Adobe Premiere Pro CC - The Complete Course | Phil Ebiner | Skillshare

Adobe Premiere Pro CC - The Complete Course

Phil Ebiner, Video | Photo | Design

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70 Lessons (6h 21m)
    • 1. Enroll Now

      1:32
    • 2. Course Introduction

      2:18
    • 3. Get Started with Premiere Pro

      13:04
    • 4. Importing & Organizing

      7:24
    • 5. Quick Win - Stabilize Your Video

      2:40
    • 6. OPTIONAL - Import Using the Media Browser

      1:53
    • 7. Premiere Pro Updates

      2:31
    • 8. Start a New Sequence & The Timeline

      5:55
    • 9. Add Clips to Your Timeline & Sync Footage

      12:17
    • 10. EXERCISE: Sync Audio and Video

      1:03
    • 11. EXERCISE REVIEW: Syncing Audio and Video

      3:09
    • 12. Premiere Pro Editing Tools

      16:14
    • 13. Bonus - Editing Down an Interview

      34:47
    • 14. Add bRoll to Your Video

      10:42
    • 15. Adjust Clip Size & Position

      4:01
    • 16. REVIEW: Adjusting Clip Size & Position

      2:25
    • 17. CC 2020 Update: Auto Reframe Videos to Different Sizes

      5:42
    • 18. CASE STUDY: Editing a Narrative Scene

      11:00
    • 19. Video Transitions

      8:25
    • 20. Add Audio Transitions

      3:36
    • 21. EXERCISE: Custom Blur Transitions

      7:18
    • 22. STUDENT QUESTION: Having Trouble with Transitions?

      6:36
    • 23. Add and Edit Titles

      8:15
    • 24. Create Clean Lower Thirds

      6:04
    • 25. Create Scrolling End Credits

      3:50
    • 26. CC 2020 Update: Underlining and Renaming Shape Layers

      1:56
    • 27. EXERCISE: Design Your Own Lower Third

      1:06
    • 28. EXERCISE REVIEW: Design Your Own Lower Third

      10:34
    • 29. Adjust Audio Levels

      10:16
    • 30. Adjust Audio Channels

      5:05
    • 31. Fixing Audio with Low and High Pass Filters

      4:17
    • 32. Improve Audio with EQ

      7:41
    • 33. Adjust Audio Tracks with Effects

      2:14
    • 34. EXERCISE: Fix Bad Audio

      0:41
    • 35. EXERCISE REVIEW: Fix Bad Audio

      4:32
    • 36. Add Music to Your Project

      11:24
    • 37. Easily Remove Background Noise with Audacity

      5:17
    • 38. Color Correction - Lumetri Basics

      8:43
    • 39. Color Correction - Creative Tab

      5:30
    • 40. Color Correction - Curves Tab

      3:50
    • 41. Color Correction - Color Wheels

      1:51
    • 42. Color Correction - HSL Secondary

      3:40
    • 43. Color Correction - Vignettes

      2:49
    • 44. Color Correction with Adjustment Layers

      6:08
    • 45. Adding Motion to Title Graphics

      4:37
    • 46. The Ken Burns Effects

      2:22
    • 47. EXERCISE: Add Motion to Your Video

      1:14
    • 48. EXERCISE REVIEW: Add Motion to Your Video

      6:14
    • 49. OPTIONAL: Add Motion to Screenshots

      8:05
    • 50. Exporting High Quality, Small File Size Videos

      5:32
    • 51. OPTIONAL: In Depth Export Settings

      12:02
    • 52. Exporting a Full Resolution Video

      1:28
    • 53. Exporting a Small File-Size Preview Video

      1:45
    • 54. COURSE PROJECT - Finish Your Short Documentary

      1:03
    • 55. Add and Adjust Effects

      6:55
    • 56. Adjusting Effects with Keyframes

      4:42
    • 57. Using Lumetri Color Presets

      3:35
    • 58. Stabilize Shaky Footage with Warp Stabilizer

      5:21
    • 59. Make Footage More Cinematic with Overlays

      6:44
    • 60. Capture Still Images from Video

      1:41
    • 61. EXERCISE: Remove Noise and Grain from Video

      6:46
    • 62. Adjusting Clip Speed

      5:10
    • 63. Time Remapping and Speed Ramps

      3:54
    • 64. CC 2020 Update: Increase Speed by 20,000%

      2:20
    • 65. Slow Motion Video with Interpretation

      1:56
    • 66. EXERCISE: Speed Ramps

      1:28
    • 67. EXERCISE REVIEW: Speed Ramps

      0:57
    • 68. Green Screen in Premiere Pro

      7:37
    • 69. Adding a Background to Green Screen Video

      5:45
    • 70. Course Conclusion

      1:25
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About This Class

Start editing your video professionally with Adobe Premiere Pro CC!

THIS COURSE IS NEW AND IMPROVED FROM THE BEST-SELLING PREMIERE PRO COURSE BY PHIL EBINER.

If you are looking for a video editing application that will allow you to edit videos however you want them, Adobe Premiere Pro is the best answer. Premiere Pro is used by professionals across the world for every type of production from business & marketing videos, music videos to documentaries, feature films. This full course is the best way to jump right in and start editing.

Make videos the way you imagine them!

Practice editing while you learn. This course includes practice video files so you can follow along and actually learn by doing.

By the end of the course, you'll have edited a 1-minute documentary with the supplied footage.

I'll be teaching the course using the creative cloud version, but if you have a previous version (CS6, CS5, CS4, CS3 - Mac or PC), you can still learn to edit like a pro.

What makes me qualified to teach you?

My name is Phil and I've been editing videos with Adobe Premiere Pro for over a decade. Plus I'm the creator of some of the world's most popular video editing courses - with over 150,000 students and thousands of 5-star reviews like these from the Adobe Premiere Pro course:

Truly gives you a great hands on training so that you can actually edit video on premiere. Great course. - Jeff Gilbert

Awesome course, easy to follow! - Tim Clark

Your course is amazing, so I can say that I am learning a lot. Your English is very easy to understand ( I'm from Brazil). Thanks for sharing your amazing knowledge. - Jerilson Duarte

My Promise to You

I'm a full time video editor and online teacher. I'll be here for you every step of the way. If you have any questions about the course content or anything related to this topic, you can always post a question in the course or send me a direct message. 

What is this Adobe Premiere Pro course all about?

In this complete guide to Adobe Premiere Pro video editing course, you'll not only learn all of the editing tools available in Premiere Pro, but also how to edit with the mindset of a professional editor.

This course will cover everything you need to know to start video editing, including:

  • Starting a project
  • Editing your videos
  • Adding video and audio transitions
  • Adding professional and modern titles (even some with motion)
  • Improving audio and finding great free music for your projects
  • Correcting and grading the color of your video to give it a great style
  • Adding visual effects to your projects
  • Editing green screen (chroma key) footage
  • Exporting your video for high-quality playback on any device
  • Advanced efficiency tips
  • So much more!

Learn from someone who is currently working in the industry, who knows the most current editing techniques, and who has a Bachelor of Arts in Film and Television Production from one of the country's top film schools.

BONUS: As a bonus, you'll receive supplemental video and audio clips to practice with while I teach you with.

By the end of this course, your confidence as a video editor will soar You'll have a thorough understanding of how to use Adobe Premiere Pro for fun or as a career opportunity.

Go ahead and click the enroll button, and I'll see you in lesson 1!

