's seamless, and I've got my alternate from A to B. Now notice this footage doesn't match. So what I have to do is I could do two things. I could add the letterbox effect to my interview guy or I can scale it up so it matches. So typically, you want to make sure that the footage is the same for both, So I just go to affect controls and scale that up a bit. Now, I'm gonna highlight this and delete it, and I'll show you one more way to do this. That's a little bit quicker. So I bring in my entire clip. I've got my video and audio on their sink together. I don't need unlike anything. And now I just grabbed my B roll footage. Same thing in point out point and just drag it over. You see there how I went down into the, uh, first video track and it will insert that, and that's another way to do it. but I just want to show you all three ways that you can. You can do this. So there you go, A roll B roll. Now what happens is this. I've got this video in the back. So what I have to do is I've got a scale up my B roll footage. Oftentimes you'll get footage. That's not the same. It's shot in different. Uh, it's shot in different formats. All right now, another way you can add B roll footage is just to drag the clip right into your main subject video track. This may be the quickest way to do that, but it's not the most accurate, because now it's embedded into that first video track, and I may need to make some adjustments. So this is why I don't like doing this. But if you just were throwing something together and wanted to be able to alternate back and forth with a and B roll footage, and it didn't matter to you, Ah, and you just wanted to place it like, say, every five seconds, you could just drag it right into the video clip. And one more way to do this is remember, you can just grab the audio by itself. And let's say you just are going to use your subject and you wanted to have him only give you a voice over. And you didn't want him on screen than you could just grab his audio and you could fill up the video track with a bunch of B roll shots, so that would be another way to do it. All right, so hopefully that gives you some options. And as you work on your projects in the future, you can think back to these different strategies and one of these may be better than the other, depending on what project you're working on. 6. STEP 6: ADDING MUSIC: So for this, I'm going to bring in a music track. I just have some stock video clips of people dancing for this. So for this, I have this dancing music track, and you can find it in your finder and drag it right into the sequence, or you can drag it right into your project. Been once you do that, you can look at the way form up there, and you can examine the peaks and valleys of that audio track. You can also zoom in all the way. This is more beneficial if you have a voice over track. But if you need to identify certain part of a song, you may see differences in the audio. But for this I'm going to pick my en pointe and out point. I just want maybe 15 seconds or so and then I can drag it in with that little audio icon. Now it's in my sequence as audio Track one, and you can see there's no audio at the very beginning of the songs. I'm gonna roll over it and trim off the edge. Now, to Seymour of the audio track, I can use the slider on the right hand side, which gives me that band in the middle. And I can now add key frames for feeding in or fading out the music. So I want to add a key frame, maybe one or two seconds in, and I can bring the first key frame all the way down. So this makes it so you cannot hear the audio of that key frame is all the way down to the bottom. And you can see the decibel levels when you do that and I'll do the same thing to the end and want to fade the music out. So I'm gonna make to keep key frames and you could drag it anywhere you want. If those two are closer together, it will fade out quicker. And if you wanna wanted to delay the fading, you could extend it and have it take longer. Justus, you're going down the seconds of the sequence. Timeline. So now I have my basic music track and it matches the video so you can see that it's the same length. Now it's too loud. It looks like it is because on these audio meters it's a red. So they call out your in the hot zone, so you can either do it two ways. You can adjust the audio gain, or you could just grab that band, the whole thing and bring it down a little bit. So for this, if I right click, I can select audio gain, and I can adjust the gain to a certain number, or it can select the second circle right there and bring it down a few decibels. The other thing you can do is the M and S oneness for mute, and the other one is for solo. So if you have various music tracks and you want to decide which track fits the video better, you could select M for mute to mute that track. Or you can select solo like If you have, let's say, five tracks you can hit solo and it will mute the other four to demonstrate what that is. I'm gonna bring in a second audio track, and if I hit s for solo, it would play the 1st 1 And if I hit s for the 2nd 1 it would solo that second track mute would meet the first track 7. STEP 7: EXPORTING YOUR VIDEO: Now, when you're ready to export your file to upload to YouTube or transfer it or do anything like that, you'll have to go into your sequence timeline and select the portion of your video that you want to export. So you do that by selecting the n point and outpoint and will highlight the area gray that you want to export so you can export a portion of your video or the entire clip. Then you can come up here to file export media, and it will open up a new window, which gives you some settings. Now you have a sequence source and output. You want to make sure that those air the same, or at least pay attention to those to identify what the aspect ratio will be. So if you want a 10 80 p HD or 7 20 or something like that, we'll get to that in a moment. But you need to recognize what the source and output are Now. If you click here, you can select the output name and select where it's going to go and hit. Save now we've changed the file name, too. Final export video sample now going to the top, you can select the co deck, and also there some options here. If you just wanted to say exported as an audio file, you could select an MP three. Um, and you can also select, you know, different Codex for that. For this, I'm going to select H 2 64 gives you a really good compression and a lo file size. The next thing we can do is select the preset. So if you have ah, you know, if you wanted to export it as four k or 10 80 p or you know even something for Facebook or Twitter or YouTube, it gives you all of those different settings and different file sizes. And as you go through this and select what you want, you can come down here to the estimated file size, and it will tell you about how large it's going to be now. If you wanted to get more particular on that file size, you can come down here to the bit rate, target bit rate. It's set to 20 and I The way to describe what that is is sort of like a funnel and opening up the funnel for the amount of video to stream through. The larger the bit rate, the more information is going to be able to come through that funnel or conduit. So, for instance, if you're sending something to television, those conduits are much larger than the Internet. So they required that bear eight to be like a pet 50 or or higher if possible. All right, so now you've selected your age to 64 format and you selected 10. 80 p or 7 20 p or Twitter or Facebook or any of those. Uh, then what you can do is come down here and hit the export button. I usually select. Use maximum render quality that will make sure it's just a little bit higher resolution. It's probably not that noticeable to the eye, but you wanted to be the highest quality possible. And then what it will do is it will actually compress and export the file for you, and it will save it, You know, to the location that you specified in the beginning. So we'll speed this up here and now it's complete. And then I'll just find the location that I selected for it when I renamed it and there it is. Final export video sample. Now, if I double click on it, we should be able to see the final compress video and I go to play it. And there it is. So those are the basics to give you a few different settings there on what you need to know for exporting your video. 8. STEP 8: Get Ready to Start Editing: All right, so for this we want to look at your export settings, and it's also important to know the settings and information on each video clip that you have a Z. You're bringing those into your project. You want to make sure that you know what you start with. For instance, if you start with four K, it's going to match your output when you're all done, you don't want to shoot something at four K and then, you know, export the video at 7 20 p and lose resolution and vice versa. You don't want to shoot a video on 7 20 exported as four K. It's not going to be a true four K video, So if you grab this slider in the middle and extend it out, you can see more information on each particular video and one of those it says image 35 28 . When I brought that video into the sequence timeline, it kept the same name. But you can change the name of their sequence, so that way you don't get confused. So I'll just retyped that a sequence test. So I'm gonna go ahead and grab this 7792 which is just the default name for it, and you have an option to keep the existing settings or change the sequence settings. This is very important because if you change the sequence settings, it will match the settings to the video that you brought in. So this one is 1920 by 10 80 also my sequence test. My timeline also says 1920 by 10 80. Now I'm going to bring in this four K video, which is at 38 40 by 2160. Now when I bring that one in. If I change the sequence settings, it now changes my timeline sequence to 38 40 by 2160. Now, why is this important? Because you want you're working Project filed to match your aspect ratio of your source clips Some I 78 hipster man, which is my skater. Is that 1920 by 10 80 I dragged that in, and I keep the existing settings and see it scaled way down. So then what I have to do is I have to scale it up to match my sequence settings, which is at 38 40 by 2160 which is four k. So can it be done? Yes. Is it recommended? Not exactly, because, you know, it's a low rez video moving into a higher rez sequence. You'd like it to be both ways where it shot on four K, and you're exporting at S four K. Now, this is I'm bringing in a four K video into my sequence, which is 14 40 by 10 80. And then now I can scale it down to match. And if you wanted more control over the sequence settings, you come up here to sequence and sequence settings, and you could see the width and height there 14 40 by 10 80. Normally, you'd want 1920 by 10 80. So there's some other settings here that you can pick to change it. And so I've had luck with ABC HD 10 80 p square pixel on. That puts it at 1920 by 10 80 and you can change it there. So now if we look back over here on the left, you'll see that the sequence tests is at 1920 by 10 80 and again keep existing settings or change the sequence settings to match that footage, and you can always check over here with the information to see what it is. If you go to sequence settings, it's at 1920 by 10 80. All right, so those air some things to recognize Now, when you are ready to export the file knowing what you started with, if you ever want to get information before you start your project, you can go to your finder. I'm on a Mac and you can right click and choose. Get info. Right now I'm going to bring in another video. So I have one video that's four K and another one. Was that 10 80 p. So I'll have to choose what I want my sequence to be for this. I'm going to go with the 10. 80 p. And I'm going to scale the Fourcade down. Rather scale the four k down, then try to scale the other one up. But you know, you could do it that way, and you'd have to look closely and see how pixelated the images after you blow it up. Now, something you can do is you can check this box to match the sequence settings, and it will just match what you had originally. Or you can come up here to the format and choose the Kodak, which is H 2 64 Quick time would be another one that's really pop. Quick time would be another one that's popular. But H 2 64 is good because it compresses it and the file size is a little bit less and a little more efficient. All right, then you can choose the custom pixel aspect ratio. So if I wanted it to be exported to Twitter Vimeo YouTube, I can choose for 80 p standard definition 7 20 p high definition for this all select you to 2164 K And what you want to do is you want to look at your source in your output to make sure that it's exactly the way you want it. So I've got my source at 1920 and I've got my output at 1920. There won't be any loss as faras picture quality there, but that's something that you should pay attention to when you are exporting. Video is what did you start with and what do you want it to be now? Sometimes when you're submitting something to a TV station. They'll ask for the bit rate to be pushed all the way up to 50. Um, when you're exporting videos, The best way to describe it is it's almost like bandwidth is how much information needs to come through the pipeline. And so you increase that and you have more information. But the Web is not going to be able to handle all of that. So the compression rate at you know like a 10 is fine, even though it gets transferred to flash and things like that for when you do, uh, upload videos. But you don't really need to worry about that. But often times people will talk about bit rate for television if you ever have to submit anything for TV, all right, So for this, I'll just select YouTube 10 80 p, and then I'll hit that export button, and it will just export a portion of this video where I have my in and out point that little gray section I'll hit export