Cheers,

Phil

Transcripts

1. Enroll Now: hi and welcome to the Adobe Premiere Pro Sisi course. Of course, that will teach you how to edit your own amazing videos with Adobe Premiere Pro. My name is Phil a Burner and I'm a professional video editor. I've edited thousands, literally thousands of videos with Premiere Pro over the last decade that have ended up on all screens from movie screens to TV and on the Internet. But I know what it's like to be a new user and to open up Premiere Pro for the first time. It can be quite intimidating, and that's why I designed this course or people like you who are just starting out. This course won't just teach you the tools needed to create amazing videos, but it will also teach you the short cuts in some efficiency technique to make editing fun and fast. Because I think learning is more fun when you're actually doing something. You're going to be editing a short documentary throughout this course. As soon as you enroll, you can download all of the project files, including interview clips, extra footage, music, graphics and more. This course is designed for new video creators who want to learn the best video editing application out there right now. Thank you so much for your interest in this course. I hope you're as excited as I am. And with our 30 day, 100% money back guarantee, there's no reason to hesitate. Click the Enroll button right now and we'll see you in less than one to start learning how to edit in Adobe Premiere Pro. 2. Course Introduction: you have taken a great first step to becoming an adobe premiere pro video editor. Welcome to the course. I'm so excited to have you here in this video. I want to give you a little bit more information about me and my background. So you're comfortable taking this course for me and then talk about how the courses structured and the course project, which I think will be a fun way for you to learn. Premiere Pro. As I mentioned in the promo video, I've edited thousands of videos over the past few years. In Premiere Pro, I started editing back way back in high school. I studied film production in college, and I focused on the editing and postproduction aspect of it. And it was a great decision because I've built a career on editing videos. Some of you might be here because you want to become a professional video editor, but others of you might be here just because you want to learn how to edit your own home videos. Or maybe you have a YouTube channel that you're trying to grow. Or maybe you're creating your own online courses. Whatever your path is, I welcome you and I'm happy to have you here. You will learn real world skills with this course. Here's a sample of what you'll be able to do even if you've never opened up from your pro after just a couple hours. You'll have edited this film or even made a short documentary with your own footage. But if you don't have any footage, no worries, because I provide all of the sample video, audio graphics, photos, music and mawr for you to use with this class. If you look at the outline for the course, you'll see that it's structured in the way that I would actually edit. A project will start by learning how to import and organize. Our footage will learn the basic editing tools and how to put together a sequence will then add music, learn how toe edit audio and make audio sound better learn how to add transitions and titles and graphics. And finally, once we have a polished piece, we'll learn how to export it. Specifically exporting HD files for Web. After these lessons, I've included a number of lessons that will give you pro techniques and other tools that you can use within Adobe Premiere. For your own projects, get ready to dive right into Adobe Premiere Pro In the next lesson 3. Get Started with Premiere Pro: Let's go ahead and open Premiere Pro. When you open Premiere Pro, you'll see a screen like this. Now I have a bunch of projects that I've worked on already, so you can see here the names of the projects that I have been working on. You won't have that. If you're opening up Premiere Pro for the very first time to start a new project, we're going to click this new project button. But know that if you've recently worked on a project or you want to open a project that you have in your files or on an external hard drive, you can click this open project but in and then find it from your list of files. You could even just double click that project file from your documents or finder. I'm gonna click New project that's going to open up the new project panel and the top we're going to name this project will call this Premier Pro course, and then you choose where you want to save it. There's a drop down menu for some popular locations, or you can click, browse and save it wherever you want. I'm going to save it into the class folder for Adobe Premiere Pro. All choose Select. Choose for that folder. Then we have some other options, too. Take care of. Depending on how fast your computer is. Choose that GPU acceleration option if you have it. If not, it's okay. You might just have a little bit of issues if you're trying to add it. Big large four K footage for video display format. I choose time code. You might want to use fee or frames if you're editing a an actual film that was shot on film. But for most digital projects, Timecode is good. Display format Audio samples is good Capture format. We're not going to be capturing anything via Adobe Premiere Pro. This is if you had a camera or ah, deck plugged into your computer and you wanted to capture footage from a tape for scratches . This is important, though, so for me, I typically save all of this same as project. What this means is the video The Renders the previews. These air files at Adobe Premiere Pro creates when you start a project, when you add effects when you make changes, when you auto save your project, I like all of those files saving toe where my actual project is. I don't want it on some back library of the computer I wanted easily accessible. So I always choose same as project for these. When you're happy with your settings with the name and with the location, just click, OK, and then Adobe Premiere Pro will open up. Now, this is probably confusing if you've never opened up Adobe Premiere Pro. So in the rest of this lesson, we're going to learn what these main windows or panels are. We're going to learn how to customize the view so that yours looks like this. If your window doesn't look like this, which it might not one quick way to get your window or your your program toe look like mine is to go upto window workspaces editing. That's the workspace we're going to start out with. Then we're going to learn how to customize it. To understand what all these panels are. I'm going to open up. The project will be working on for this course, which is this Anthony Carbajal short documentary. I'm actually going to start in the bottom left with our project panel. So all of these windows have panels. Some of them have tabs with other panels behind them. So see, here we have project in the front. Behind that is the effects. And if we click on the effects, the effects panel pops up. The project panel is basically your documents. It's your organization panel. It's where you import files where you create new files like titles or graphics. And it's where you keep everything organized behind it. We saw this is the effects tab. And this is where we have a lot of our video effects, audio effects and transitions right to the right of the project in the effects panel is this toolbar. This includes all the tools that you have available for editing your footage on the timeline, which is over here to the right. This is the timeline. This might seem very confusing to you, and I wouldn't be surprised. So don't get too worried. You will learn how to do all of this. Just know that on the top of the timeline, starting from V one v two v three v four, you might not have this these many layers when you open up Premiere Pro these they're all video tracks below On the bottom half a one a two thes air audio tracks. You can adjust the size of the track and really any panel by hovering over the line on the edge of the panel or the track and clicking and dragging. You can see me doing that right here with this panel. So all of these things I could make smaller so you can see all the three audio tracks and there's actually nine video tracks that were using its a lot. And it goes from zero seconds to one minute and you can see the seconds and the milliseconds right here, over on the right are our audio monitor. So if I play through this, I'm just going to turn the audio off. But if I play through it, you can see the audio levels bouncing up. So this is a good audio monitor you to use. This also brings us to the program monitor up here. As I play through this, this is the final product, or at least the product we're working on down here. So everything we add Teoh Agency Anthony Ah, being funny right here for the L s ice Bucket challenge. One of bikinis really out there. Extroverted guy thought it would be funny. And we're gonna learn more about his story and what he what this project is all about throughout these lessons. So I don't wanna give everything away yet, But just know he's a very extroverted, funny guy. So this you can see we've added all kinds of things. We've added graphics. We've added transitions. We've added motion to photos. We've added, you can't tell, but we've added color correction adjustment layers, titles, so many things to this track. And that's what all these different blocks are. Video tracks, graphics, titles, color correction layers. Don't worry. We'll learn all of it and up here in the program monitor. That's where you see what's happening on your timeline. There is these buttons down here that allow you to control playing the video track. Pressing space bar allows you to play or stop, or you can press these buttons to and realize that I'm just skimming over a lot of these buttons. There's so many buttons that I'm not explaining right now, and I had taught a premiere pro course before where I tried to explain every Budden as I went through everything that doesn't work that well. There is just too much going on. And so with this class, we're going toe learn as we actually create. And as we go on, if you have any questions about any of the content in this course, head over to the Q and A tab for a search and see if anyone else has asked that same question. Or if they haven't ask a new question by clicking the ask new questions button typing in your question title and then describing what issue or what you're trying to figure out If it's something very specific about what you're trying to do with your project, it always helps if you post a screenshot of your premiere pro screen so I can see what's going on anyway. So this is the project program Monitor up here and up here on the left. We have our source effects, controls an audio track mixer, and you might not have audio truck mixer, But I'll show you how to open those panels and closed panels and just a sec. The source monitor is where you preview your clips. So down here we have our folders of videos If I open up our interview folder, I double click our first clip, and then it opens up into our source monitor. If I open up our music folder, open up in music clip. Our music wave form clip pops up. Hope open up here so we can check it out. Effects controls. This is where we actually change how effects look or the settings oven effect. So, for example, I'm going to click this adjustment layer, which or really any of these layers. So we have a video layer and you can see when I click on that, you see a motion opacity time remapping all these tabs open up. Some of these come included with every layer that you put on your timeline something like the loom entry color of fact. That's something that I added afterwards, that's an effect down here in the effects panel that we added. We'll learn how to do that in this course, and then the last one is the audio track mixer. You might not have this open, and if you don't have it open, let me show you how to do that. But first, let me close it, and you can close any of these panels by right clicking and choosing clothes panel. So if you don't have the audio track mixer open, go up to a window and click the audio track mixer right here. And that pops open audio track mixer. Now it might not have Open it up right here in this source monitor panel up here in the top left. So to customize your space, let's go back to our other project. So here we're in our other project. It still has the audio track mixer open. Say, we want to move this audio track mixer down below our project panel or in this panel behind effects, we can click any of these panels, drag it around and move it, and you can see as I move it, different panels get highlighted. If I wanna just add it right into this panel, just drag it into the middle and let go. You can see that it drags it into this panel. If I want, I can actually add it to the top and add a completely new panel or the right or the bottom or the left. So see what happens when I click and I unclip over here when it's highlighted in the right , a new panel pops open or if I want it on the left up here, it opens up a new panel on the left. If you're following along, it's probably a lot easier to just play around with this and understand how to do it. You can resize. As I mentioned before, you can drag the tabs to the left or right to adjust the order of the tabs. Say I want audio track mixer before the effects controls, I can just drag it into the middle of those two panels. The goal with this lesson in moving into the next lesson is to set up your project toe look like my set up right now. So you want your project panel with effects. You want your timeline down in the bottom, right? The program up in the top, right, and then the source audio track mixer, Not the audio clip mixer Audio track mixer in the effects controls up in the top left to save this workspace so that if it ever gets messed up, or if you ever add new panels or open new panels but want to revert to this set up goto window workspaces save as new workspace. Click that and then name your workspace and click OK already have one that's set up like this. It's called Fills Single Monitor. It's basically the same set up effects controls is in the middle rather than over to the right. But now, whenever I want to go back to that Phil single monitor set up, I can just click that Phyllis single monitor and you can see that I have Sam. Well, these air friends who have used my computer or I've opened projects on their computers, and it saves those workspaces as well. Thank you so much for watching in the next lesson. We're going to learn how to import and organize our footage. 4. Importing & Organizing: now that we have a little bit of a better idea of what these different panels are. Let's go ahead and import or footage going to drag this up just a bit to make our project panel a bit bigger so we can see it more clearly to import media. There's lots of different ways we can do it. We can double click just right within the project panel itself, being go up to file import. Or we can press Command I on our computers command I for Mac users control I for PC users. I'm using a Mac, so whenever I say can man, you'll use a control. But in on a PC. Another way is just to simply drag and drop your files right here. So let's do it a couple ways. Let's double click here. You'll find a resource is folder it zipped up folder that I've put together for you in the supplemental resource is of this course, so you can unzip that and you'll see there's video clips, photos, music and a Lut. We'll talk about all of these things throughout the course, but let's start out with the video clips to select one video clip to import. You can just find that one and click import, or you can select multiple. I'm just selecting the top one and then pressing shift and clicking the last one to select multiple. Or if you have specific ones you want to import, you can command click control. Click. If you're on a PC, the ones that you want to import. I'm just going to select all of these and say import So that imports all of our video clips to our project. Let's stay organized as we go. Let's create a new been or a new folder by clicking this new been button right here. You can also right click and say New Been or you can press command, be control, be for your Windows people and then type in the name of this Been. I'm just going to call it video for now, and I'm going to select all of these clips, selecting the top one shift, clicking the bottom one and drag it into this bin or this folder we can open and close these folders with the drop down toggle on the left hand side. An easier way to import a folder is to just drag and drop it in. So I'm going over to my finder on my Mac. I'm pressing command tab. There's an option to do that. I think it's control Tab to tab between your different applications you have open on your computer, and I can simply click my photos folder and drag it into my project. You can see now it has that photos folder. It also has a music folder that I'm going to Dragon, and this is all copyright free music that you can use. I've found it on the YouTube Audio Library, which is a free T used music library for your video projects, commercial or personal projects. So these are all the files will import. We'll learn about the let later on. We can organize the video even further, or any of these files any further. I'm going to add a new Ben and call it B Roll B roll. Is any of the video photos or graphics that you cut away to or you Inter cut with the main shot? For example, in a documentary, your main shot might be your interview, and then you might cut away to some action footage or some kind of video that describes Mawr about what the person is talking about, and let me just open up these clips to show you what I'm talking about. So we have interview a an interview, be camera and these air the interview video clips. And then I have this B roll, just extra footage that we shot that shows more about the person's life. It's the descriptor. It's just that additional footage. So I'm going to move all of this footage. That's not the interview footage into a B roll folder. Depending on how big my project is, I might have many B roll folders. This is actually from a documentary. I'm making a short documentary about Anthony and in the actual documentary project, I have B roll folders for our street session for his photo editing session for um, when he was with his wife, all kinds of folders. And then I'm also going to add an interview folder to put this interview footage. The key with organization is that there's don't set rules. I just want you to be organized so that you can find your footage when you're looking for it. And that's the key thing to be able to find footage when you're looking for it. I tried to keep my folder structure similar to how did how it is in my documents. So if you look at my finder, you see, I've music, photos and video clips, and usually this is just called video, actually, but I titled it video clips for this folder, and that's how I keep the structure of my project file in my project of Premier Pro and then sometimes I have a graphics folder. Sometimes I have a and audio folder if I have sound of facts or or voice over or something like that. But for here we just have music, photos and video clips, and that's how we're going to keep it here in our project panel. We can rename these bins or these files, if you would like so say, we want to add more description. So here's photo one and photo to weaken. Rename it by just selecting it, pressing Return on your keyboard or it's the enter space on your keyboard of you're on a PC and just typing in the new name photo of Anthony and Larne E, which is his white, who is his wife at Beach Beach. Let me spell that right photo to open it up, and I'll rename this photo of Anthony and learn E in front of building. So it depends on how much you want to get involved with renaming. Sometimes I won't rename files. Sometimes I will just depends on how big the project is. Just a quick mention. A couple of things you'll see in this project panel are these tabs. So we have the name. We have the frame rate. So this is the frame rate of the video that we shot. If I scroll to the left using this slider at the bottom, you can see lots more information so you can kind of to see all of the different information we have for each of these clips, video clips or audio clips alike. That's how you import and organized footage. Please go ahead if you haven't done so already, import the footage that I've included in the supplemental re re sources and organize it in a similar way. Thanks, and we'll see in the next lesson 5. Quick Win - Stabilize Your Video: I want to show you the power of Adobe Premiere Pro by showing you how, with just a few clicks, you can change shaky handheld DSLR style footage into smooth, buttery or completely still no motion video again with just a few clicks. So let's dive into Premiere Pro Download the Bride and Groom Shaky video file that I've included in this lesson imported into Adobe Premiere Pro. Just like we learned last lesson. And then simply click that video clip and drag it onto this new item button. It's the one that looks like a post it note that creates a new timeline, a new sequence which is basically a new video project. Our video timeline within this project with your clip on it, we'll dive into this in the next section about all the sequence settings and stuff like that. So don't worry about that. For now, I just want to show you how to stabilize this shaky footage. Go to your effects tab. If you don't see that, go upto window effects and type in warp into the search bar. You'll see two effects. Click the warp stabilizer effect and drag it onto the video clip in your timeline, it's going to start analyzing and you'll see up in your effects controls window that pops up This all these controls for different effects or different aspects of this clip, the one that we added. It is called warp stabilizer, and you'll see that it's starting to go through an analyze this clip. What it's doing is looking at it and seeing how can it make it smooth or stable? Once it's done, it will stabilize and you can play through it and can see that it already has created a very smooth version of this video clip, and I actually like that. So you might want to leave it at that. Or you can click from this result, drop down and go from smooth motion to know motion it's going to re stabilize it. It might have to zoom in so that it can actually make it stable and then play through it again, and you can see that it now is completely still. If I delete this or if I turn this effect off by clicking the effects off button right there to the left of the effects name and the effects controls window, you can see shaky. Turn it on completely still, and that is the power of Adobe Premiere Pro. And we're going to be going through so many more cool effects and tricks like that that will take your video adding skills from beginner to advanced. I hope you enjoy this video and we'll see you in the next one. 6. OPTIONAL - Import Using the Media Browser: in this little bonus tutorial. I want to show you how to use the media browser to import video. Depending on what kind of camera you record with. You might end up with files that looked like this. This is our footage shot on the Sony Fs seven and the F 15 and the S seven. So when you import it to your computer, you get this folder structure that looks kind of weird and you can't tell even when you dive into this menu under the clips. You can't even see what it looks like because they are these M XF files that your computer might not or naturally be able to open our preview. So in Premiere Pro, we're going to use the media browser that's a new window to look and import those files. And this is for the color correcting tutorial that we did earlier because I wanted to bring in one of the raw, full resolution files. So if I go to that folder that is within my external hard drive, let's see what happens when I find that folder of video clips. So it's under my doc thunder raw footage. It's under a one and it's if I just click X'd route. Not even this clip folder, but just the X T root folder. It opens all of the view video clips, and now I can preview which ones I want to import. Then I can right click and import, or I can drag into my actual profit. So I'm going to just open up one of these interview clips and so I can go ahead and show you how to color correct, which you probably have already watched. So I'm going to go back in time and do that. Thanks for watching. That's how you use the media browser to import footage. 7. Premiere Pro Updates: I hope you've been enjoying this course so far. I wanted to let you know about some updates that Premiere Pro has added to the application over the past few years and how I've updated this course to make sure that it has stayed up to date. So I'm recording this video in at the right before 2020 and Adobe just released the CC 2020 version, and you can see some of the updates that they've added. And I've actually added lectures that talk about these different ones. Ah, a few of these different ones that you'll see sprinkled throughout the course. And if there ever is an update, you'll see in the tighter title of the lecture CC 2020 Update or C C 2019 update, depending on what year they updated it. I'm assuming that most people are going to be taking this course with the latest version. And so if you're using a C C 2020 version or beyond in the future, that's perfectly fine. Don't worry. 95% of what you're going to learn in this course is the same, even if you are using an older version of Premier Pro how you edit how you make cuts, add transitions, odd effects, export. All those things are the same across all of these versions. There have been some major updates over the past few years. Like how we add titles. There's a new panel for Adi editing color editing sound, and in this course there are lessons that go over all of those things. When Adobe Premiere Pro Lisa releases a version that I feel is different than the original version of this course, I will make sure to update all of the lectures. But as it's pretty much the same, Ah, I've left the course content as is and just added these updates as time goes on. But if there's anything that is confusing, make sure you let me know and I'll I'll make sure that you understand how to do it in no matter what version you're using. So I just wanted to pop in here and let you know that that's how you know if a lecture is updated, it will say CC 2020 or C C. 2019 whatever year it is in the beginning of the lesson title, and that way you know, it might not go is well with the flow of the regular lessons, but it's just another skill or update. You should know about cheers and have a great day. 8. Start a New Sequence & The Timeline: The next thing we're going to do is create a new sequence to create a new sequence. I'm going to show you a very easy way right now. And then later on, I'll follow it up with more details. Pick the video that is going to be the most popular or the most used type of video in your sequence. For example, I have an interview clip. I also have B roll that has all types of footage. While all of this footage matches, you might not have footage for your own project that matches the frame rate, the frame size. Maybe you have some four K footage. Maybe you have some regular 1920 by 10 80 footage. Pick the video clip that is going to be used the most. For me. It's going to be my interview clip. So I'm just going to take this clip and literally just drag it onto this new item button, this one that looks like a post it note. What happens is a new sequence pops up. Our footage is added to the timeline already in this sequence. Settings for this timeline match our video clip. If you go up to sequence sequence settings. You'll see all of the settings, the frame size, the frame rate, the audio settings. This matches your video footage, and that's what you want. You don't want a mismatch. So when you're choosing which video to use, just remember, use the video that's going to be used most in your video sequence. Now we have this timeline. Let's just go over the basic rules of what this timeline does. We have our video tracks up. Here are three video tracks. Then we have our three audio tracks down here. We can move a video clip or audio clip around by dragging up or dragging down to a new track or moving to the left or right We see at the top. We have our time. We have our timeline indicator that we can click and drag. This is this blue little line in there. We can zoom into our timeline. Down here we have the slider that slides along the time line. At the end, if we click the end and drag in or out, we can zoom in. You can also press the plus or minus key buttons that are to the left of the delete key on a Mac or to the left of the backspace button on a PC and that will zoom in and zoom out of your timeline. There's still a lot of buttons in this timeline that we haven't covered yet, but we will be covering all the things that you need to know throughout the rest of the lessons. Now. I mentioned before that this was the easy way to create a new sequence. If you think you've got it and you just want to know this easy way, you can go ahead and skip on to the next lecture and the next practice activity. But for those of you who want a little bit more information, let's get going. You can, instead dragging into this new item, but it just click new sequence. You could also go up to file new sequence, and this will pop open the new sequence module, where you actually can choose the sequence settings yourself. There are three tabs. Your sequence presets, settings and tracks. The sequence presets thes actually have some presets for different types of cameras and different types of shooting that might match what you want. For example, maybe you shot with a digital SLR DSLR, and you shot at 10 80 24 frames per second. You might want to select that preset. Maybe you shot on a red camera. They have lots of different red preset settings, so that's one way to do it. Or you can choose your settings yourself custom. Mize it Go to the settings tab, drop down to custom under editing mode. Then you can go go through everything. The time base. What's your frames per second? 23 976 29 97 Your frame size 1920 by 10 80. Or is it 12 80 by 7 20? Make sure that it matches how you shot your footage. Pixel aspect feels display. These will stay the same audio sample rate. 48,000 hertz. That's typically what you want to choose. Display format. Audio samples is good Video previews. All of this will typically stay the same, except if you have a smaller frame size, say 12 80 By 7 20 you might. This will change as well to match your frame size at the bottom, you can rename your sequence, so if you have ah, documentary version one, you might want to call it that and losses the trucks. This is where you number, how Maney video and audio tracks you want. The standard is set to three. We have three video tracks up here in three audio tracks. We can add audio tracks later on. It's very easy. I'll show you in just one second when you're done and you're happy with your settings, just click OK, that will open up a new timeline right here, and the sequences also show up in your project panel. Over here, I mentioned adding new idea tracks and video tracks. When you have video a video clip on your timeline, you can literally drag it up into the empty space above the tracks to create 1/4 audio track or 1/5 1 or 1/6 1 And same with the audio. I think I said audio before, but that was video. This is audio, so there's some more advanced tips for creating a sequence that has the perfect settings. If you have something that you don't want to match your camera typically, though, you want your sequence settings to match exactly what you shot, as so just do the easy way of dragging into this new item button 9. Add Clips to Your Timeline & Sync Footage: slowly working our way to getting our project toe look similar to this project. What we've done so far is just added one video track or clip to our first video and first audio track. So let's learn how to add more clips to our timeline. When you're shooting with multiple cameras, you need to sink that footage on your timeline. Here we have our interview. Be camera. To add this to this timeline, simply click and drag it over to our timeline. I'm still holding it down. You can see that I can add it to the second track. I can add it to the third track, fourth track, or even add it to a completely new track of video and audio. Or I can put it right on top of our interview. A camera track. But that wouldn't be good. I don't want that to happen. Since this is the B camera, I'm actually going to do something a little bit interesting. I'm going to put it on our video track one over here. Then I'm going to put the interview a camera up to the second video track. The reason I do that is when I put the interview be camera clip underneath the A camera. I still see the A camera footage, and that's what I want. If I talk on the eyeball button right there, you can see me looking at the B camera shot. But since I'm going to be using the A camera shot more, I wanted to be on top of the B camera footage. That's just a personal preference. The next thing we have to do is sink this camera to a camera and be camera. I'm going to zoom in on the timeline using the plus button on my keyboard. Then I'm going to expand the audio track so that I can actually see the wave forms in the track. What I can do is double click in this area to the right of the S and to the left of this line in this audio track, one you can see. When I do that, I see the audio wave forms. We can double click here, or I can just click and drag at the bottom of this this track to expand audio track to you can actually cheat to sink this footage by just lining up the left hand side of the beginning of the clip. If I zoom in here really closely, you can see that the audio wave forms match. And when you play through it, which you might have to do on your own, you can hear that they match up. One audio is coming from a camera, which was the Lava Lear microphone that was plugged in. You can't see it. It's hidden right here behind this button, but that was actually