and it will process it. And if I have that box checked, it will bring it into my project. So for this, I didn't change the name of it, so it exported at the name of my sequence timeline, which was sequenced. Test notice. It's an MP four, and then when I double click on that, I see I've got my final clip there. So I had two clips merged together. Now, if I bring it in just to double check, I can see that the size of it is the same. And you can also read that for the info on the video, which is 1920 by 10 80. All right, so that's a lot of information. The most important thing here is what your sequence timeline to set at how to change the settings from your original source clip to what you want your final output to be. 9. SOUND - Audio for The Bachelor: So this is a clip of the reality show the Bachelor, and you basically have three audio tracks. So what I've done here is I've named each one, so you have your main footage. That's your audio track one. And then you have the interview footage, which comes in often on. And then you have audio track three, which is the music track. So of the three tracks, I use this red circle just to let you know which one is the loudest and the other to come in and go out simultaneously. So let's watch this and I'll identify what's happening. And then when you watch it back, you can hopefully pay attention to the different audio layers and how many there are and what's coming in as the loudest and quietest Kalen. And I just have this really good chemistry. And I have this energy and this excitement that I can't contain. Jennifer Lopez, what we've built today. I hope that we can carry it over into tonight. I'm looking forward to it, and I think it's gonna be an amazing evening. Get ready for a day. She's so pretty I can imagine her being more glam. I E. Graham. I'm going to be like, I'll go home now. So the main track that you're hearing right now is the interview track, and you still have the main footage track and the music track. So now the main footage is taking presidents, but then it cuts back into the interview. So as you're listening to these audio tracks and if you were editing this, you would be going back and forth and using key frames to fade them up or out. Now, just the music track is playing. So the audio track one has the main footage, and that is playing while you're looking at something else. Now, within this main footage, you have the girls talking, and there may be different audio layers just in that footage. But for this, I'm just going to identify it as one track. I can't even walk. She's okay, guys. It's like a ridiculous amount of eggs. I have never seen so many shopping bags in my life like I don't even get that many presents like on Christmas. Oh my God, she's there with the bags and glowing like she can't even stop laughing like she's just, like, so happy and Wrolich. Yeah. Wonderful. You know, I've like, I just still not feel real way Have a guy like pick us up in the Bentley and we went to this Singapore and designer. He was like, whatever you wants on me called You picked these out himself, which, like, shoes Theo. Now the interview track comes in, but we still don't see the interview. Now we see the interview, and the main foot is shack is gone. But now the main footage track comes back in and the interview track is gone. Right now, there's two tracks on the main footage. Just not on anymore. See someone that I'm dating now, doing that. Someone else look fine. Just what? But I love I am. So I am so happy for healing. And then the music track will come in and interview track slowly fades out. All right, so now I want to show you how you can build this real quick with the three pieces that were mentioned before. So you've got your main footage, and then you have an interview track, and then you also have a music track. So I grabbed a piece from the bachelor show which is one of the pieces that we were looking at, and this didn't have any music on it. So it was just the girls and they were talking and it didn't have a new interview track either. First thing you want to do is if you come over here to the key frames, you can take the audio down on this. So it's just the way you want to be able to hear the noise of the girls talking. But you won't be able to make out what they're saying. So if you grab the key frame handle, you can add that key frame for the second position. You can also see the decibel level. So the next thing I did is I grabbed this interview from the Bachelor and he's talking to other girls and he's outside, and what I'm going to do is I'm going to unlinked the video and audio, so if I right click, then I can unlinked hit, and that will allow me to cut out sections of the video. But keep that interview intact, so I'm gonna cut out two sections, and if I just use the razor blade and then take that section out, get ready for a day or forget. No, love is a two way street. So I'm hoping, you know, we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family that you feel confident on where we're at. And then the last thing I'll do is I'll describe some dramatic music that I have, and I'll add that into the third layer. So you see my three audio layers there get ready to love is a two way street. So I'm hoping, you know, we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family that you feel confident where we're at and you can make some fine adjustments with the audio. And here's the final clip. Love is a two way street. So I'm hoping, you know, we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family that you feel confident we're 10. SOUND - Fix Audio Tracks : All right. So let's look at a basic audio clip, which is my voice over on one of the other tutorials. And so when I record this, I use a Laval ear mic. But when it comes in, it doesn't sound real professional. The first thing you want to do is you want to raise the volume, so if you hit the right button on your mouse, you can select the audio gain in. What you're doing is you're trying to raise the audio level so it reaches the yellow. You don't want to go into the red, but if you look at these audio meters on the right, oftentimes a studio will have you, uh, send your footage back or your final project back. If you're in the red Ah, hot zone, they call it. So if you stay in that yellow, that's ah, good measurement tool. So if you come over to effects, there's an equalizer. It's the 10 band one, which is the basic one, and you can just bring it right over to the voice track. Then what I do is I add a little base to it, so I don't use the 1st 1 that's real Basie used to second and third slider, and then I add a little trouble to it. And just that much, just raising it up just a tiny bit will give you ah, much better sound. So if you just talk like and forth with the FX button, you can see the before and after now, to get even more precise, go ahead and use thes sliders on the bottom to zoom in. So I have some pops in my microphone. You hear those peas and things like that, So something that helps but won't eliminate it completely. What you really need is a filter in front of your mic, so that way, you don't get those pops, but you can make it sound better. And sometimes you can eliminate those. Um, if you just put these key frames in there and look for that pop, you see the wave form in there goes all the way off. You see the red in the audio meter, which is telling you it's, you know, distorted. So what you can do is right when that happens, used these key frames to take the audio level down, and as you're listening to it in real time. It happened so quickly that you won't hear the fade in the volume if you do it right. So the idea is to fade out very quickly, right before that happens, and then fade back in. So those are some basic tricks that will help you when you're bringing in your audio voice track. 11. SOUND - Audio Interview Tricks: So go ahead and grab this interview clip and bring it in. There are a lot of us or some stuttering and thoughts and things like that. And so you can do this with any audio clip, um, to remove the ums and UHS and things like that. So that's really the purpose here. So as we listen to this, I want to identify what those are here. We are in the jungle in New York City, a legendary spot. Alicia Keys. This was beats real estate and business and creativity will come together. They're just amazing. This too. And I love the space You spent time in here. You did? Well, you worked with J on Magna Carta. And here Yeah, we I was Ah. So the 1st 1 I come to is right here at about 17 seconds in, and I just want to clean up his audio a little bit, so I want to cut that out. Now, when I remove the video and audio with it, I can right click and then hit rippled elite. But what it does is it creates a jump cut. So we're going to cover these cuts up with another image Let's see if we can find the next one here. Say album, Uh, said I Karatz in some some tunes on that Ah um, all right. Now this section there's a little unclear is to what he's saying, And you also have to think about Is this information relevant or not? And I think we can do without it, and it makes him sound a little more professional. And so we cut that out and then we'll right click on that space and report elite, and we can even go back a little bit further. So I'm gonna cut that section out and move that back and then right click and repeatedly to take up the seam and then eventually will cover that up with another image. Now, to get even more specific, I want to zoom in on the timeline, and we're really looking for these gaps. So I want to cut that gap out there and then, all right, click and hit rippled elite. Well, you worked with J on Magna Carta and here there's a lot that's happened in this studio man , the Beyonce album. I mean, did you really have to stop with that straight up with J on Magna Carta. And here Yeah, we I was Ah, there's a lot that's happened in the studio, man. Um, the Beyonce album, uh, said I Karatz in some some tunes on that, uh uhm I mean, did you really have to stop with that straight up? Well, you worked with J on Magna Carta, and here there's a lot that's happened in this studio man, The Beyonce album. I mean, did you really have to stop with that straight now, since I don't have any images to grab to bring in, I'm just going to show you a trick that you can use with the existing footage. Somebody used my marker in and marker out point to just grab a section from the video, and I'm going to cover up those cuts notice. I'm only bringing in the video track, so it gives me that option. Aiken Select video or audio with those two icons. We don't want another audio track. Now I will go to effect controls, and I'm just going to zoom in and get a shot of either the interviewer or Justin Timberlake . Now, if I go over to effects in the folder image control. I can grab the black and white filter. And, you know, some might argue that I don't want to have a shot of Justin sitting there while he's talking. But every once in a while we see something creative like that, all right, but the main thing is, I'm covering the jump cut. So as you're cleaning up your audio, it's looking at something else, and it also detracts the audience from listening to the audio track. But this happens all the time. People don't speak clearly all the way through seamlessly. Now the style of the interview was a little bit different, where it was a little more raw, but if you wanted to clean it up and shorten it, that would be the way you would do it. So what I'm looking for, you can see in the audio away form in the in the audio track. You can already see the gaps there without even hearing it. And so just taking up a lot of those gaps. Um, as long as you cover up your cut in the video, it works. Now, he says the same thing twice. J came in to do a feature on J came in to do, um, to do a feature on, so I want to see if I can blend those two words together and often times you can get away with it. So first will use Ripple delete to get rid of that extra space and then to bridge that gap . What I'm going to do is I'm gonna lift that video up one track and bring the audio down one track. And if you use the marker, you can bring that video back just so it overlaps a couple frames on that way, it's not so abrasive. And as you roll over it, you can blend the two words together. He came in to do a feature on J. Came in to do a feature on J. Came in to do, um to do a feature on. So when we play it back, it plays a lot cleaner. And it's a little more interesting as it cuts away to other parts that help tell the story . 12. Working with Green Screens - Keying and Tips: all right, so I want to give you a couple different examples for shooting green screen footage. We have two candidates here. We have our close up, which would be something like an interview. And then we have a special effects using the whole body on a whole green screen layout. And I want to start by showing you the basic way to do green screen because it's going to help you if you are ever shooting green screen footage. Ah made a lot of mistakes in the past by not having even lighting, and I want to show you what that is. So we're just going to use a color key filter effect to demonstrate that, and we're gonna take out the different colors of green so you can see that it's not like our original interview footage where the lighting is. Even it's got like four different shades of green, and so if you have your color key filter, you would drag that on your footage each time for each color of green. And if you look over here in these effect controls, you can see the difference in that color of green just by using that eyedropper tool. So what I do is I go through this and you can open up the filters here on the right side and just drag that color key filter for each color of green. And then what you will do is you'll take out that color tolerance and you can slide that right toe left to take out the green until it starts taking away from the subject. Now, something else I'd like to do is I like to place a white background behind the subject because sometimes it looks like you have it, right. So if you take this title er and open it up, you can just create your own white background title at White BG or something like that, and then you can bring it into the background, and that will give you a little more precision on taking out the green. And you can place that right underneath. So we have our main video on video Track two, and underneath is going to be whatever you want your background to be. So, in this case, I'm using white, and I'm gonna toggle back and forth until I get it pretty close. Now, remember, this is not the best way to do green screen, but it will help you when you are shooting, because you'll look for even light. You don't want any shadows on your background, Uh, and it will make your post production a lot easier. So what you want to do is you want to keep playing with the color key and to identify each one. You can talk all that FX in or out, and you want to keep making your adjustments on the color by taking out the tolerance and thinning out the edge and also feathering the edge. And you want to just keep playing with that until all of that green is gone and you may have to bring in, you know, 345 different colors of green to get really precise. Now, if you look, you can see that all of the shades of green or just a little bit different in effect controls. Now something else you can dio is right over here on this window is you can zoom into 100% or 200% and you'll notice those hard edged lines around your subject so you can really feather out those hard lines and soften the edges when you zoom in and again, you're doing this over white. So a lot of times, you know, when you put in that detailed background, if you can get the white at, like 90% the detailed background will take a lot of those noticeable imperfections away. Now, another trick that I use is, say, really have some bad lighting and a lot of times you will, because you're going to go somewhere and you don't know what the location is going to be like unless you're shooting in the studio. But a lot of times you have this mobile green screen that you're setting up now. What you can do is you can use thievy transform, filter to crop out the left and right. So that way you don't even have to worry about what's on the left or right of the subject, and you want to get as close as you can without cutting anything off. So look for movement hand movement. In this case, I think she move your hand so you just want to make sure that that's not cut off, but that will eliminate, you know, like maybe 50 or 60% of the green, and then you only have to work on what's right around the subject. So if you bring that over, you can crop out the left and crop out the right and then a little bit on the top and bottom. But those of the techniques that I use zooming in or out, cropping out what's not wanted and bringing in four or five different shades of green. This is four again bad lighting, a bad green screen set up that doesn't have a really nice even flow to the light and green . Now I want to show you something that is 10 times easier. Now, look how easy this is. And I was shocked when I first discovered this ultra key. But if you grab this ultra key filter, drag it over, it almost instantly takes out all of the green. And then if you open up this Matt generation and if you come over to pedestal, you can crank it up until you see most of those imperfections gone. Now, if you zoom in again to 200% you see a little hard edge around the body and we can fix that . But also you see some green that's not taken out on the background, so you want to crank that up until it's gone. Now to clean up the edge of a subject, you can come over here to Matt cleanup and work with choke and soften, so Choke is gonna choke out the remaining pieces and you can soften the edge. Then, if you go back here to fit, you can put her back in the right aspect. And the last thing is, bring that white background in underneath on video track one, and you see that there's still some imperfections that we couldn't see on the black. So that's why I like to bring in the white for those remaining pieces so I can fix that. And if you play with the contrast and also the midpoint, that will give you the last piece that you need. Oftentimes, if you don't know what something does, just experiment with it. I have had too much fear in the past, like I don't want to touch that cause I don't want to mess it up, but it's good to just grab something and see what it does sometimes like. For instance, Midpoint wouldn't do anything for me on another video. So but on this one, it does a little bit. So if you play around with those buttons and parameters, Uh, depending on the footage that you have it, it can be useful. So you see that this looks pretty good now using the ultra key. Now, I'm just gonna bring in these clouds and place that underneath. Now I'm gonna use effect controls. And this is how you know, if you really wanted to fly, you could have her standing up in her arms, would be straight out like she's flying, and then you could rotate her and have a moving background. And that's how you could make someone fly with the green screen effects here. So for this, just for this demonstration, just wanna have her fly out of the screen. So I'm going to rotate by having key frames, and I'll scale it down. So she's at 50 and then I'll bring her down to maybe 14 and at the end of my clip there and have her just sort of rotate off the screen. So that's not the best image to use for someone who's flying. But, uh, if you wanted to fly. You would definitely want that full green screen room to go underneath the subject so you can get the full body. Now, this one. This clip here, this is going to be more of your traditional interview, and the lighting is a lot lighter, and it's still not perfect. You can see a darker shade of green at the top, but it's very close. We'll start with the ultra key won't mess around. And if we just drag that filter over almost immediately, it disappears. And if we used pedestal and crank it up until we see that go away now we have ah, pretty nice look now, the hard edge on her hair on the right side. Also, uh, you see, it's really, um, jagged. And that's something to pay attention to. If you're filming an interview, um, so you see the left side. Her hair is combed and it's, you know, there are no straggling hairs, and it makes it easier to key out. So we'll bring in the white again just so we can see the difference. And under Matt cleanup, you can play with the choke and softening it until you get that edge, where it's not real hard and crisp, but it's not so choked out where you have this green glow around someone, so you need to find the balance between the hard edge and also that glow. I see some bad green screen stuff out there where there's this sort of halo effect around the subject, and it's just feathered out way too much. And now, if you wanted to get that look like you're really shooting with the DSLR camera and prime lens or, uh, you know a lens that will blur the background out, you could bring a background in. You can use caution, blur under the blur and sharpened folder and blew out the background. Well, just blurred a little bit here, but you can really, um, make it look like you've got a really nice camera lens. And to a lot of people, they won't be able to tell if it's green screen or if it's a camera. But for those who do this all the time, they'll be able to distinguish whether or not it was shot on a green screen or with a camera. So the idea is to not have your subject so crisp you want to be able to have a little bit of that softening around your subject. So we see here it's still a little a little bit hard, but you'll have to. 13. GRAPHICS - YouTube Intros: all right, So the first thing you want to do is come over here to window and select essential graphics if it's not already checked, and then the panel will open up on the right side and you have my templates, which come inside Adobe Premiere. And then you have Adobe stock, which is their stock site, but it is embedded into premiere, and if you select the free box, they offer some things that you buy there. But if you select free, you can see some graphics there that they offer. And I picked visual trends down here. And once you pick one that you like, hit the download button and it will give you that blue check mark, and then you can drag it over into your timeline. But it will give you, Ah, a circle crossed out saying that it won't come over. What you'll need to do is create a new sequence. You can do that by dragging a video over, or you could go to file new and hit sequence, and then your sequence timeline will appear after you select the settings. Now you can drag that template in and go ahead and change the sequence settings to match. Whatever the template is, I think this one is 10 80 p, and I'll use the slider to make my window a little bit bigger. And I'm just going toe. Make my sequence timeline a little bit longer. Not that it's needed, but I just like it like that. Okay, all right. Now, what you could do is double click on this and you have your text box that you can highlight , and you can change the text inside of it. So for this, I'll just type in YouTube channel lower case. And if you wanted those letters, too, get bigger. You can use the slider or grab this number over here in scroll Writer left, and it will take the graphic with you. And you can also do that for the graphic. Now, what you can do is you can change the colors. You have color one and color to for these circles, and those two circles overlap, so it gives you 1/3 color. But you can play around with this and pick the colors that you want, and then when you roll through it, you can see there's your graphic and you can change the title bar and you can see him making this look worse as I keep adding colors to it. I don't know what to pick now. My background color. I can change the background, and I can also remove the background in place of video behind it. So there's another box down here. It says background on or off. So uncheck that and I'm gonna grab my video and place it underneath. I'll raise it up to track two and place the video on track one. And now I have my graphic over the video. All right, so that's a simple way to create a YouTube opener and shouldn't take too long to do it. 14. GRAPHICS - Animating Graphics: all right, so the way this starts off is there's a white background, and then we have a green circle that makes a jump cut, and then we have five day plan, which are all individual titles. Then we scale it back with rotation and then move it to the left, rotated again. And we have three individual lines that pop out with three individual titles, and when we're done, we scale it up. So let's create this again right next to it in the timeline, and the first thing we'll do is go to file new Legacy title and type in white B G to and let's grab this square and hold left button down on the mouse and roll it over, and then we'll select White because it's off a little bit now when you x out, it will save it for you and it's in your project. Been notice already, have the original there and bring it over next to this project. Now what I did here is I cut this apart to four times and I added scale to each. So for this, I'm going to click on the circle. And if I select this T up here. I can duplicate this title and rename it so we'll call this circle, too. Now, if you wanted to make the circle again, you could grab the circle on. If you hold down shift, it keeps the perspective for you, no matter how large or small. So if you don't hold shift down, then you be trying to spend some time trying to make it a perfect circle. So if you hold shift, that will do it now for this. I want to go ahead and make it a different color just so I can see something different and not get the mixed up. So I'm gonna make it pink, and I'm gonna grab circle to over to the video track to right above the white background. Now we need to create some jump cuts and let's roll over the top. So it starts with white and will trim off a little bit of the edge. Now use the razor blade tool. Now what I want to do is I want to cut it into four sections and I'm going to command each one with a scale attribute. So let's click on the 1st 1 and under effect controls in the scale. I'm in a type in 20 right over the 100. For the 2nd 1 I want to type in 40 and for the 3rd 1 all type in 60 and notice we won't be able to see unless we roll that marker over the video. That part and for the fourth part will make it 80. And the existing part, which is part number five, will end up a 100. All right, the original size. So now we have 2040 60 8100 and we see it jump. 15. GRAPHICS - Using Motion for Overlays: now included in this class are these animated scribble effects. Basically what they are, they are just individual brushstrokes, and there's maybe 10 images, and so you play them a little bit quicker and you can see how they're put together. Then what you do is you compress that file and just add key frames. What I used was an effect filter called corner pin. I'm grabbing all four corners and just moving it up and down and side to side, and then you can speed it up, and it creates that jumpy effect. Now, if you want to change the color under effects, you can go to color, replace and then apply that to the clip and used the eyedropper and select black is the target color and then pick the color that you want it to be. So I picked orange for this. Now underneath. This is just a white background, so I created a white rectangle in the title ER, and that's underneath. Now for the sun, you can do the same thing. Apply the filter and just drag that color. Replace filter over and then under effect controls select the target color and the replacement color And if you want to add some animation you condone, position it right or left, are rotated or move it up or down. So these are included in the course, and there's a few of them, and what you can do is place a title over it. It's, ah, kind