plugged into the camera, so it's really high quality audio. The other audio from the B camera is just coming straight from the camera's microphone, which isn't good audio, which we're not going to actually use. This footage is already sink because I exported just this little part of the interview for camera and Be, and I exported the same exact clip length. But in reality, the interview clip a and the interview clip be would be different lanes. They wouldn't start at the exact same time, so you might not know exactly how to sink the footage. You can zoom in here really far to just try to manually nudge things around so that the wave forms match up, or you can do a cool option that Adobe Premiere Pro has, which is automatic sinking when you have two clips and that works best with just two clips on your timeline that you want to sink and this could be to video clips. Or it could be in a video clip and then an audio clip, just an audio clip from an audio recorder. Select the two clips right, click and say, Synchronize. Then click audio down here, make sure it's on audio, mixed down and select. Okay, it's going to process the audio, and it's going to try to sink the footage, and you can see what happened is it did move the clips and it matched them up. And now the audio is sink together. Sometimes it doesn't always work. Sometimes that work. You have to do it a couple of times for it to work, But it's a cool way to automatically sync footage in Adobe Premiere Pro. So we're just going to move these two clips, and you can see that if I select both eclipse, I can drag them over to the left. I can move them together, and I just select both by clicking and dragging over them. See how I click and drag over them instead of just selecting one and then the other, which you can do by selecting one and then shift clicking the next one. Or you can just click and drag over. Okay, so that is adding a clip to our timeline. We haven't gone through our interview yet. That's the next thing we're going to do. We have to edit this interview down, but I want to show you how to add other clips to your project. So if we add the open up the B roll footage, we can select any of these clips and drag it onto our timeline, So you can see now if I put this right here towards the beginning, zoom in a bit and I play through this. It's going to play through the the audio or the video, and then it's going to cut to this B roll shot. Another way to add video to your timeline is using the source monitor. This allows you to preview a clip and to Onley select a specific portion of a clip to add to your timeline. Let me open up this working on share clip Here's a video clip and it opens up here in the top. Then I can press the space bar right here to play it. And if you don't want the entire track, you can make a selection to bring into your timeline. If you want the entire track, what you can do is simply click the video right here in drag down here onto our timeline, just like we did before. If it's, it's basically the same thing as clicking down here in the project panel and dragging onto our timeline. I'm just undoing those edits by pressing command Z on my keyboard controls the if you're on a PC, or maybe you just want the video. From this clip, you can select this drag video on Lee Button and see now the audio doesn't come with it or the drag audio only button not just brings the audio. So maybe there was something that he says there's something some sound that you want that might be an option that you need but say we don't want the entire clip. Maybe we just want starting from a certain point, we can click and drag this little timeline indicator up here we can press the arrow keys on our keyboard to move left or right by a frame. We can also press shift an arrow key to jump five frames at a time to the left or right. So maybe we want to start here and to set the in point for this selection. Press this button right here, the mark in button or I on your keyboard and what happens is the right side of the selection is selected. Then I play through, and when I want to stop saying I want to stop right there, I can press this mark out button or press Oh, on my keyboard. Now, when I dragged this clip onto my timeline, it's just taking this selection of the clip. So this is a good way to find specific parts of video or audio clips that you want to add to your timeline. We can actually then go in and increase or decrease the mark in, or mark outpoints. If we do want to add more or less. But it doesn't affect what's already on the timeline, you would have to re import it. So see how I already added this clip, how it was before, and then I went further and extended. This is not extending this clip in the timeline. It's just extending the selection of the clip from the project panel. And then we would have to re import. And you can see if I put this on the fourth video track, the longer video clip selection just going to delete that there are some hot key buttons that you might want to understand. So when we have a selection, you have these buttons here insert and overwrite. Let's see what happens when I click. Insert when I click, insert and pay attention to my timeline. See this timeline indicator right here, which is the blue line that I am playing through the video clip. If it's right there and I choose insert, look what happens. This video clip is added to video Track one, an audio track one, and it splits the interview a an interview, be clips, and it puts it in between. Basically, I'm going to undo that, and then I'm going to press over right, see what happens. Instead of splitting these clips and basically pushing them aside and making room for this video clip, it just overwrites it right on top and you can't see it cause we it's on track one. If I toggle off track to, you'll see that now it cuts from this interview clip to this clip. We just added, and then it will cut back to the interview clip. But that's not what we want because it overrode this video clip. How do we use thes quick buttons for adding this clip to say, Track three rather than track one? Because this is a cool way to add footage to our video sequence, but not when it overrides video clips that we want on our timeline. What you have to do is change the track selection over here for overriding. So if we select right here just on the left, not this one over here, not this column right here. But over here on the left and we move the V one to this V three layer, let's see what happens when I click over right. The video is added to track three, but the audio is still on track one. So we've got to make sure that we change both of them, so we're going to change a one from the track one to track three. Now, when we press overwrite or split, it's going to add it to the timeline on the right track that we want, the one that we have selected. Those are many ways to add video or audio clips. Let me just collapse these track so that we can see a little bit batter. We can do the same thing with our music. So say we have a music track. We can just drag it onto a new audio track layer, or we can double click it toe open up in our source. We can make a selection by pressing the I button for an in point and the O button for an outpoint and then drag it down or press override or insert of I zoom out and we have a one track three selected and we say over right it as it right there. If we say insert inserts it and splits all of the tracks, all the video and audio on all of the tracks play around with this. Play around with adding clips to your timeline. In the next lesson, we're going to learn how to actually added your clips. Once they are on the timeline 10. EXERCISE: Sync Audio and Video: I'm going to show you why I clocked right there in the follow up lesson Today, though, in this video I want you to take action. This is a practice lesson of sinking up audio and video. A lot of times with modern cameras, you're shooting with a DSLR camera, like what I'm doing right now, and it has a road video, my pro microphone attached to it. But the audio from that might, isn't that great You can hear now. It's not as great as the boom mic, the road anti G three, which I'm recording with right now as well. So in this lesson, download the audio and the video clips there. Downloadable files attached in the resource is go into Premiere Pro and sync up that footage yourself. I'm going to follow this up with the review lesson next showing you how I did it. But I want you to practice first. Thanks for watching. If you have any questions, send me a message or post a question on the Q and a tab on the course, and we'll see you in that next lesson. Good luck 11. EXERCISE REVIEW: Syncing Audio and Video: Let's review how you would sink the audio and the video. Hopefully, you were able to do it yourself. I'll show you the easy way. We could just select both right click and say Synchronize, make sure we're on audio and then click. OK, yeah, that does a pretty good job at sinking the audio in the video. We're going to show you why I clap right? Sounds pretty good if we mute the video audio track for a track one there in the follow up , let's just to get the road and TG three audio sounds really good, but it's not perfect. We have to go in and find Tune this. If we go in and zoom in as much as possible, I'm just pressing the plus button next to my delete key on my Mac keyboard. We can see from this clap that these aren't perfectly sync. It's off by half a frame or less than half a frame. But if we select the video or the audio and we try to nudge it forward or backwards, and I'm nudging it by pressing command right arrow or left arrow control, if you're on a PC, it never lines up perfectly. The way we fine tuned audio is buying going here on our timeline, saying show audio time units which changes our clock up here and allows us to dive in even deeper. We can zoom in more now you can see as I zoom in more her, and we can then go and sink this footage. Notice, though, that when I try to click the and move the video track to the left or right, it still only allows me to nudge it by one frame, see this plus pop up. And when I drag to the right, it's one to those airframes that I'm moving it by. But if I click the audio, even just the audio from the video or the audio track now I can move even more precisely so I can zoom in here even more. Make sure that this is aligned more properly, seem out and that looks pretty good. And now they play through this. That's a perfect clap before it was off, just by a little bit. So the next thing I would do I'm just gonna go back and turn off show audio time units and then I'm going to dis enable the video audio. So I'm going to option click this video right here or this audio for the video, right click it and uncheck enable. Then I'm going to link up the audio and from the anti G three to the video itself. So I'm going to select All right, click and first say unlinked, which, unlike the video from this audio that I'm going to select all again right, click and say link. Now if I take my razor blade tool and I want to make cuts, it happens to both audio tracks and the video, and it's all linked together. That's how I would sink this audio and fine tune it with that trick of showing the audio time units. If you have any questions, let me know. Otherwise we'll see you in another lesson. 12. Premiere Pro Editing Tools: in this lesson. We're learning about all of our different editing tools over here so that we can edit our footage on our timelines in a very efficient way. That's the goal is to make you efficient. Editors, just like a pro would be to learn how to do this. Let's start a new sequence. I'm going to take some of my B roll clips and add it to just a new sequence that we can work on. I'm going to take this cruising down Street MP four. Just drag it onto a new sequence. Sometimes that pops up. It seems like it's asking you to add a completely new sequence. Just press cancel and then it's already added this new sequence. So I'm just gonna call his B roll at it. The number is going to take cruising and straight to Dragon on to the end. Then let's just do working on the chair and maybe one more photo Anthony and learning. So I just have all four of these clips back to back. The entire clips are on there, so let's go through our tools. First is the selection tool, and whenever you have her over any of these tools, you see the keyboard shortcut V for selection. This is your most popular tool. It's what you're going to use to select a move around. Sometimes this modifies to a different tool. For example, when you hover over in between a panel that changes so you can change the panel size. When you hover on the side of a clip on your timeline, it changes to the trim edit tool. What that is it allows you to select a clip and dragged the endpoint in or the in point in or out. So now, if we play through this, it gets cut off right there instead of going all the way to the end of the clip and cutting to that next shot. So just using the selection tool and the trim at it, you are able to edit these clips down. And one thing you can see when I actually in making that at it. When I have the selected and I drag in or out, you can see up in the program monitor. You can see where I am about to edit in or out. So say I want to add it before he gets to that truck. See? Right here. Maybe I want at it. The end right there. So now if I play through this, it goes and cuts right there before he rolls past that truck, there's different ways to get it to be. At that point, though, it's only just extend these sides. I'm going to skip over to this razor blade tool. Think of it as a razor where you can cut your clips up so I can just cut around and it cuts the clips into different pieces I'm gonna undo that was pressing. Control commands you on my keyboard controls the if you're on a PC. If I want to cut specifically at this frame right before he gets to the truck, I can take my razor but late tool and just trim right there. So now we have an edit right at that spot. I can go back to my selection tool just pressing V on May keyboard. Select this second part where is going behind that truck and delete it just by pressing delete on my keyboard on a Mac or backspace on a PC. Say I want to cut right there, but then go directly into this clip right here, which hasn't been color corrected to about this point. I can take my razor blade tool again. Trim right there. Take my selection tool, select this first part, delete it, then I can select all of these clips or just the single clip and drag them over to the left toe where they meet. You'll notice that a lot of things I'm doing it seems like there's like a magnetic touch. As soon as you get over to the left, it snaps into place. That's because I have this magnet snap button selected, and that's very useful, especially when you're making edits. When you want to specifically make a cut where your timeline indicator is with the magnetic snap button on, it will automatically help you edit. To that point. It will help you move things specifically to that point. If I don't do it, if I don't have snap on, I have toe eyeball it. I have to get it right there where they meet, and that's a little bit harder than with the magnet medic Snap Tool on. So that's one way to move these clips all the way to the left. I'm going to move them back, and I'm gonna show you a different way. You can click in this area between the clips impressed delete on your keyboard and that does a ripple delete. It's the same thing as going right. Click and choosing Ripple Delete. It deletes the space in between, and it moves everything on the right side to the left. You can do a lot of edits with just those tools, just with the selection tool where you can choose the end of the clip or the beginning of a clip to drag in or out in the razor blade tool. But Premiere Pro comes with some other tools that are even more helpful. I'm just going to get this back to where we were, where all the entirety of all of these clips are on our timeline. 12 Well, I want to talk about is the Ripple Edit tool. Be on the keyboard. See what happens when I select that tool and I hover over the edge of a clip. When I'm not hovering over the edge of a clip, it doesn't look like it can do anything. It's not gonna let me select anything, But if I hover over the clip edge of the clip and I dragged to the left. See what happens when I let go. All of the clips on the right automatically jump to the left, so it automatically does that ripple delete of that space. That was between where before we had to delete it ourselves. This is just a one step process. Same if we go to this next shot and we drag in to the point where we want it's going to edit to that point and make all these clips jump over to the left, let me show you what happens went if we were to do that same thing without the ripple at it tool. So I just undid that. Take my selection tool drag in. There's that space right there. But with the Ripple edit tool, it automatically will jump all these clips to the right over to the left. So now we have this edit right here to here. Got it? And this clip is not color corrected. You might be thinking, Wow, why does that clip look so bad? We're going to learn how to color correct this footage and a future lesson. It's because we shot basically raw footage. That's what that lut that l u T file is all about. We'll learn about that during color correction. So that's the Ripple Edit tool. A quick way to get to the ripple at it. Tool. Zoom in a little bit further on my keyboard is when we are hovering over our timeline with our selection tool. Just press command on your keyboard or control. If you're on a PC, see what happens now. With command selected, my selection tool becomes the ripple edit tool, that yellow tool. And when I select and drag in, it acts as the ripple Edit tool you'll notice when I have commands. I'm still present command. There's this other tool. This is the rolling Edit tool. It looks, it's red. It has four arrows. What this does It will move this cut point to the right or left, and it will edit the left or right sides. So see what happens when I click this with the ruling Edit tool and dragged to the left. This first clip becomes shorter and the second clip became longer. We could do that ourselves just with the selection tool by clicking with the trim edit tool and then clicking the 2nd 1 and dragging it to meet it. But the same thing happens when we use the rolling at it tool drag to the left or when we have our selection tool selected and we press command on our keyboard. When we go in between, when we see the red rolling at it toe highlighted in drag, there are two more tools that I want to go over really quickly. He slipped Tool and the slide tool. Let me just make this clip a lot shorter. I'm just going to make this clip very short right here, going to delete that space in there. I could just take my slip tool. Why on my keyboard, click on this clip and then dragged to the left. You can see that there's two videos popping up in the program. Monitor. The video on the left is where the video will start. The video clip on the right shows where that clip will end. So say we want to get him already running in this current corner and end right there. When he gets into the shadow of that tree, it's basically slipping. This clip to the left, the timing of it so it starts and ends earlier. Or we could slip back Dragon to the right so it starts and ends later. I hope that kind of makes sense. I know it's a little bit confusing, but I think playing with these tools yourself, you'll start to understand what's actually going on. The last one is this slide tool. Say I have three clips in a row. If I select this middle clip and drag to the right or drag to the left, see what happens. It moves this clip to the left that is the first clip shorter, and it makes this third clip longer or back to the right. So it's taking that middle clip and editing the clips around it. The first and the third clips in this sequence, the tools that I mainly use are the selection tool with the modifiers of the rolling edit and the ripple at it. This will make you a very efficient video editor. I want to show you one more thing back on our main sequence. I'm going to delete these to be rolled clips that we have just by selecting them and pressing delete on keyboard and same with this audio. Selecting it, pressing, delete or backspace. If you're on a PC, we have these two clips interview a an interview. Be if I take my say razor blade tool and I go through this and we're listening and we find a good spot that we want. I can either making add it to both clips by clicking one after the other and then say we played through this and we really like this sound bite that he's saying right now and then we stop. We want to take that selection again. Now we can with the selection tool, take this selection and move it around or take this first selection and delete it whatever we want. But that was a two step process. I'm just going to undo that. So say, Let's just open up this wave form again. Gonna zoom in here on my keyboard. Say, we want starting here to hear for both clips. We can take the razor blade to again while we have a hovering over a timeline press shift on your keyboard, which makes it a razor blade tool that cuts everything on the timeline at this point with the resident regular razor blade tool. It just cuts that track that you click on with the shift double razor tool. It cuts everything on the timeline. So it's just a faster way to cut everything. Because you might have not only audio, you might have be rule. You might have all sorts of other things, and you want to just trim everything at once. Another way to do this. There's always another way, so I hope you're sticking with me because this is really important for this audio track. What we're going to do is we're actually just going to delete Thebe Camera audio. So does select just the B camera audio versus the video. You have to option click the audio Ault. Click. If you're on a pc, see if you just click one or the other. It selects both the audio in the video, so if you press delete, it will delete both the audio and the video. But if we just want to get rid of this audio A. What we can do is press option click. It just selects the audio track, whatever clip we select and then delete it or we might not want to actually delete this audio track because we might want to save it, just in case the audio from Camera A gets messed up or something like that. I just back up. We never really want to delete it. We can just right click and you'll see again what I did. I actually just right clicked, and it selected both the audio and video. What I'm going to have to do is option right click and then check enable. When enable Does is similar to what this toggle track on and off button does. But instead of turning on and off an entire track, it turns off just a single clip. So now the audio from Camera B is off if we play through this, but it's still there in case we need to enable it later on. It's time to play a little bit around with this at it. What I want you to do before we start our the next part of the project is go through this interview and find the parts that you want to save for your video. So this interview clip is seven minutes long or so. The final project for this course is to have a one minute long video, and I know a minute might or might not sound long to you. A minute video for a lot of people is long nowadays, but when you have an interview like this, it is hard to kind of pick and choose the points that you want to edit. So go through the interview using the editing tools, make your selections and cut it down to just one minute. So by the next lesson, you and I will have a sequence that just has one minute worth of video with both interview camera A and B interview audio A on an interview. Audio Be off and it's just going to look like a sequence like this, but it's going to have a bunch of edits, and it's going to be a minute long. No, In the next lesson, I'm going to jump ahead toe, adding B roll and making a good sequence. But at the very end of this course, I'm going to put together a bunch of the longer lessons, including one where I walk through my entire editing process for finding the right audio clips for this interview This is seven minutes long. Anthony talks about a lot of different things, and it's interesting to see perhaps what you are going to create, what I want to create, what I think is important, what you think is important. Or maybe it's not the most important thing, but just what you think would be interesting for a minute long piece. So if you want to see me, added this entire interview clip down to one minute, there will be a lesson later on in the course. I just didn't explaining that. I don't want to toe put it in the very next lesson because some people might want to just do it themselves and jumped on to the next lesson where we'll learn a little bit more. So anyways, have talked about this long enough. Enjoy that lesson if you want, and we'll see you in the next lesson. When we start adding Mawr B roll to our footage 13. Bonus - Editing Down an Interview: welcome to this longer lesson where I'm going to be actually editing this interview down to one minute. So thank you for all of you watching this if you're jumping from the previous lesson earlier in the class or if you've gone through the entire class and just wanted some extra lessons than welcome. So what I'm going to do is just expand this timeline a bit so that I can see and have more space than I'm literally just going to walk through this this video, how I would myself and going. I'm going to walk and talk through it. There might be a couple places where I'm just kind of listening to it, so there might be a little bit more pauses in this video than in other ones. Eso Let's just get to it. So my sequences set up. I have my audio from a camera up. I like having the way form up so I can see where Anthony is talking. I can also tell where I'm talking and answering questions because that's where there are audio wave forms. But there a little bit lower eso. Anyways, let's just go through it. The first part is where I'm at asking questions so I can almost just skip through to about this point where not only can I see him talking up here in the video clip, but I can also see the voice right here pop up right here for the very first time. So when I'm dealing with multiple layers instead of using the slip edit tools, I typically used the razor blade tool just pressing see on my keyboard and trimming that first part. So I'm just going to trim right. They're going to select this clip, delete it. It's like this space press delete on my keyboard, which is backspace for PC users, and it just makes this part of the interview at the very beginning. Now I'm going to just listen through the entire interview and cut out parts that I like, and now I'm doing this after I've already created the sample video for this course. So I already know where I'm going to make edits, but let's just listen through it and we'll see what I like and why I like those parts. The same year I was diagnosed that summer, the whole a less ice bucket challenge phenomenon went viral. I like that line, So I'm going to make my minute long clip about the ice bucket challenge. That's what this whole six minute clip is about. We did a two hour long interview, so he talks about a lot of other things. And who knows, by the time you take this class, the short document or you might be out, we're having a A music composer do the score for it right now. Um and so anyways, I like that clip, so I just make that at it. Something's times what I will do to Mark where if I like a clip or not, I'll just move this a camera shot up to track three just for now. So I know that that's a clip that I like. And it was insane to see because a less has been in my family have been around it for such a long time, but nobody spoke of this disease. Nobody knew what it was in here. I like that Those clips a lot I like that he's talking about a less has been in his family , which isn't explained in the final cut that I did before. I'm not going to select it now just cause I'm trying to replicate what I did before. But there's so much good stuff, and that's why this is so hard to cut down to a minute because there's so much good content . Uh, my newsfeed was filled with everyone that I knew, and there was their mamas baby's mama doing the a less ice bucket challenge, dumping ice water over their head. And, um so I like this part of this line because it explains what the ls but Ice bucket challenge Waas. See how it starts? My newsfeed was filled with everyone. My news feed was filled with everyone and their baby's mama. I think that's what he said. Goes on to say We can trim out the first part of that sentence. So it's just everybody hold with everyone that everyone, everyone and a cool trick that you can do while playing through your edits is playing with the J. K and L Buttons on your keyboard with every l knew will make your You are video play. You know, we're J goes backwards, everyone that you can press l twice to do double speed and JJ twice to go backwards double speed and then K pauses it. So if I need to find specifically where it is, I can press. L feed was filled with everyone, and I see it's right in there. Instead of using my mouse to move it right there, I could use Jay to go backwards, and I could also use my keyboard to go frame at a time. I know it's right there. I want to start before he says everything. This little peek right there is where he starts to say everything. So I'm taking my razor blade tool and cutting it there. Everyone that I knew there was their mamas baby's mama doing the a less ice bucket challenge dumping ice water over their head. Okay, I'm gonna edit right there After he says head trim using the razor blade tool. Move this up. So that's a selection now. So if I zoom out, you can see I have one selection to selections and, um, not everybody. New order. So what? This disease was but care They're saying the words are the letters A l s and bringing attention to it. I was happy, you know? So I was just sitting back watching all that happened since I did this interview. I know that there's other lines that I like better that show his emotion and show what this meant to him. So I'm going to not choose that line, even though it was a good line. But if you're an editor and you didn't shoot your own project, sometimes you have to listen through an interview multiple times so that you know where a good part is. Our are not good part is, and eventually came to a point where people will be became frustrated and did it. And this is a section that I didn't use in my own at it. So this is where he starts to talk about his frustration with how people became frustrated with the Alice but ice bucket challenge. And it's a very powerful part of the interview. It's just something that I didn't select. So hopefully some of you might choose this one, and we're annoyed from the challenge, and, um, and then a lot of people didn't really understand the realities of this disease either. They were smiling, dumping water on their head because it was for all kinds of reasons. And but so if I had someone that made a very negative post that I read that motivated me to make my ice bucket challenge. He's a friend of mine, and me to. A friend of mine told me that I wrote on his wall or the status setting that if somebody does ice bucket challenge again, use gasoline or light yourself on fire instead or something like that. And I was just like, You know who I am? You know, I have this disease and my mom has a what would you say that? So this is a completely different sect of part of the interview that I didn't select at all . For my video, I thought I wanted to give a kind of overview of what he's talking about. But maybe you might want to dive into just this part of the video. Just this part about House on. May this offensive comment. It's up to you. So a lot of a lot of my motivation in making that video is out of frustrations and and frustrations that I've been keeping inside, and it would even voice to my own family about. And so I did all the fun part. You know I jumped into a bikini and I washed my car and then all that fun thing because that's why the ice bucket challenge was successful. I thought, you know, because it was fun. Nobody talks about this disease because it's okay. So he talks about doing the ice bucket challenge. I think I'm going to keep that part. I might edit it out later. So I did all the fun part. I jumped into a B and you could see that while I'm playing, I could still take the razor blade tool and make edits. And that's another thing you can do once you start to become a more efficient editor is you could be playing through listening, but also being mitt making at its on the timeline. I jumped into a bikini and I washed my car and then all that fun thing because that's why the ice bucket challenge was successful. I thought, you know, because it was fun. Nobody talks about this disease because it's ugly, you know that doesn't go viral, but as soon as somebody does something random and fun, it goes viral. And so that's what I did and then I and that was funny, I guess. And so and then at the end, I was like, I'm gonna talk to the camera. Okay? So I'm going to just cut it somewhere in here. I'm going to have to make some more minute edits a little bit later on when I start cutting this down. And that was funny. I guess I'm just going to sit like this, move it up a selection like I'm gonna talk to the camera. I turned on the camera when nobody was in my house and I just talked to I don't know what was going to say And it became emotional. Hysterical, Almost because I was I was listening to myself and realizing how unfair this was. And then it went viral blew up. Got first day. I got 100,000 views. Okay, so I want to keep this part about going by roll. And then it went viral. I blew up, I got first day, I got 100,000 views. And then the next day I got a 1,000,000. Okay, Gonna keep that part. And by the end of that day was like, 5 10 It was going viral, and it was crazy my phone was dinging 10 times a second. No exaggeration. All these little moments I could have chosen this part was that part. And to me, it's more of just like a gut feeling of This is what I want to choose. But, um, I could be wrong. And that's why it's important to get