of a cool way to dress up your video. So included in this course are these animated scribble effects. So you have this check mark, this cloud, this arrow and the sun, and you can change the colors and they're just compressed video files over this white background. And here's a sample. This is just a fashion tutorial, and I placed them over the video, and price, comfort and style has a check mark for each, so it's kind of a cool little animated piece that you can use. So I want to add this check mark to this video. You just grab it, bring it over the video, and then what you do is you add the color key filter. You can find that under King and then in effect, controls you just take out the white and bring up the tolerance, and then you can scale it down in position, and you can even rotate it if you want. And once you do all of that, so you don't have to do it again. If you just use the keyboard and hit command, see and then toggle a new track and select the marker where you want it to go and hit paste , and then you can paste it again or as many times as you want. So now we have three check marks and they're all on top of each other. So I go appear to effect controls and just scale it, and I just position it in a different spot, and then we can see it appear. And now I've got my three check marks. Now here's my cloud. I'll show you how to do that same principle. Grab the color key filter and then used the eyedropper to select white and bring up the tolerance until the disappears, and then you can position it where you want it. Now, if it moves a little too slow, you can right click and adjust the speed on it to make it a little more bouncy. And then also it's very similar to a looping audio track. We've ever done that before, after the animation has already taken place, meaning like the drawing has already taken place. You can cut like the last half of the video because it's just rotating around doing the same thing over and over again, and you can copy and paste it for as long as you want to. So it continues that loop so it could go on for 20 minutes if you wanted to. Now the next thing is, you can create a title. So for this, I'm just gonna create a price 3 99 and move it over the cloud. And then, if I drag it over, you can see it's just a cool way to add some more flavor and animation in life to your video. Now the last thing is say, you don't like these colors. You can easily change the color If you go to effects, type in color, replace, and it's under image control. And if you describe that filter and drag it over and then in effect controls, it gives you a target color and a destination color, so target color would be the color that it already is. So just use that I drop her to select that and then replace it with the color that you want . Saul. Select orange here and then, if you check this box solid colors and adjust the similarity that will take out the color for you. And then once you do that, all you have to do is go back each time and click the color that you want. Green violet. You don't have to keep adding in the programming for it, but that gives you some basic options for these scribble effects, and they go right over your video, and it's something that looks really easy, but it's not something that everybody knows how to do. 16. GRAPHICS - Animating Motion & Scale : all right, so the way this starts off is there's a white background, and then we have a green circle that makes a jump cut, and then we have five day plan, which are all individual titles. Then we scale it back with rotation and then move it to the left, rotated again. And we have three individual lines that pop out with three individual titles, and when we're done, we scale it up. So let's create this again right next to it in the timeline, and the first thing we'll do is go to file new Legacy title and type in white BG to and let's grab this square and hold left button down on the mouse and roll it over, and then we'll select White because it's off a little bit now when you x out, it will save it for you and it's in your project. Been notice already, have the original there and bring it over next to this project. Now what I did here is I cut this apart to four times and I added scale to each. So for this, I'm going to click on the circle. And if I select this t up here. I can duplicate this title and rename it so we'll call this circle, too. Now, if you wanted to make the circle again, you could grab the circle on. If you hold down shift, it keeps the perspective for you, no matter how large or small. So if you don't hold shift down, then you be trying to spend some time trying to make it a perfect circle. So if you hold shift, that will do it now for this. I want to go ahead and make it a different color just so I can see something different and not get the mixed up. So I'm gonna make it pink, and I'm gonna grab circle to over to the right above the white background. Now we need to create some jump cuts and let's roll over the top. So it starts with white and will trim off a little bit of the edge. No, What I want to do is I want to cut it into four sections and I'm going to command each one with a scale attribute. So let's click on the 1st 1 and under effect controls in the scale. I'm gonna type in 20 right over the 100 for the 2nd 1 I want to type in 40 and for the 3rd 1 all type in 60 and notice we won't be able to see unless we roll that marker over the video. That part and for the fourth part will make it 80. And the existing part, which is part number five, will end up a 100. All right, the original size. So now we have 2040 60 8100 and we see it jump. Now. The next thing I want to do is I want to skip forward and I want to make this five day plan title so I'll double click on the circle, and I'm going to copy this as a new title so I can select that tee up there, and I'm going to name this five day plan to now select the other title T and let's type in five day plan, and you can select the font that you want down below and I'll center this and I want to scale it up so you can roll over that double T up top and bring it up to about 93 and let's go through here and see which one works out the best. Not sure which one does, but I'm going to go ahead and select the green. Also to You can adjust the title by grabbing those points, and you can also center it left or right down below on the left. All right, we x out and then it puts it into our project. Been and now we have our five day plan. Now that I have my title created, I need to cut out each individual title and make it a separate two saved title. So one for 51 for day and one for plan that will give us some control. Now I'm going to duplicate this as a new title, and I'll call it five to only because I already have the original five and I want to eliminate day in plan. And then when I X out, it'll save it. And now I've got my five to, and now we've got five and we can remove this circle. We don't need that anymore. Now it's double click on five day plan to again, and it gives us our original title. And let's call this day to and for this. I want to remove five and plan. So the highlight those Make sure I don't change anything in the format. Now I've got day. All right, so it's titled Day to and now we have five and we have a day and I'll extend it a little bit. So they're both on the screen at the same time. All right, five and day. And now we just need plans. So double click on five day plan to again and create a new title will call this plan to hit . Okay, and let's highlight five and day and hit delete and we're left with plan and let's x out. It will save it for us. Grab plan to bring that one over and we'll put it down below and trim off the edge a little bit five day plan and that now it rolls over to the final title. Let's see if we can put the video under the five day plant. Now go to your source healthy meal and I have my n pointing out point, and I'll bring that into video Track one right where that five day plan starts, I'll trim off the end a little bit. Now let's go toe effect controls and see if we can animate this five day plan. So let's toggle in scale and position at the very beginning and also rotation. So all three of those key frames will be right at the beginning. Now, I'm gonna move forward a couple of seconds in that, and I want to scale it down to 47 then use the X and Y coordinates to bring it over to the right. So I'm at 1123 for the right now. At that same point, I'm going to rotate it around twice, So I use the rotation, and when I get to the point where I want it will add that key frame for me and we'll go a couple more seconds down the timeline and all keep it there. So add in all the key frames at that point, and then I'll go down another couple seconds and bring it over to the left. So I just scroll over that No, im at 1 51 and I'm gonna lock down the key frame for the scale because that doesn't change . But the rotation does, and I want to rotate it to the left, so like it's rolling over to the left. I'm gonna go the left direction and bring it back to zero and notice all the key frames line up with the marker. They need to all happen at the same time. And looking back to the original, we have these green lines that come in. So let's go to file new legacy title and type in line to and hit OK, and we can come down here to the line. You could also go to the square, but for this let's use a line. I want to put this in the center, so if you hold the left button down on the mouse, you can extend it out. You can also change the width of it for line with. If you roll over that now for this, I want to select one of these styles down here and we'll put some color into it, gives you a linear ingredient. If I select that green and I can position in the centre and now let's grab it from line to from the project, and now it puts it in the center of the screen. This gives us a little more control when we put in the center. And now we can use affect controls to position it where we want it. Extend the video out just a bit, and the line comes in after it rotates. So I'm gonna position it right behind that five day planned graphic and used the Why coordinate to bring it up to 15. 40. Now it's a little large, so I'm gonna bring it down to right around 70 or so and select scale. We wanted to stay that way at that point, but at the beginning, we wanted to hide behind this five day plan. So as we back up our starting point, we'll bring it down. So we use the y coordinate to hide it behind there, and it'll add a key frame for us. All right. I'm gonna raise thes up here on the track layers so I can make room for my other two lines so we'll do the same thing, but we need to rotate it. So go ahead and rotate it 90 degrees and will position it with the X and y. I can also highlight all three of these and bring it up to the beginning and let's grab our third line and we can drag it over and same thing will type in 70. Let's move our X over to 1 56 or so and I want a line it up with the top so noticed the X coordinate is going to be the same. The reason is because they're the exact same titles with the exact same scale, so we can do that for this. All right? And let's hide it. So we'll take our first key frame and move it back. And now we have our 3rd 1 coming in there. So if we roll back to the beginning, it rolls over. And then 123 We've got these three lines here now, something else you can do once you have your titles in there is you can rename these oftentimes is you're moving around and doing different things. You might look at your sequence timeline to see what titles you're working with. So I renamed these in the sequence timeline just to be a little more organized. Now I want to extend these out so there on the screen a little bit longer, and then now If I double click on fruit, I want to duplicate this. So I hit that T square and title this one fruit two. And I'll select this different font here. Just so it's different. And now it's saved us fruit, too. I can drag fruit, too, and I want to use X and Y and scale to make it a little bit smaller and position it in the right spot. Now let's double click on grains and hit that T square and type in grains to as another new title. And I can select a different fonts and bring it over as greens, too. And we roll this over and we'll click on veggies and use the shortcut again. Save it as veggies, too, and I will select this yellow look and X out and drag over veggies, too, and position it to where it comes in on the screen at that time and adjust the scale in motion and let's trim off the end. And there we have it, fruit, grains and veggies. All right, now it's cool about this is as you save it as a project file. You could now use it as a template for a lot of your videos. If you're doing, like a fitness or ah, meal preparation type Siri's or something on YouTube, you could use this over and over again once you get the colors right, or you could just double, click and rename and re color if you need to. And if we need to zoom in here under effect controls because we're getting more specific on frame by frame than we would have to do that here is it's ending and we want to scale it up and off the screen. So we bring it up and off now. There was an audio track in here, and it was just for 20 seconds or so, and you have your intern outpoint notice. Audio is the only option there. There's no video, and you can trim off the end just to complete this project. And now, if you play it back, you've got your graphic there, and it just brings a little more life to your video and shows that you know how to do a few things 17. GRAPHICS - Motion Backgrounds: So for this motion graphic, you can take out the green. It was motion graphics circles green. And if you drag that over your video clip, you go over to effects and go to King and then just take the color key tool and go to effect controls and use the eyedropper and select that green color. And then, if you take out the tolerance, it will show the video in the back. And as you play this motion graphic, it's sort of ah, cool and fun way to transition from one scene to the next. That's a way to use this as a transition. So I wanted to show you how I made a new title and place it over one of the motion background. So these motion backgrounds air pretty abstract and do their thing, but they really are advantageous when you add a title over the top. So for this I just went to New Legacy title, and I created a couple circles there and then type the title in the middle. And if I drag that over, I can also add some animation. If I cut it into three pieces and then scale it down or up for each piece. And so that's what I did here. And so this is a great way to Segway from one video clip to the next in your YouTube channel. And then you can add, you know, like a five second audio clip with some music or something. So all right, so that's how we do that. And then now let's go into the actual creation of the motion graphics in case you wanted to change them or see how I made them from scratch. All right, so I wanted to show you how I created these motion graphics from scratch, and the way I did it was I used the legacy Tytler. So if you go to file new legacy title, you can see how they're created. So let's look at the layers for this 1st 1 that I have. So if I toggle out each layer, you can see I've got the background there than I have the rectangle and then the lines and another rectangle and other settle lines, and I just moved them from right to left. So here's the rectangle, and you can see I just drag that, and it has a linear ingredient to look to it. So it has a couple different colors there. And I did the same thing with the white rectangle. And then what I did is I just added thes key frames and program the motion with the X and Y coordinates. So they just moved from left to right. And then once I added all of the motions with the key frames, what I did was I exported this as a video clip. So I went to file export media and then for this I just titled this one motion graphic sample and then I exported it. And then once I export this as a video clip, I can do more things to it. So this is where I was able to add other filters and other motion and things like that. So I've got my basic rectangles, which are just, you know, a few layers there. So now that I've compressed that file, I bring it over and it's in my sequence timeline, and now I can add some other things to it. So what I want to do is add this filter, which is theory thematic filter under channel, and I can change the color of it now. And if I have this setting XO are it adds a little more vibrancy to the colors. And so this is where you can take the basic rectangles and turn it into something crazy. So if I bring in the red value or the blue value or green value, you see how it changes dramatically. And then I would just export that as another video clip. No, something else I did is I grabbed this color in Boss Filter under the stylized folder, and if I start moving these numbers around for direction and relief, it starts adding some crazy effects to it. And then the other thing I did was I used scaling and positioning to rotate it and zoom in on it. And so that gives me some different looks. And the last thing I did is once I had those motion graphics, I was able to use Thekla hopping tool, and I trimmed off the left and right and placed it over a white background, and that gave me another interesting look. So if you grab the crop filter, you can take off the left and right and decide how wide you want. Thies to be. And then I used motion to move them left or right, and the last thing I did was I placed a title in there, and I placed it right behind these. So as thes move left and right, they reveal the title behind it. So that's another creative way to dress up your videos. 18. GRAPHICS - Create Simple Logos: Now, if you wanted to add a logo to this, I want to show you real quickly how to add a simple logo. If you go to file New Legacy title, you can just make something as simple as a circle. So if you grab this circle and hold shift down, it will keep the same perspective, and then you can select a different color, and you can center it with those centering tools. Then you could make another circle holding shift down. To keep the same perspective, choose a different color and hit the centering tools. And now you've got that. Now, if you come down here to some of these default fonts, so as you toggle through there, you can see what combination works the best. And then once you've selected something, you can just type in something for this. I'm just going to type in music Club and center it and picked the font that I want. And if I hit those centering tools, it'll center it top to bottom and left to right. And if I bring that in, I want to show you a quick effect that you can use to animate your logo so If you chop it up into four pieces and then come over here to effect controls and pick a different scaling position for each, it will jump cut the logo from one position to the next. So it's a quick way to add something to a YouTube channel or a video that you're working on along with your transition. 19. GRAPHICS - Business Templates : So for this lesson, I wanted to use to video clips, change the colors on both, and then add a graphic and a title that wipes in. So now, looking at this entire video clip, I've got the feet on the first track and people in the building on the next track. And then the title, which I'll show you how to make, is on the top track. So there I have my complete video, and what I did was I just used the cropping tool, which is under the Transform folder in the effects section. Now what you can do is you apply that filter and then you can crop out the top or bottom, or however you want to do it. In this case, I used the top, and so I went down 35%. Then I used motion, and I brought the video down a little bit further because I wanted it to be split in the middle between this video and next one. And if you didn't like the black and white, it's a nice looking video, but for this I just wanted the contrast of the grey, black and white with the red so you see, if I uncheck that FX box, then it will go back to normal. Now, looking at my second video, I've got people in the building so unchecked this I so I can work on the other one or see the difference, and I'll talk a lot back. So the original video takes up the whole screen, so you can either use motion to take it up to the top. Or you can position the video where you want it and then crop out the top or bottom, depending on what the subject is. So once I position the video where I want it all, crop the bottom. Right now it's at 28%. And then now I have two videos that are split with different colors. Now, looking at the Tytler, here's a couple extra things for you. If you ever making a title, there are different layers, so if you've used photo shop before, it's very similar where you have arranging and so you can pick each section by using the selection tool that top arrow and now I've created thes boxes, and I just created them with that open square, and you can pick the size and color that you want. And if you right click, you can arrange these by putting them in the back or in the front. So I have 12345 different layers here, and I'll create 1/6 1 and then I'll pick the color. So I've got the gray, and any time you want to move them around, go back to the selection tool and then you can have more control. Now, going back to my original graphic. I'm just going to hit Command Z and go back to the original. Now, a couple other added effects that you can use for your text are these Kern ing and sizing. You can take them out or in depending on how much space you want in between, or if you want them to line up at the starting point and ending point, and then you have justified left and right and center. All right, so now that I have my title, the way I want it all, just x out and it will put that into your project been, and then you can drag it over to your timeline. Now, the effect that I want for this is. I want to be able to use crop to make it wipe onto the screen so the bottom is at 100% and that's at the starting point, and then my ending point is at zero. So it's completely cropped out at 100. And then there's no cropping added, which is at zero. So it goes from 100 to 0, starts at 100 ends up a zero. So all of it is cropped it 100 none of it is cropped it zero, and that allows me to wipe it onto the screen like that. So it's something additional that you can do other than just putting the graphic. If you add little animated movements, it makes it a little more attractive. And if you play around with the left top or right, you could have it come in a different way. You could have it wiped to right or left, or do the reverse from bottom to top 20. TITLES - Make Titles with Lighting FX : So what I wanted to do is show you how to make a basic title. But then add some effects to it because basic titles not too difficult. And so for this, I opened up the file New Legacy title window, and I just typed premiere in all caps. The font for that was a body. And once you have that, you can bring it over into your sequence. Timeline. Now, I picked this, uh, gold ish color. It seems to be trending right now, and I want to show you how you can add some movement to the title once you bring it in there. So if you go to scale under effect controls what you can do is you can add a couple key frames in there. One is your starting point, and two is your ending point. And so I had a little bit of motion to that. Now the next thing you can do is you can fade it in or faded out. There's a key frame in the sequence timeline, and you can see those. Once you use the slider toe, open up your sequence, timelines. So it's a little bit taller, and so you can see how I'm adding these key frames in there, and all you're doing is you're taking the opacity handle down, and if it's all the way down, then the camera won't be able to see the actual image. So just those two commands using the scale and also the opacity. Now you have a title that fades in and moves towards you and fades out. Once you have those two. Now we can get really creative, and we can go into the effects filters section and down here I can add some blurriness to the title. Now, if you grab this caution blur under blur and sharpen, you can start playing around with this blur effect, which is pretty cool. And all I'm doing is I'm adding key frames at certain points. All I'm doing is adding key frames of it being blurry or not blurry, and you can choose where you want that to happen. So I've added four key frames here, and you can see the different number that represents how blurry it is or how clear it is. So zero is clear because there's no blurriness. Now the next thing you can do is you can add this lighting effect. So if you go under video effects, then hit the folder, adjust and underneath that is lighting effects and grab that filter and drag it over to the title. And you can see it adds ah, spotlight coming in from the top down. And it adds a little bit of, ah, color variation in the title itself. I just saw the movie serenity, and that's where I got this idea from. So now what you can dio is there are a lot of different lighting effects, the direction the how concentrated the spot is, how it's diffused, so it gives you some control there. So what I did was I went into the angle, and I picked a different angle for the light at various points in the timeline. And so, as we're watching this, you can see that the spotlight is moving. So in this movie, serenity it was about, um, it took place on the water, and so there was a search light tower, and that's the effect that they were going for. So it's almost like a searchlight. That's ah, you know the light is traveling around in a circle, said the same thing is happening here, so it's, Ah, another cool effect that you can add to give your titles a little bit of life now for the last one. If you add this arithmetic filter under the Channel folder, then you can get crazy with some of the coloring. So under that arithmetic effect, in effect controls, there's one command called XLR. If you select XO are and then play with the values underneath the red, green and blue, it'll give you some really cool effects regarding color. All right, so I hope that was helpful for you, and it gives you some options regarding making your titles look a little more lively. 