second opinions on your edit to see Okay, is this line that he's saying powerful enough? Maybe I should have used this other line. And I'm sure some of you have feedback. Or maybe you're listening to this interview now and you're like, Wow, Phil, why didn't you use this clip? This is so much better That and that's what is great about video making. It's an art, and it's a personal way to tell a story. No exaggeration was going didn't let me, Me, me, me, me, me, me, me, me, me. Meaning I never get notifications ever. And, um, and my phone was going dessert, and I turned off all my notifications like, what is this? All my family came to the house. What is going on or getting all these views? You're getting all the support we're getting all this love and encouragement. All these words about like it's just insane. It was crazy. Going viral is weird. It's like So I want to keep this little part about words and saying he says its insane. We're getting all this love and encouragement all the Yeah, these words about like it's just insane. I like that little part because it kind of wraps up, he says. It went viral and then he says it was insane, and that's kind of like a conclusion to that. Thought it was crazy. Going viral is weird. It's like a crazy thing. And that was like a weeklong process. And I challenged Ellen too generous because Ellen brought so much hope to my mom and and laughter and fun. She watches. So this is the part that I didn't include either, he went on the Ellen Show. There's actually photos screenshots of him on the Ellen Show that you can go through and I don't have the rights. Teoh distribute these commercially so just educationally, we can use these for our own personal use, but know that we can't post these and and try to sell these videos or anything because I didn't get the rights to using these screenshots. But for for this fun little project you can play around with using this story about going on Ellen because it's another one that I think is really cool. You could make it all about the whole minute piece about going on Ellen. Laughter and fun. She watches your show every day. My mom's in bed, laying there every day because she's immobilized. She's paralyzed almost completely and you know, she watches the show a lot of joy out of it, you know? And it's a better dream to go to the show, let alone, like, you know, her doing it a less ice book challenge for us. So I challenged Allen in a week after I made the video. We got a call from the Ellen Show, and we got invited, so I'm not going to do it now. But sometimes when I'm playing through an interview, all listen to it in double speed just by pressing L twice. So it's hard for you to be listening to that throughout this lesson. But if I was doing this on my own, sometimes I listened a long interviews at double speed so that I can get through it a little bit longer, a bit faster. This is crazy. This is no way this is happening. And so my mom, like, got to go to their ship, her show, and also see her son sitting in that share that right next to her, and it was such an incredible experience. Ellen gave her hug wave. My mom waved to her with her foot. And, um, my mom, I think Ellen loves my mom more than she loves me. My mom is a beautiful soul near enough to meet her one of these days. But, um, so, yeah, that was the whole thing. It just blew up. And that was incredible to see and brought a lot of needed attention and awareness to this this horrible disease. Okay, I'm gonna take this clip for now because I think that's a good another good wrap up. So, yeah, that was the whole thing. It just blew up. And that was incredible. Soliders take from and that's incredible. And so that and so you know, in a weird way, I think that's why I talk about this disease and always a very hopeful way. Always a very positive way because I know that's going to translate better to everyone, you know, I'm gonna say yes, Here is what I'm going through. But also, here's what you can do to help. You know there's there's plenty of called actions that will help promote research, fund research and development and insurance. And just anyways, we Yeah, so you can see that during this interview, which I was actually doing myself, I let him just kind of ramble on. And I think that's that's good when you're going for sort of a new emotional story like this one, where I just want him to get deep, I want him to say what feels right. If you're doing more of a P s, a a corporate video and need someone to stick to a certain line as an interview word, don't be afraid to jump in. And, you know, ask the question again or say I really like what you said. Can you say it in this way or that way? So that was a long part of this interview, where I just let him go. And then here I ask another question. Okay. So what? I mean, what kind of support came from the ice bucket challenge for you with their other people? Sure. Yeah. So, um e think ice booth video going viral. The biggest thing to me meant that I wasn't alone. I really like that line, so I'm gonna take it now I know I'm selecting more than I have in my final piece. I'm going to have to edit it down, but we'll do that later. And it meant that there are a lot of other family is going through this disease, and they're realizing that they're not going alone to They're not going through this alone and that they are allowed to be vulnerable. Not only are they allowed to be vulnerable, but they should be vulnerable, Because how else is everyone? Is everyone going to understand the devastation this disease brings? Not just too one person, but two of the entire. All of this is really good stuff. Um, but I'm not selecting it just cause I'm trying to replicate my initial cut, but all really good stuff, you know, And and so I always encourage families because it's really hard to do but to to be open to share your journey with this disease because we need change. We need support and we can't get it without you voicing it. You know you can't keep that in the house. So the biggest thing that unless I spoke, a challenge brought was hope and awareness and advocacy and a voice came in and take that. The biggest thing for a disease that takes literally will take away my voice, you know, and for a demographic of people that it's small and underserved and has never gotten the level of awareness that it's ever needed. This was huge for us, you know? Can we take that whole clip? I know I have to edit this down. I can just tell from the timeline right here. That's 25 seconds right there, and there's no way I can keep the entire line with all of my previous selections. But for this, everything is good. You know, that's bigger than getting on the That's bigger than anything that's bigger than getting on any other news program or anything. That's just the fact that, yeah, just that. But, um, a lot of money. I made a cut right there. I think I gave you a clip, or these two clips have a couple edits in there just to shorten it down. Um, right there. A lot of money was raised for our cause. Essentially, um, but we still need a lot more support, and I just I love this last line because it wraps everything up together. The a less ice bucket challenge was great, but, you know, it's still we have to live with a less I know it was one summer fun, but this disease is every day for us, you know, And it's still here, and there's still no cure. And so we need continued support until this beast is gone, you know? Okay, I'm gonna cut right before he says, you know, going to move this interview clip up to track three, I'm going to zoom out, and now I can see all of my selections easier ate all of my selections. I want to just mention another way to do this. If you're just shooting with one camera, say, I just had interview and this was the only camera. Instead of putting it on my timeline like this, I could just listen to it through my source monitor, make selections with my in and out points and then drag it down to my timeline. That's totally fine if you want to do it that way. But with a two camera interview, you have to put them down on your timeline first and sink them up. So if this was actually a documentary I was working on, what I would do is name this sequence. I'll call this, um, selector selects. Okay. Or you know what? I would call a sink interview. Then I would duplicate this just by selecting it, copying it and pasting it in that folder calling this selects double clicking this and opening it up. So now I have the selects timeline open. Then I'm going to get rid of all of the non selects just by selecting them, deleting them. See that pretty easy. Then I'm going to delete all the space in between the selects. We'll see how much time I have selected. So I have just a minute and 1/2 of selects. That's gonna be too long. So I have to edit this down. So then, before you start editing this down, though, I'm going. Teoh first gonna move the interview a camera down to track to for video Then I'm going to take the selects, copy it and paste it again and call this Anthony V. One or whatever you want to call it, but V one for the first version. And then I'm just going to close these tabs for selects and B roll at its and sink interviews. One thing that we haven't done is turn on our auto save, and you saw that it did do an auto save right there. If you haven't done so already, go up to Premier Pro Sisi. Good of preferences. Go to auto Save this opens up your auto save options. You definitely want auto save on this check mark right here in depending on how fast you ahead that, you might want to save it every five minutes, every three minutes, every 10 minutes. I do five minutes because I think that's a pretty good amount of time. Sometimes I do a lot of edits within five minutes, but five minutes is usually fairly safe. And then if you choose the maximum project versions so it will save 20 versions and then it will start replacing those after say, you did this for over 100 minutes, then it would start replacing those first versions that you say auto saved, and these will save in the same place where your project is. So see here. We talked about those capture scratch settings in the very beginning when we opened up the new project. Here we have Adobe Premiere Pro Auto Save folder, and we have all of these auto save files and you can see 11 11 saved at 11 17 11 22. And if for some reason your project crashes or you want to go back to how the project was at the start of the day, you can do that with these auto saves. Anyways, that's just a quick note. Let's continue with editing this down. So now we have our Anthony version One sequence. We could make all these edits and not be afraid that we can't go back because we can go back to our selects timeline. And I'm just gonna play through this and trim stuff down. The same year I was diagnosed that summer, the whole a less ice bucket challenge phenomenon went viral. Everyone the night new and there was so I could just to save time phenomenon, edit out this phenomenon word. So if I take this phenomenon word out, it goes from women. Just bunch. Think these together hold a less ice bucket Challenge went viral, so that's a complete sentence. The problem is, now I have to cover this cut went. See? There's like a very minute cut. We have to cover that with B roll. Unless you don't mind, they're being jump cuts in your video. So that's something to keep in mind as you're cutting down these sentences. So I'm just gonna undo that and leave him saying, Phenomenon went viral. Everyone that I knew there was their mamas baby's mama doing the a less ice bucket challenge, dumping ice water over their head. So I did all the fun part. I jumped into a bikini and I washed my car. And then all that fun thing, that's why I sent a challenge was successful. I thought, you know, because it was fun. Nobody talks about this disease because it's ugly, you know it's going to start from. Nobody talks about challenge dumping ice water over their head. Nobody talks about that because that's a complete thought. I'm not. I don't want to get to his video yet. I want to just go from the A less ice bucket challenge and went viral. Nobody talks about it. Nobody talks about this disease because it's ugly. Yeah, that doesn't go viral. But as soon as somebody does something random and fun, it goes viral. And so that's what I did and and then he says, And that's what I did on and that was funny. I guess to save time, I'm gonna really get in here and slice it up viral. And so that's what I did. And so that's what I did. And I'm just using my keys to get to that point and delete this part. So that's what I did. And then it went. Viral blew up. I got first day, I got 100,000 views. Okay, so it went viral, blew up. I got first day I got See how he says. I got it blew up. It got first day. First day I got 100,000 views. I can just trim out this middle part right here. Got it, got because any restarts his sentence saying first day and that just saves half a second went viral, blew up first day, I got 100,000 views. And then the next day I got a 1,000,000. We're getting all this love and encouragement. Okay, so this is good. But see here. When this clip starts, we're getting all see that weird sound he's making? I'm gonna cut that out. And for now, I'm just going to cut out the audio and not the video 1,000,000. We're getting all this. So I'm going Teoh press option on my keyboard, Click just the audio and drag it in 1,000,000,000 for getting all this love and encouragement about like it's just insane. And that was incredible to see and brought a lot of needed attention and awareness to you this this horrible disease. The biggest thing. So he says his line, I'm actually going to get rid of this line because he says It's just it was just insane. That was incredible. And then he said it was incredible. He's kind of repeating himself. I'm just gonna delete this entire clip, see where I'm at with my minutes. So I still have to cut out 15 seconds and say, The biggest thing to me meant that I wasn't so the biggest thing that unless I spoke, a challenge brought was hope and awareness and advocacy and a voice for a disease. Okay, so these again are kind of repetitive, he says. The biggest thing for me, the biggest thing to me meant that I wasn't alone. I wasn't alone. And then he says that again. And I like this part about the voice and awareness and advocacy and and a voice. But then he goes on to explain what that voices for a disease that takes literally will take away my voice. Okay, so I'm just going to start from there for a disease. I believe that. So it's goes from me, meant that I wasn't I wasn't alone. These that takes literally will take away my voice, you know, and for a demographic of people that it's small and underserved. And then I'm just going to cut from really will take away. My voice literally will take away my voice, then cut straight to for a popular or demographic. It's small for a Democrat. Another way. Instead of selecting these deleting, selecting this and then deleting another way to do that, basically same thing is press a on your keyboard, a brings up this track. Select forward tool, and if I select or click on my timeline, it chooses all the layers to the right. See that to the right of where I click. If I want a single layer, I can press the shift button and it will just click a single layer and whatever audio is attached to it. But I can use this to select everything to the right and just drag it over. The left literally will take away my and while that's selected, I can also move or nudge these clips to nudge your selected clips. Just press the command key on your keyboard and press the left or right arrow keys and or the shift command left or right arrow keys and control if you're on a PC. So for any clip I have selected, I can press command left. We're right on my keyboard and it nudges it to the left or right. That's a good thing to know so that you can make those minute edits. Take away my voice for a demographic of people that is small and underserved and has never gotten the level of awareness that it's ever needed. This was huge for us, but we still need a lot more support. You know, I know it was one summer, so I already see a couple of things I want to get rid of. To make an interview. Sound smoother. I get rid of those, um, zor that er's right here. You know, uh, he says, you know Ah. So I'm just going to get rid of these with the A, select all of it to the right. Just drag over a lot more support. I know it was one summer, and then he says, I know it was one summer. I know what it is. I know it was It was just 12 summary repeats himself. So I'm just going to make that cut, drag the selections to the left. So we just starts with the 2nd 1 support. It was one summer fun, but this disease is every day for us, you know, and it's still here, and there's still no cure. And so we need continued support until this beast is gone. So he has another, you know, in here, which is just something that hat. Ah, English speakers say so. I'm gonna get rid of that every day for us and it's still here and there's still no cure. And so I like this whole end. Ah, but we are still over a minute, and I'm very strict with that minute length. We have to get this under a minute, so I have to cut down