21. COLORING - Color Correction: so I wanted to be able to give you the very basics on color correction. So this is sort of a washed out beach shot, and we're going to see if we can add Cem different looks to it. So if you go right up to the top, you can select color, and then on the left side of you select Lumi tree scopes, you will be able to see some of the tools that are available that give you some identity regarding red, green and blue. And you can right click and select the presets. There. Now, on the right side, I'll go through a couple of these. We won't go through every single one of them because we're just looking at basic color correction, and Premier gives you some of these defaults. Ah, you can select different looks and then pick the look that matches. If you just want to have a different look, you can select through these. I think they're called Lutz now, um, so you can also change the exposure the contrast and noticed these meters on the left hand side er identifying the red, green and blue Ah, the maximum number for red green and blue is 2 55 and that's the You know, if you single out red, green or blue to 55 would be the max green or red or blue, and then zero would be black, and we'll talk a little bit more about what those meters do on the left hand side. But for now, you can look at basic correction, and you can adjust some of those things now if you want to get creative. There are a lot more presets in that, and you can select any of those. Ah, you can't talk all the way through quickly, so what you can do is select those, and then you can use the arrows on the right or left of the picture, and you can go through each one or you can select one and start playing around with the color wheels. If you grab the center, you can move towards the blues and greens and violets and that kind of thing. Ah, and we'll start changing the color for you. If you don't like what you've done, you can go back and hit that arrow at the top, that half circle and it will reset it for you. So as you navigate through, you can use that right arrow or left arrow, and it will select different presets. And then, if you like that one, you can just click in the center of the screen or in you can click in the center of the image there, and it will apply it. So you see a lot of cool looks there now regarding red, green and blue. Three primary colors that make up your video. You can select, read, or you can select green and you Congrats that and bring it all the way up. And you see green is at max levels at 2 55 in, uh, or zero, and you can do the same thing with blue. So when you want to single out some of the colors that gives you a little bit of control. Now we'll skip down here to the vignette. This is a cool little feature, and you see this quite a bit on videos, where it adds just a little bit of black around the outside. That's ah, trend that you see quite often this allows you to start with a basic circle or a widened rectangle type circle with rounded edges, and you can start playing around with how hard or soft you want those lines to be. And you know how dark or light in that kind of thing. So it gives you another ad look, and it could be a cool little feature for your videos now on the left side. If you want to see the different meters that air there, you could right click and select the ones that are available for this one. I just want to show you the wave form, the RGB, and when you look at these values again, you have to 55 on the right side and 100% on the left, and it's very similar to an audio meter. When you have these sounds that peak above where they're supposed to be. It's the same thing when it analyzes the red, green and blue. You'll notice that if there's too much blue, it maxes out at 2 55 and right now there's ah ah, a little less blue than 2 55 and you can see that blue goes either up or down. So right now it's at zero. So there's it's all the way down and there's no blue. And then when you bring all the blue up, you can see it maxed out. Same thing with the green or the reds. It's going all the way to the top are all the way to the bottom. So, as you're looking at, maybe some footage that you shot Ah, this could be helpful in determining, you know, how much red do you have and how much blue do you have in your in your actual shot notice here, the subjects on the left side there, they're showing in black on that meter because there's no color there. So as you play the video, you'll be able to see the actual subjects on where those colors land on the way form. Uh, as you get more precise, you could use this color wheel here on the RGB Curves tab, and you can create these key frames in there and you can select blue or no blue, and it gives you, ah, a little more precision. Ah, and it's easy to do as faras taking out colors or adding colors in. So right now, with this particular preset, we've got a little too much blue on the sky so I could use that color wheel, and I could remove some of it. All right, so I hope that gives you a basic idea of the color correction, and you can use this to modify your footage. 22. COLORING - Filters: So one of the things you can do is you can use thes filters that Adobe Premiere gives you. Now there are a ton of folders to go through, but I'm just going to give you some basics. Now. This is some stock footage that I got. It's just some people walking in the airport. Now I'm going to add some filters to it. So if you go to effects over here on the left hand side and you grab a couple of these filters, you can see what they do. So the 1st 1 is blur and sharpen, and oftentimes you'll see some stock footage and in the background, the images are blurred, and then you can play some text over it. So for this you can blur the background by just dragging the Goshen blur filter over and then, under effect controls. Have you come over here, you can adjust the blurriness. Something else you can do under the Channel folder is to grab the arithmetic filter. If you select the an toggle, you can play with the red, blue and green values, which will give you some color. And if you wanted to get a little more crazy you can select the XO are which will give you more of, ah almost ah, vibrant cartoon effect. Something else you can do is if you go over here to color correction, you can grab that brightness and contrast, so oftentimes that will help liven up your footage or faded out. Another filter that I use often is black and white. If you discover to image control, you can drag the black and white filter. And any time you want to toggle those on or off, you can just check that FX button and you can see what it's like with or without the filters that you bring in. And Premier gives you some third party plug ins like Magic Bullet. If you wanted to do that, you would have to pay for the service. There's some pretty cool film effects with Magic bullet, but there's also some others that Dobie gives you, which is Lumi Tree. But I'm not going to go in that right now. Something else you can uses crop. So if you go to transform and drag that crop filter, you can take out the left and right, or if you wanted to give yourself that film look with the letter box. This isn't the best way to do it, but it's a quick way to take out the top and bottom, so you can also just type in the number so I can type in 14%. Or it can scroll left and right to bring the top and bottom down. So there, that's a quick way to give you a film look, and you can toggle black and white or some of the other effects that go with it. 23. COLORING - Cinematic Looks: so I wanted to be able to show you how toe change your footage to make it look more cinematic. And a lot of times you'll have the footage and it's washed out or you're going for a specific look. And then I want to be able to show you how toe add the's letterbox bars at the top and bottom to change the aspect ratio will make it look a little more theatric. So I was going for more of a night sunset look, So I used this Lumi tree window so you can see the difference here. And if you ever want to do this, if you just have to videos in your sequence Timeline use the cropping filter and I'm just moving left to right so you can see the difference between the top and bottom video layer. I'm gonna close this panel, which is the lumia tree color window. If you go to a window, just select Lumi tree color and it will appear for you. Now you have a couple of different tabs here. You have basic correction, and I used this to change the exposure and highlights and things like that, or you can select this Lut, which are these presets, and adobe gives you a few here and you can find them on this side. You can also find these. If you go on the left side of premier under effects and you type in Lumi tree, you can find those there. So there are a lot of presets and you can select the filters you have, like some Kodak one, some Fujifilm and Aeroflex camera settings. And so there may be a look there that you like. I wanted to get a little more specific, and I was looking for an orange sunset look, so I changed the temperature of the color temperature. Now you can go with the blues, or you can go with the oranges there, and you can also change the tent. Now, if you want to get more specific, they give you these tones down here, which is exposure. Contrast highlights shadows and things like that, and the best way to describe this is just to go through each one and identify what area of the video it's changing for you. So on a couple of these, it's a little unclear as to what parts it is changing but things like shadows. If you see the shadows that are cast like on their faces and clothing and things like that , that will enhance or make the shadows not his apparent. The whites. Sometimes it's hard to identify what that is and how it's different from exposure. But each video clip is going to be different for you, the greatest assets here in this control. It's going to be more of the blacks, and if you bring it all the way up, the blacks actually disappear. But if you bring it all the way down, you'll see the blacks get more black. And that's really one of the main features for adding that cinematic look is to play around with the black levels. Now, once you have the colors that you want, you can intensify that by increasing the saturation so you can see the difference here between the two videos. So we had the washed out video to begin with, and then the color temperatures that I added. Now, if you want to add this letterbox effect, the way you do it is you place another layer over the video, and the reason you do that is because it'll allow you to change the position of where the video is. So the way you add an adjustment layer is you right click on your project been and then it gives you the settings now, depending on what? If you're working at you know 10 80 p, you can adjust the height and width for this. It just matches my sequence setting, and then I'll bring it over the top. I'll roll over the end of it to make sure it's the same length, and then I'll go to effects. And under the Transform folder, I confined crop. If you have trouble finding where that folder is, you can just type in crop in the search window, and it will appear then, once I have that, I dragged that over to the adjustment layer, and it gives me these left top right and bottom attributes for cropping. If you take it up to maybe 12 or 11% that gives you, Ah, the aspect ratio, uh, for film, and then you can take the video underneath it and move it and notice. There's another way to do this, and that's when you just crop the video top and bottom But that's not the right way to do it, because it doesn't give you that extra added feature of control of where to move the video in case you're cropping out the subject, and you can scale it up or down without changing the aspect ratio with the top and bottom letterbox bars. Now something else. If you wanted to find the filter and you wanted to see what it may do before you drag it onto your video clip, you can type in Lieu, Mitri and the latest version of Premier. I think maybe even it goes back one or two years and has all of these presets. And so you see, like Fuji Kodak Sina space and all that kind of stuff, and you can drag it over and see what it does when you drag it on to the video. Or you can look at the preset before it's already there. So it's very similar to the loo Mitri window on the right side, but just gives you a little less control on. If you're just looking for a quick fix and you like the look, then you can grab those and just drag him over and If you don't like the settings that you picked in your Dmitry window on the right, you can go to basic correction or creative, and you can find those lutz here. These are the presets on their several, and you can select one, and it will show you what it looks like before it applies it to the video. So here you have these arrows to go right and left and then down right in the middle. It tells you what the name of it is, and when you see the filter that you want, you can just select it by clicking in the center, and then it will apply it for you. So I have a couple different filters here, so it's not matching completely, because I've added different temperatures and colors and filters for this demonstration and a couple more adjustments. Here you have faded film sharpen. If your videos a little bit blurry, you can sharpen it up a bit. The saturation is going to make those colors a little bit more rich. The best way to do this is just to look the filters that are already available and scroll through them and see if you can get something that matches toe look that you're going for. So there's just a basic way to add a cinematic look and haven't matched the temperature and color that you're going for. 24. TRANSITIONS - Adobe Transitions: all right, so I wanted to show you how you can make a transition fairly easily and quickly. So I have two videos here, one of a woman turning and the other of a sunset. Now, if you go toe effects and you go to video transitions, you'll see this folder here, and you can grab something like a dissolve, which is pretty common, and drag that into one of the videos. And then, if you click on the transition once, it will open up a new window for you under effect controls, and you can see the two videos there are joined together by that transition in the diagonal line, and you can toggle the end it cut or center of cut, and it will place it there for you. Or you can roll over the end of the transition and lengthen it that way. And then, as you play it, you can see your effect and what you're modifying. Now, if you want to zoom in and get more precise, you can grab that slider at the bottom. And if you want to change the duration of the transition, you can roll over that and make it longer or shorter, and if you double click on the transition and you wanted to change the time, you could do that that way. It's a little bit of a longer step, but that's another option for you. Now. If you want to add a different transition, just go ahead and click on the transition in the sequence timeline and drag over another one. Then it will automatically replace the previous. So now I've grabbed dipped toe white, which is another common transition, and you can roll through the videos and it will show you as you hold the left button down in the mouse. So there are several folders here to choose from, and you can pick different effects that will work for you. Another one here is Paige Peel, and you can drag that over and replace the previous and we don't see that one too often. But it is in there now. If you go to the effect controls, you can see the two videos and you check that box and it will show you the actual sources in the effect controls. And then if you roll