about two seconds. So I'm just gonna listen to this one more time and see wherever I could cut it down. The same year I was diagnosed that summer, the whole a less ice bucket challenge. Phenomenal went viral, everyone. So maybe that phenomenon part could be a bit to cut out on you. And there was their mamas baby's mama doing the A less ice book. Here's a little bit and I know that for some of these parts, I'm going to cover it with B roll because I know what b roll I have. And that's a good thing to look through. What b roll do you have? What photos do you have? I've got some social media posts, thes air, things I can put over this part so that we don't see any cuts that I actually make. In the interview, everyone that I knew there was their mamas baby's mama do it. And so I'm just gonna cut out this reputation of And there's you and there. Was there Mama in their mop that I knew? So I'm just going to make this selection, nudge it over to where my tiling indicator is and that I knew in their mamas baby's mama. So that's good. There's an audio cut right there that we're going to have to add a transition to to smooth it out. We'll do that later. One that I knew in their mamas baby's mama doing the a less ice bucket challenge, dumping ice water over their head. Nobody talks about this disease because it's ugly. You know that doesn't go viral, but as soon as somebody does something random and fun, it goes viral. So that's what I did. And then it went. Viral blew up. First day I got 100,000. Okay, he keeps saying Viral. It went viral. So I'm going to get rid of this. It went viral and see what the interview sounds like. Somebody does something random and fund it goes viral. So that's what I did First day I got 100,000 views and Then the next day I got a 1,000,000 forgetting all this love. Okay, so I think that's pretty good. And we still got have a second left. But that's good, cause we don't need him to repeat himself. It went viral. It went viral, 100,000 views. And then the next day I got a 1,000,000 forgetting all this love and encouragement, all these words about like it's just insane. The biggest thing to me. I think that part because he doesn't complete his sentence. Love and encouragement. All these wares of Africa was just he's you about to say and all these words of affirmation . But then he cuts a self. Often, he says, it was just insane saying, because just it was just insane. So I'm just gonna say it's It was just insane. Start with love and encouragement. We're getting all this love and encouragement. It was just insane love and encourages just It's a little bit too much. You can see that I can select multiple clips, drag and do a trim at it. Encouragement is just selecting, nudging everything. Encouragement is just insane. Encouragement is just insane. The biggest thing, something like that. I think will work with a little audio transition for a disease that takes literally will take away. That's another port part for a disease that that takes literally will take takes. And then, he says, literally will take literally. So I'll just go little that takes for a disease that literally takes these, that for a disease that literally will take away my voice. So that's a more complete, normal sentence for a demographic of people that it's small and underserved and has never gotten. I think we're under a minute, but I'm just gonna watch through this, but we still need a lot more support. It was one summer fun, but this disease is every day for us, and it's still here, and there's still no cure. And so we need continued support until this beast is gone and that's fine. That ends there. We have one second left. This allows us to let a few of these lines breathe a little bit more if we want to add some space in between the lines. So it's not just what I call wall to Wall Audio, just from zero seconds to 60 seconds. He's just same same same stuff sometimes in our videos. It's good to let moments breathe, especially when you want to add a motion to something. Just let something sink in there for a minute, pause for a few seconds. We don't have that much time to do that with just a minute long video. But for a longer piece, that's something thing to think about. So we have our project now. Thank you for watching. I don't know if anyone's watching this entire lesson, but if you are congrats and kudos to you, it's time for you to do the same thing. Find your selections, edit it down to a minute, and we'll go back to the section previously that you were on and we'll start at B roll to this footage. 14. Add bRoll to Your Video: Welcome back to the chorus. Maybe you watch the previous election lecture in the section and were able to edit your interview sequence yourself. Or maybe you wash the full length editing section that I put later on in the course that got me to where I am today just to catch you up. We haven't Anthony V one sequins, where I have one minute's worth of interview clips with both the A camera and be camera. In this video. We're going to add B roll to our footage, so we have to decide where we want B roll and what that B roll is going to be. It's probably a good idea for you to look through the B roll shots, see what all of them are and look through the photos and see what they are as well. And you're free to go online and try to find your own B roll. Or you could even shoot your own. Be your whole if you you think there's a shot that needs to be done. We are limited, though, with the B roll that I've given you, and that's could be a problem if you want a specific B roll shot. But it's also a good challenge to come up with a way to edit video and make it look amazing without having every single shot that you would like Toa have. So going through my interview, we're just gonna listen through it, and then we're going to see what we want to add to as B roll. The same year I was diagnosed that summer, the whole a less ice bucket challenge phenomenon went viral. So for this intro part, I'm not going to have any B roll because I want to just jump right into his face into seeing Anthony on camera. To introduce him to the audience will probably put a graphic lower third title, and we'll learn how to do that. In the titles section of this course, Everyone that I knew in their mamas baby's mama doing so you'll see that there is a little jump cut right here. We were trimming down the clip, one that I knew their momma's baby, and there's an audio sort of sounds like a glitch will fix that with the transitions in the next couple of lessons. But here is a part where we want to add some clips of the A. L s Ice Bucket challenge. I don't have the rights to other videos of other people. But you could If this was an actual documentary you were making, you might want to get rights to other A list Ice Bucket Challenge videos. Here we do have the clip that he gave me for my documentary of him during the Ice Bucket challenge. So without context is kind of weird museum in a bikini. But this is just for fun. Ah, just Teoh. Be crazy, more wild out there, Try to get more views. So I'm going to scan through this and just get to the parts where it's kind of funny. So we got a couple different shots him talking, calling out Ellen. So if you're editing your minute long piece and you're making it about him calling out Ellen, you might want to actually include the audio clip from him, calling out Ellen right here for me. I'm just gonna take these shots and I'm just going to scrub through it, press the eye for the in point, play through it. Stop press Oh, for the out point. Take the video on Lee and drag it down here. If I expand this track three, I can see what this clip is, and this is good so that I know what's going on on my timeline. I know what the video clips look like. Gonna scrub through here even more. Maybe goes funny part. Start where he starts to scrub the window. Maybe while he's doing it something like here. It's kind of funny, but make sure we end before it cuts to this other shot. Put this afterwards, viral everyone that I knew in their mamas baby's mama doing the a less ice bucket challenge , dumping ice water over their head. Nobody talked, and we're gonna finish with this shot of ice water dumping over his head, matching what he's saying on in the interview with what you're seeing a challenge dumping ice water over their head. Nobody talks in the video clip about this disease because I think it's OK that this clip actually extends past where he stops that last line and continues this into this next thought. These because it's ugly, you know that doesn't go viral, but as soon as somebody does something random and fun, if we have more video clips that might look be good to add some more. Ls ice bucket clips right here. So that's what I did. First day I got 100,000 views. Then, for my added, he starts talking about the vire ality of it, how it went viral. And he talks about the social media views. So we have a few social media screenshots that we're going to add. What? I'm going to do it. Just select all of these just by selecting the top one shift clicking the last one. Drag it down here. I'm going to put them all on different layers, though, so that they end up going on top of each other. And when I do that, I'm adding extra layers. I'm adding 1/6 video layer right now. You can see when I add these, they're different shapes. Their too big or too small. We're going to have to edit the size and shape of these things later on. I just want to get them on to my timeline. I also want a white background. So see, here on the edge of this video, we have the social media clip or the photo, but we see the edge of the shot from the interview. I don't want that. I want a white background. So what I will do is let me just move this up. I will select all of these screenshots, move them up a layer, race a a video track. Then I will add a weight background right here. I'm going to start a new graphics folder. So our graphics been so ill call its graphics and then in the graphics been with its selected I'm going to press the new item button color. Matt, choose the video setting size which is matches my settings right now for my sequin. So that's good. Then I'm have that color picker and was going to move down to white. If you want, you can change the colors with, um, the hex code down here. Or you can choose this eye dropper and then move anywhere in your video preview monitor anywhere on your screen to select that color. So say I want to match the color of his skin. I could do that there. I'm just going to choose white. Then it asked me to choose name. I'm going to call this white Matt press OK, it appears in our graphics. Been now I'm going to drag it onto my sequence. So now So that's what I did First day I got 100,000 views. We have these social media screenshots right here. We still have to edit them. How I did in the original video, where they slide on. That's a little bit of motion graphics that will learn a little bit later on. Then the next day I got a 1,000,000 forgetting all this love and encouragement was just insane. The biggest thing to me, and I'm just going to extend this white part right here. Courage medals, Justin saying the biggest two after he says it was insane to know that these clips will extend to that part. If thing to me meant that I wasn't alone for a disease that literally will take away my then when he talks about a disease that will literally take away his voice, let's show a picture of him and his mom. Both of them are diagnosed with a L s. Both of them are struggling to survive. So we're gonna add this right here. I just drag and drop that photo. These that literally will take away right there. You can see that it's too big and it's not in the right position. We'll learn how to edit that later on. For a demographic of people that is small. And and then when he's talking about this more emotional stuff, let's take that video clip of him and his wife. Maybe a photo. Maybe this shot work where they're working in the chair. But Alice see his face in the shot. We have the reverse shot in the real documentary, but for here, let's just take one of these shots of them with the photo. So let's just select a little bit of this clip putting in my in and out points, hunting right here, demographic of people that it's small and underserved. We could add this photo of him, maybe with his cure, a less, um, car. That's kind of cool. Let's just take that. Maybe we'll put that before the video shot. So it goes. Photo photo. You can see it's way zoomed in because that photo is really big. They make the photo of him in his mom just a little bit bigger is small right now. I'm conceptualizing What this is going to look like, even though it doesn't look like it. Here in our program monitor, we still have to make all kinds of adjustments to the size of these photos. I just am laying it down for later on the level of awareness that it's ever needed. This was huge for us, but we still need a lot more support. It was once I like seeing him look up at the camera where he says, but we still need a lot of support. Then we'll just add finish on these shots of him cruising around town in his wheelchair, which I think is important. And it's powerful because he's talking about needing more support and we're showing his life right now. Him in a wheelchair and he's 27 years old, still needs support, and that's what we're going to end on a lot more support. It was that might be something you want to start on to. You could start on one of these shots and then end on the other. That could be a cool way toe book. End your piece. So now we have our B roll laid out. We have the LS ice bucket challenge stuff. We've got the social media stuff. We've got the family stuff of him and his mom and him and his wife, and then him with this disease. In the next lessons will learn how to manipulate these photos and graphics to make them the right size. 15. Adjust Clip Size & Position: in this video will continue working on our sequence and resize and reposition these photos so they look better. Now we're creating this piece, which is more of a documentary piece, but this will come in handy if you're doing a narrative piece. Say you're using video clips and some you shot in four K resolution and some you shot in regular HD 1920 by 10 80. You'll have to use the effects control tab to resize that video clip whenever you click on one of these clips or layers and go to your effects controls Tab, you have this motion tab. Drop down the motion options and you have positions Scale, rotation anchor point, an anti flicker filter with scale we can drag up and dragged down the scale. We can also gonna undo that. Do that right within our program window just by double clicking. It's hard to see, so let me zoom out, and this is a good time to explain what this is right here. We have our fit, and then we have these different percentages. Thes is this is the size of our video in our window. If we say fit, it blows up the video program monitor to the size of our panel right here. So if we make the panel bigger, it increases in size. If we wanted just to stay at 100% then it will stay at 100% no matter what size were at for now, we want to decrease the size so that we can see this bounding box of the photo. See, when I double click the photo in here, we get this bounding box, and when I increase or decrease the size, you can see the scale increase or decrease over here. I typically leave this that fit. They typically will just use the scale options over here. Although it is very fast to double click, move around, are objects and re size and rotate. If we hover over the edge until our mouths becomes, this can have curved arrow. This is our rotate option. We can do all of this from over here too. So for now, let's just put this in place later on. We're going to add a bit of motion to it, but for now, we'll just put in place. Now when I go over on my timeline to this next photo, you'll notice that I'm still on the settings of this previous photo, so you have to select that in your timeline. Open up your motion tab, decrease the size, then maybe just double click over here and put it in the right spot. Something like that. That's good for now. Now let's go back to our social media screenshots over here, and we'll just resize all these by double click. These can resize them. You can put him in different parts on the screen. If I want to make this disappear so I can see the layer beneath it. I'll just turn off the toggle on and off button. So that's how you re position in the size clips on your timeline. It's time to take action after this video, go to your project and resize and reposition the rest of the photos on your timeline, including the Social Media Graphics. Do it, however you feel, is best in the fall of video, I will be reviewing how I resized and repositioned my own photos on my own timeline. Okay, how fun do the exercise and we'll come back and see you in the next video 16. REVIEW: Adjusting Clip Size & Position: I hope you had fun with that exercise. I'm going to continue with the rest of the previous lesson and show you how I resize the social media graphics myself. Now let's go back to our social media screenshots over here, and we'll just resize all these by double click. These can resize them. You