over the scrub bar, it will take you through and you can also reverse the transition. If you check that box and the page pill will come in from the opposite corner, another one you might want to his barn doors so you can grab that filter and replace the previous and something else you could do would be a center split, and that would take one video and separated into four pieces. So this is a simple way to add an effect transitioning from one video to the next. 25. TRANSITIONS - Print Patterns: So here's a basic transition using two patterns, and they're two separate images that I add key frames to bring them on the screen and off the screen. So if I highlight one, you can see the key frames that I've added there. Now, if I toggle back and forth, you can see that the key frames are similar for both, meaning they both arrive on the screen at the same time. But they're just going opposite directions. So to see how this is done, let's start again. But this time I'm going to make them go vertically. So I have my green pattern and it's placed over the video. It's not large enough, so I want to scale it up first. Now I want to rotate it so you can type in 90 degrees to rotate it once, or you can scroll over. Once I've done that, I'll try to figure out where the position is on the left side of the screen, and then I'll use the other scaling to bring it down a bit. So that seems like a pretty good spot, so we'll stop there now. Let's bring in the purple polka dot pattern, and I'll do the same thing with that. I'll go to effect controls and I'll rotate it 90 degrees. I'll just type that in and all positioned over on the right side. Now it's still a little small, so I'll have to scale it up a bit and I'll move it over. And if you really wanted to get in the center, you could count. The number of pixels are on the screen, so it would be 12 80 by 1920. So ah, you could divide that into and get the exact X and Y coordinate for this. I'm more concerned about just making it work, so I won't be that precise. So I have my position and then I'll bring it off the screen by used in the Y Coordinate and I'll get my midway point and then I'll bring it off the screen again. Now I can bring all of these key frames to the very beginning of the video, so it happens right when we see the image. Now let's do the same thing for the green texture, and I want to line up the marker so it's the same a key frame on the other side. So they both arrive at the same time. Now the other trick is to position these. So they happen where the transition takes place from one scene to the next. So that's the idea. Here is your cutting from one scene to the next, so they need to happen. When that cut happens on the video, you can toggle out these I icons, and that will give you a chance to look at the video without those being shown. I want them both to be on the screen right when that video makes that cut, so right there and we can see it's going from one scene to the next. And that's the idea, all right, And something else you can do if you're running out of colors or patterns is you could change the look to the patterns that you already have. So if you drag this arithmetic filter, you'll find it under effects and channel, and then you can grab that filter arithmetic. Drag it over and you can talk all these colors in and out to get a different look. And there are two filters at the top that I usually use, and that's and or XO are But there are some other selections that you can use, like subtract or difference. And so if you just play around with those, you can get ah, color that you're looking for. So some might be a little pixelated or saturated, depending on the quality of the images and that, but askew move through. It gives you a little bit of a different look. Now there are some other filters that you can use to make that a little different. This one here, under style eyes, is replicate and just multiplies the image, though just something different. If you go over here under effect, controls Ah, you can pick the number of images that you want to replicate. So it goes all the way up to 16 and you could even add key frames in between. So it goes from 2 to 16 back to two, so you see there really quickly. It starts off large and then get smaller and then duplicates and then comes back to four images, and with that, it needs to be adjusted to come off the screen. So I'll have to adjust these key frames. All right, so just a couple little effects that you can use for those images. So here's something else that you can do with these images. You can fly them in on the screen and then, you know, place a title above and then have them fly off. And then you can also stack them. You know one image behind the other and animate them. The other thing you can do is if you add this filter, it takes out the edges and we'll look at that. But first, let's look at the title that we place over it. And if you haven't made a title, it's just file new Legacy title and I selected one of the default titles down the bottom, and then I just picked that pink color. So if you wanted a different color, you would select that and pick a different color, and you can also toggle out the background if you need to, so I fly it in using motion under effect controls. But the other part here is rough inning the edges so under stylized you'll see this filter rough edges. And if you just drag it onto the video, you can do that. And there are a couple numbers that you can play with here, and I've added these key frames and what it does, is it? It ruffins the edge, and then the other one is the border around the outside. So the top part up there is the motion aspect, which we've already floated in on the screen. So that's the scaling part. But the effect part that gives you a little animation on that is the numbers that I'm selecting here. But let's take those out and look at the border. And if you play around with that number, you can get a really interesting look around the outside. You could also animate that by adding in key frames and you could change it. You know, every second or so and add in a new key frame on that key frame will just tell it what command you give it, what number you're going to give it. So then, as I roll through it, it gives it some life. Now, if I don't want to add, you know, 20 or 30 of these over and over again, I could just copy the four that I've done and then, you know, hit command, see to copy it and then hit Command V where the marker is, and then it will place those new key frames in there, so you can just duplicate that now. The other thing I can do is once I have already commanded these key frames. I don't want to keep doing them over and over again, so I can just copy and paste the attributes, and it will allow me to check the boxes that I want to paste. So for this it was, you know, all of the key frames. It was motion and the effects. So let me grab the polka dots in here, and I'll extend it out and then all hit paste attributes, and it will pace those attributes that already exist on the green image. And now it's done that now it's a little bit bigger, because the polka dot image was bigger than the green image, so it would need to be scaled down a little bit if you wanted it to match exactly, just because it's a different size, but the commands are all the same, so you can see as you would build these projects. If you're making ah video on fruit and vegetables or whatever you could just keep commanding these attributes to new images as you go all the way down. So they're not just one off, um, commands. There's something that you can use over and over again on your videos. All right. And then to fly it off the screen, we can make that adjustment. If we wanted to go slower, then we would take that key frame down a little bit further, like a second or two later. It would appear if we wanted it to fly off quickly than we just have that key frame right next to the initial key frame. All right, so hopefully that works for you. And you can use this in your 26. SIMPLE FX - With Photos: So for this lesson, I want to be able to show you how to import pictures and ads scaling to it where it zooms in and zooms out. Also, you can add a transition in between the pictures and change the colors to black and white. And you can also add a frame around the outside. All right, so the first thing you can do is just drag your folder in with your pictures, and you can then drag each photo into the sequence, timeline and notice. Premier makes them all the same length. If you have ah, lot of photos, you could just highlight all of them and bring them all into the sequence timeline and it will place them together. For you and again. Premier by default will select the length for you, and they'll all be the same. The other thing, though, is you may not have the same aspect ratio for each photo, so you can go to the scaling under effect controls, and you can move them in or out, depending on where you want them to be. If they're too far away or closer of the perspective is not right. All right, So now that we have our photos in the sequence timeline. The next thing we can do is at a basic transition. So if you go to effects and down here at the bottom, you have video transitions and popular one is just a cross dissolve. So if you drag that over in between the two photos, it will it will place the filter there for you. And if you move the slider up on the right hand side, you're able to see the photos in the timeline, and that could be helpful. So now, as I roll over holding the left button down in the mouse, that will do the transition for me. Or I can just play the sequence and it will do that. Um, eventually, you may need to render the file eso. I'm as I'm making this. You'll see the movement on the pictures, but it's not 100% clear just to show you ah, the length of each photo to make sure that they're all the same. You can always do a quick test and stack them up just to make sure that it's, you know the same length for each. If you are doing your own modification. Maybe it's three seconds wider. Maybe it's three seconds long, so for this they're all five seconds. And so you can do that by selecting the in and out point on your destination window. All right, so I have my three basic photos here, and I've added that Dissolve transition. Um, now what I want to do is I want to have this photo just slowly move in. Sometimes it's called the Ken Burns Effect. It was a documentary filmmaker that did certain effects with photos on, That's where that comes from. So for this, I'll want to have it move in maybe 5% or so, so I can start my key frame at 100 and I can have it end at 105 Greater the number, the closer the picture is going to be to the viewfinder. Okay, now, some of the things you can do is you can copy that effect, and you can paste it to the other photos. But since I have a different aspect ratio on these, it will change the aspect ratio, so I would have to lock down the position in order for it to do that. But as we move along here, I'll show you some shortcuts. So if you want the same effect to each photo, you can copy and paste the attributes. So adding the scaling, I'll do the same thing to the other two photos, so I'll start it. This one is that, uh, 65 I'll move it up 5% and now we can see it slowly. Move forward. All right, so all three have that scaling. Now you're adding to key frames for each. And if you want to see this Ah, with better resolution, you can highlight this area on the timeline and select render into out, and it will render it for you. So I have my in point out point. It'll highlight that area and gray, and it will change the yellow to green man. Now I can see it in full resolution. Next thing I want to do is I'm going to add a mat layer. So I created this in photo shop, and all it is is a black image. And then I cut out the center and it's a PSD file. So if I drag that over the top, we can't see it because Thean Mages larger I'll scale it down. So basically, here's the image and all position it where I want it. But once you place that over your images, you can adjust the images by, ah, the position, moving them up or down or left or right now, if you don't like this hard edge look, you could add a Goshen blur. If you come over here to the folder, blur and sharpen. Add that effect and then come up to effect controls. You can add the amount of blur that you want on that black mat, and it will soften up the edges for you. So now this second photo is off a little bit, so I'll just position the Y coordinate and bring it up. If you don't like the way these images look, you can come over here to the loo, Mitri presets and there are a lot of different filters here. So if you wanted to make it look like ah richer film stock or change it to black and white , it will give you an idea of what it's going to look like before you bring it over, and then you just drag the filter over to the picture, and then you have a different look, all right, And the last thing that you can do is if you just click on these transitions, hit delete on the keyboard to remove them. Another effect that you commonly see is fading in and fading out to black. So if you add these key frames one in the middle, one in the beginning and one in the end and you bring them down so that opacity layers all the way down, it would fade to black for you. Now, instead of adding that over and over again to each picture, you can just copy that opacity by right clicking and selecting the opacity. Copy that and then select the other pictures that you want to pace that command too right. Click and paste the attributes. Now make sure it's just the opacity that you want a copy and paste. If you had other things, you could paste it as well. But for this is just the opacity, and then it will add that effect to every single picture you have. So if you have like 50 pictures, you can copy one command right click and then paste the attributes to the other photos. All right, so those air some quick and easy techniques on how you can modify your photos and bring some life to them and hope that helps. 27. SIMPLE FX - Speed & Flash to White: all right with this, I'm going to show you how to take some footage of a model walking. She's walking in slow motion and I'm going to be able to cut out a still frame and add some speed and also some flash effects. So it looks like this. So the first thing we'll do is take the razor blade and cut in about three seconds or so. Then click on that first section and I want to add some speed to it because it's too slow, so you can speed it up. So type in Ah, higher number like 333% which will increase it by that much and hit OK, and you see that the clip has now been shortened. Now, I don't want to move that edit line, and I will just grab this icon over here, which is the camera. Click it once, and it will give me a still shot. And I named this model one. And also make sure that boxes check so it brings it into your project file. Now, when I start from the beginning, it goes fast motion and then it stops right on that still image and let's do it one more time. On the second half of the video, I'll speed up this middle section 27 77 777% and bring in the last section. So it will go from fast to slow and write it that edit line. I'll grab this icon for the camera and just beyond the edit line, all hit that camera button, which will give me a still image. And then I'll bring it right in and I'll cut it at the edit line. I didn't do it exactly like this the first time, but it shows you another way that you can do it. And then right where I cut it, I'll move that out. So now you have fast motion. Still image slow, then fast, slow, then still image. And if I want a lengthen that picture so it stays on a little bit longer than Aiken, roll over the end of it, and then as we watch it, it stops and goes back to the beginning. Now, to add those flashing effects, I want to cut that still image into a few pieces, so use the slider down there to zoom in and now I'll click on that 2nd 1 and I'm going to use effect controls to just position it and zoom in. So now it's going from its regular position to zooming in, zooming and more so used my X and Y and move it over and zoom in on it like at 1 75 And let's see if I can do something else here you can. I just used the effect controls to position it and scale it up. So now when I roll over, it gives me 45 jump cuts there. Six, actually, so have six different cuts. Six different segments and I can lengthen them or shorten them. Now let me create one more and and I'll select this one and changed the scaling on it. And you can see how it's got a jump cut that goes from image to image, all right, so as we roll through, we can see the difference between each cut out image and let's go ahead and add one more cut and change the scaling on that one. So it's different, and now we have all of these images that have a different position or scale, and it creates that jump cut effect, and if it's taking too long to get there, you can shorten up each clip. I'll do this by cutting them in half a bit, rolling over the edge and just shortening it. And I'll grab the last two and bring that in and bring in the video. So it's right next to it, and now it happens very quickly. So if it's a little bit quicker, it tends to look a little bit better. And in case you missed it, we'll do the same thing to the second image. So we'll cut it into several pieces. I like the 1st 1 and zoom in and change the position and do the same thing to the others. I want to make sure each image is different to the one that's right next to it. And let's go ahead and zoom in a little bit so we could get a little more precise. And now what we'll do is we'll add this flash effect. So if you come all the way down here under effects, grab the folder video transitions and dissolved toe white contract that in between two of the images and there you have your flash effect. Now you have some control over the transition, either up here in effect controls or on the image itself so you can shorten it up. So it's not so long gives it. Ah, flash. That doesn't last as long on the screen. If you shorten it, you can also change the duration of it by typing it in. If you double click on it now you have your effects and your flash of white, and that's how you do it. 28. SIMPLE FX - Scale & Motion: for this lesson. I wanted to be able to show you how to take four video clips, change the color use scale in motion to put them all on the screen at the same time and then take a title and use motion to have that coming over the center. So you have four video clips. You've got Radio City Hall, you have subway outside, you have the interior subway and then the girl walking down the escalator. So I have 12345 different layers. And remember, the camera's looking from the top down, so whatever's on the top will show first. And so my title on the top there is that New York City. Now let's untangle those, So select that I and just cross that out. So that way I can only see the base layer. And that's the girl on the escalator. And what I did was I scaled that down 2 56 and I used emotion to bring it over to the right hand corner. The other thing I did was I used this arithmetic filter, so if you're in effects, you can go to Channel and then grab the 1st 1 which is arithmetic. There's a quick way to change the color, and you have that operator up there, which is selected as and and you can increase the red value green value blue value individually or all together to get the color that you want. That's a really quick waited change. The color. If you wanted to get a little more crazy, you could change it to XO are and change the values, and it does it to each individual piece, which gives you some really crazy looks. But for this I'll take the blue value at 2 55 or 2 50 the green at 2 55 to get that teal look now moving on to the next layer. I've got the subway, their interior shot. I want to change that to black and white. It's a really cool looking shot and has different colors there. But just for the sake of the lesson, I'm gonna make it black and white. So again I go to effects. Image control is the folder, and I grabbed the black and white filter and drag it over. Now for this, I'll scale it down using motion so I bring it down to 55 now moving on to my next video in the next layer up. I've got Radio City and I can use scale in motion to move it right or left, and I'll scale it down to about 27 or so. And my last video is the subway. I'll move that over to the right. You do have some other color correction options for this one. I added Lumi tree just to give you another option for changing the color. This one takes a little bit longer, but may give you a little more control. You can highlight the shadows, the mid tones work with the highlights and pick the colors that you want for each color wheel. Now my last layer is my title. So if you wanted to make a title, you would just go file New Legacy title and I created ah rectangle and colored it gray, and if I wanted to match the color, I would use the eyedropper, and then I select the tea and type in New York City. The font that I selected for this was a body, and if I grab the selection tool, I can bring it down and I can change the color if I want to make it different just so you can see something else and you have two layers there in the title er, so one is in the front, ones behind, and you can arrange those, uh, front to back. If you had different layers that you wanted to move now for centering, you could center it right and left or vertically. And that's how I did that for this will take those off and I'll leave the title that was already created, and I'll use motion to bring it onto the screen. So what I do is it's already centered, so I'll start and work backwards, so I like where it is. Then I'll use my key frame for my destination, and then I'll work backwards and pull it off the screen. And I use that key frame and bring it all the way at the beginning, and now when it's done, it finishes where it's supposed to be. If it moves too fast, then I can take that second key frame and extended out so it lands a little bit later on. Now this is something that's a little beneficial, is right over here. You see, it says fit. If you select that, you can zoom in and really get precise where these videos end up with their edges and corners and things. So I'm at 200%. Then you can also use this slider on the right and left to position your canvas. Now you look like those videos were appropriately placed, but they were off a little bit. So by zooming in, I can go back to my sequence timeline in, select each video and then go to the scaling and motion and either zoom in or out or move the right and left X and Y coordinates until I get the video exactly where I wanted to be. So now I've got my design of my four videos, and they have different colors, and I've got my title up at the top. Also, one last thing is notice the position of when the video starts. So I have these all come on the screen at different times. So you see, it's staggered almost like a staircase, so the 1st 1 comes on, and then the 2nd 1 comes on maybe a second later, and I do that and I repeat it, so it gives you a little more interesting look. Now to wrap up the video, I'll pull each clip off, so select each one and use the motion to pull it off, and it will create a second key frame for me and I'll pull 1234 And then now, when I use the marker, you can see how each one comes off and you can play with the timing. Maybe you want them to come off at different times. For this, I selected the same marker time for each and I'll use theme ocean for the title of Take It Up Vertically this time, instead of coming in from left to right, and there you have it. 29. SIMPLE FX - Split Screen - Crop - Contrasts: All right, So first thing we're gonna do is drag the bottom video clip in and then go to effect controls. And right now, that X coordinate which goes left and right. Is that 9 60? Now, if I drag this video all the way to the end, remember, Now you have 1920 pixels from left to right? So if I want to find the middle point, if you had 9 60 If you're starting at 9 60 and you add 1920 pixels, the difference between 1920 and 9 60 is 9 60 Now it's Dragon. The aerial footage, and I'm gonna trim off the end. Just so they're the same. Now, this one, I'm going to use that effect controls number, same number, and I'm gonna drag it over to the left, and I'm gonna bring it all the way into the middle there. So now I've got this one on the left and the other one on the right. Now, I had a black line in between. So let's say I go over negative three or four pixels now. I can have that black line in the middle, but it's not 100% accurate as faras. Are they both exactly the same distance from the center. So I'll move the other one over another four pixels and now I have that line. Now there are other ways to do this, but this is just an introduction into how to split the two videos down the middle. Now, if you notice the aerial shot on the left, I've got this train moving on the track and you can't see it. So now when I want toe, get more precise, I want to see that train in the video. So another way to do this is I'm gonna drag the video back so I can see that train and I'm going to crop out the right of the video. So let's drag the cropping tool if you go into effects under transform now going to affect controls, I can grab the right side of the video and take the right side off, and that's another way to do it. And the video is a little bit better, because now I positioned it accordingly to see that train. So that's an advanced step. Now, if you don't want that cropping, you can check that FX box in effect controls, and it will go on or off now. One more thing you're able to do here is I can change the brightness and contrast the videos look a little, um, faded. So if I drag the brightness and contrast filter, which is under the color correction Boulder, if I drag that in here, that I can change the brightness and contrast All right. So those air to basic effects to split two videos on the screen at once and also changed the brightness and contrast. 30. SIMPLE FX - Speed & Slow Motion: now something else. Here's another effect, which is speed. So if you wanted to speed up the movement, you can right click hit speed and then adjusts the length of the video. So a shorter video is going to obviously increase the speed and a longer video is going to slow it down. So that's one way to add fast motion or slow motion and you can play with the percentages. You know, 60% would slow it down. 200% would double it and speed it up. You can also reverse speed if you check that box reverse speed. 31. You've Made it! Now Make Your Rolling End Credits: So if you've ever seen the end of a movie, ive seen those credits roll, and I'm gonna show you how to do that today and you can make them go Ast's fast or slow as you want. So if you've never made her title before, it's going to be filed New and Legacy title And I've already typed in all of these names and the role that they play. So to show you how I did that, I'm just going to type in Steven Spielberg at the very end and type in producer. Once you do that right next to the tee up here, you'll see an up and down arrow. If you click that another window appears, which is the role crawl options in this you have. You're still title, but you can select role or crawl left and crawl right. So crawl left and right are going to be more like a ticker on the bottom of like CNN or ESPN or something. For this. Go ahead and select the role and then check the start off the screen and end off the screen and then hit okay and X out, and it will put that title into your project, Ben, and you can drag it over into your sequence timeline. Then when you go to play it, it will start off the screen and end off the screen and, depending on how long it is, will determine how slower fast it is. So it's taking too much time. You can roll over the end, so shorten it up here and it will go really fast. And if it's too fast, you can lengthen it, and that will slow it down, and that's pretty much it.