can put him in different parts on the screen. If I want to make this disappear so I can see the layer beneath it. I'll just turn off the toggle on and off button. Let's jazz DoubleClick, this top one. Make sure we're double clicking the top one if you don't get the top one because this one is, it's like the next one and let's just resize a bit down. Move to the side to the right. With this next one will just turn that top one off, will take our next one and moved to the left a little bit decrease of this size, something like that. Turn off that layer, then with this last one will just are a little bit smaller. We're gonna be adding some animation to it later, but if we just line them up one after the other we can do that, so we'll have the first day I got one pop up, 100,000 views and let's turn these on 123 I got 100,000 views. The next one pops up, the next one pops up, and then the next one pops up something like So that's what I did. First day I got 100,000 views. And then the next day I got a 1,000,000 forgetting all this love and encouragement. So we're seeing all these things pop up at the same time, and then they will all disappear right there at the end. We'll learn how to add some transitions in the next couple of lessons. But this is the motion tab. This is how you move things around, and hopefully that gives you some ideas for, um, moving around your clips even before your video clips say this was shot at a higher resolution. I'm not going to do this for this video, but you can use this to punch in on your interviewer or on a clip, especially if you're shooting at a very high resolution. All right, those are just a few ideas. We'll see you in the next lesson 17. CC 2020 Update: Auto Reframe Videos to Different Sizes: Here's a C C 2020 update for Premier Pro called Auto Reframe. Great. If you're creating videos for social media before this, it was at time intensive process. I'm going to just jump in and show you what it does. Basically, taking a video in a normal 16 by nine format and being able to automatically reframe it into a square. A nine by 16 or several other options. And, as you can see, the motion of the clip behind it's actually reframing are subject so that it stays in the frame. How do we do this? If you've created a sequence, whether it's one clip or multiple eclipse, just right. Click that sequence in your program project monitor, and then just go up to auto reframe sequence. It's going to give you the options for the aspect ratio. Square vertical 16 by nine or vertical nine by 16 says say we want to make this good for our into instagram stories or Facebook stories, or whatever purpose you can rename appear. You could also try out different motion presets. If there's a lot of motion, you might want to check faster motion because it's going to do a little bit of a more aggressive um analyzation and then also clip nesting. Typically, you don't want to nest clips, especially if it's a multi sequence project or multi booklet project, and then click create. It's automatically going to create a new sequence, and you can see here that it stays and it kind of tracks are subject. How does it do that? It does it by creating position key frames up here in our motion effects. So under effects controls, you can see the key frames. Now these are edit herbal. You can delete them. You could add some in case it doesn't work out for you. So that's pretty much how it works. You can see how it would work with multiple clips, and I added a title here. Now I have run into some issues so some of these things will have to be edited after the fact. So this is the original, and then the one by one, you can see there the mishap. But it reframes not only the title but also the position of our person in the middle. And then at the end again, it does a pretty good job tracking these motorcycles it's kind of picking which one to follow. It's got both in frame is a little wiggle there. So these are things that you would go over here, perhaps delete a couple key frames to see if it is a little bit more smooth or go to the key frames. You can do that by these left or right buttons and then moving the position left or right, or however you think it it should be. So this is an issue here with this clip. It did not frame the subject how I wanted it. So this would be a case where I'd have to go in and actually manually adjust for this clip . There's also ways to do this if you just want to do it for specific clips. So if you're watching this video, you probably understand how to do it by now. But, um, the basic way. But say you have a ah sequence like this. The original way we would probably do this is by duplicating this sequence so duplicating we're going to call this nine by 16 and then we're going to go upto open it up. Go to sequence settings, change it to some sort of nine by 16 preset. You could have a preset or change the frame size. Here, click OK, click. OK, and now we have this sequence and our video footage hasn't actually changed or adjusted at all. You can actually apply this as an effect to any specific clips that you want so under effects under video effects under transform or just by typing in reframe up in the search bar, you can drag this on to one of your clips. Or actually, you have to draw drag it into the auto, the effects controls. Not sure why. That might be a glitch with how it works right now, but by dragging it on to our clip, you can see that it automatically reframe this clip back here. Let's try this with our motorcycles, and there you can see that it auto reframes that. Let's see if it does it with the titles. It does not do it with the titles. It doesn't move the titles like So, um, let's try this one. Yeah, looks like it doesn't apply to titles, but it when you are doing it individually because you could just move the titles yourself. But if you're doing it to a whole sequence. I think that, um, it actually does move the titles around and reframes them in your new sequence, so that's pretty much it. Of course, there are going to be some glitches. As we saw right now, it's probably going to be improved. Or there might just be things where, depending on the clip, depending on the motion, the complexity, that kind of thing, you might have to edit and adjust it manually yourself. If you have any questions, please let me know. I got these video clips from picks obey dot com Free to use commercially free videos for any of your projects. So if you're looking for footage to practices with check out picks abate dot com. Thanks so much for watching, and I hope you enjoyed this update. 18. CASE STUDY: Editing a Narrative Scene: so far in this course, we've been dealing a lot with documentary, no non narrative style footage and editing it together, which is really different than editing a narrative such as a film or even a commercial that has a narrative style shoot. So I want to teach you and talk a little bit more about How do you edit together shots from a scene? And I'm going to be using this commercial as an example. This is a commercial that I edited and did. Graphics four And this was for a company friends company. So first, let's watch through the commercial. Then I'm going to talk through making some of the edits, and then I'll show you exactly how I go about making an edit between two different shots of the same scene. But let's go through and watch, and I actually have a quick tip for you. If you want a full screen preview of your program monitor on a Mac press control Tilde key . If you're on a PC, it's going to be the windows till the key. I bet the tilde key itself will just bring it kind of full screen like this, But the control tilde key. It's the key to the left of the number One on your keyboard makes it full screen like this . So let's go ahead and watch through it and you can listen to it, too. Oh, there it is the problem of the day. Say goodbye to your day off and say hello Toe hours wasted on Internet tutorials or given all your money to this guy, shouldn't there be a better way? We thought so. Welcome to face to face D I. Y very first app that puts a power of a pro in your hands. It's easy. Select the appliance you're working on. Choose the amount of time you'd like, and you'll be connected to a trained technician through a live video call toe. Walk you through the steps needed to repair your appliance yourself. So say goodbye to this guy and to all those wasted hours and say hello to victory and taking back your days. Don't worry, we can help with that, too. Welcome to a better life. Welcome toe face to face. D I Y Okay. Anyways, hopefully you enjoyed that commercial. It was a very low budget commercial, but we tried to get a more professional feel. All the sound effects were really actually free sound effects that I found online. The coloring was done by myself. We had a buddy shoot the film and a buddy act in the film as well are in this commercial the graphics that you see here. This was all done right within after effects, and that's something that I did, too. So if you're interested in after effects, you can do this kind of thing with screens and buttons and the motion of you know, that screen little popping out like that. So anyways, talking about the edit, though with editing Teoh between two shots. Here are the types of shots I'm talking about. See this first cut from him? Eating breakfast is to the washing machine, which this is a little bit of movie magic because this washing machine isn't even in this room. This isn't a completely different part of the house, and then we have these few shots of his wife coming in and then the close up to her face, and this is one of those shots where you have. We did a lot of takes, and while you're shooting, you have to be very aware of. What's she doing with their hands? What's he doing with his hands? What's she doing with her face? Because actually, there weren't that many close ups where her face looked exactly alike and this was the closest one. Also, she's moving. See it? I'm just gonna go frame by frame. You can see that she's stepping into place. So we had to cut right when she kind of stops moving. And then in this shot, she's like just settling into her spot to moving just a little bit. And that's something that you can do while you're editing. Sometimes. Cutting on motion makes the edit seem more fluid as editors. What we're trying to do is to be invisible. Really, you don't want people noticing. Oh, that was a strange cut or oh, there was a cut there. You want it to be fluid. And so if that looked fluid to you than that, achieving my goal, some of these other shots you know, it's not cutting from one a camera to be camera in the same scene. Another example of this is at the end, where he finishes fixing the washing machine. We cut to him walking away out of that shot into this shot again. New movie Magic. Just a completely different part of the that scene. And then there's a close up and then it cuts back to the wide Don't worry. And then we actually cut to the close up again, and that's a jump cut. You can see that he's there. He's going towards this phone and then he's automatically has it. That's a complete jump cut. But we had to get this commercial down to under a minute, 15 seconds or so and so that sometimes you have to do that. You have to do jump cuts to cut down time. But you got to make it look natural without it feeling like, oh, while he was there without the phone and now he has the phone, but because he's moving this way, you could kind of see what he's doing. He's moving and then he moves back in that shot. He's out of the shot. It works. If he was in the shot already without coming in right here, it wouldn't work as well. And then we cut back to the wide shot and it works perfectly. It looks like he should just hand took the phone looking at it again. The movements not perfect. His hand motion is right there. It's coming down, crossing his arms. It's coming down and he doesn't cross his arms in that shot. See that? But if you're watching it, play throughout real speed. It's something that you don't really notice too much in this shot in the hole shot. Actually, I cut down a lot. It was a lot longer and I'm going to show you that. So let's look at that and how I would actually edit this scene. So I've I've skipped a couple steps, but basically what I do is I bring down shot a on one time track in the timeline, and then I bring shot be on the next track and the timeline. And so then I find where I want to go in the beginning of this shot. So we're coming out where he's already in frame, kind of wiping off his hands. So I'm going to edit this just hovering over here on the left side, pressing command to get my little editor right there so that jump cuts everything to the left and then they looked to the left. So I want to I think I'm going to cut right after they look to the left. I'm not going to do it before. I can show you what it looks like before. So it would be right about here. So I'm just going to trim this over here like so. And then I just kind of match it up. So I move this to the left, and then I play through it. That was a little bit too quick. So what I'll do is just nudge to the right just a little bit. And what I'm doing is just selecting this clip and pressing command. Right arrow on my keyboard. If I zoom in here, you can see better what I'm doing. Nudging to the right. Just frame at a time. Okay, That's it. A little bit too much. They already start to look over. So we wanted to go right about there so I can just drag this over to the left. Interesting. But it's a little bit. It is a little bit weird. And then they have this kind of weird pause. I like this reaction Better. See that reaction to the noise that's happening. So I'm actually gonna cut right into there. So I'm just gonna cut out the first part of this. But I'm going to cut right into there, Ray, after they look. So they look, beat, beat, meaning just like a little pause. Look, beat. And then with sound effects, we can make it sound better and feel better because there's going to be moat sounds that caused these reactions from them. So that little stutter and then maybe even will come in a little bit later to this reaction . I like that reaction even better. So I'm just going to again. Just used my command trim tool. Maybe just a little bit more something like That's pretty good. And then I would cut out of this right away, back to the next shot. But we're gonna cut this last shot just a little bit shorter. So that right when he's about to push his life towards whatever is happening over there during the trim that bring it back over here, can we just short in this just a bit? You can see that it's a lot of nudging its a lot of practicing. So with the final shot with sound. Let's listen to it and taking back your days so lots of stuff going on in the background that crashes that are causing these reactions. This wasn't something that we recorded on set. It's all done in editing. So that's a little bit more information about how you, I would add it. A narrative film. How do you match together shots? The practicality of laying them on two different tracks and nudging them around? If you have other questions about this, please let me know. I've edited a lot of narrative film, short films, commercials. Documentary is my specialty, and that's what I think. A lot of people are using Premiere Pro four. So that's why geared this course four third non narrative film makers. But I would love to help those of you out who are wanting to make more narrative films. Thank you so much and we'll see you in another lesson. 19. Video Transitions: as we work our way through this project, The next technique you need to learn as a video editor is the use of transitions. Transitions are the way that one clip goes to the next. So far, all of our transitions are just cuts straight cuts from one clip to the next. You've probably seen a range of transitions in your life, from Fades dissolves to three D Spins and Adobe Premiere Pro comes with a number of those transitions built in for you to use. You can find them under the effects been. If you don't see the effects been, make sure that you go up the window and effects to find a specific effect. If you have something in mind, you can type it in in the search bar. But for those of you new to this, you might want to just drop down the video transitions. Been under there where we have categories. Three D motion dissolves, iris slides, white zooms, page peels Play around with these. So I'm going to play around with adding these transitions to this last shot going from here to here to here. So, for example, we just take this three d motion. Ben. We open it up, we have this cube spin. What's that? To add a transition, just simply drag it onto the cut it or the place in between two clips, and you can see there that I can drag it and leave it on the left in the middle or the right. However, it's highlighted. So if I put it right in the middle, let's play through this. Here, you see what happens is it has this three D cube spin. It looks like it's a cube and it's spinning. Let me zoom in here so you can see what's going on. I can make this slower or faster by taking the edge and dragging in or out. So if I drag it out, it will be slower. If I drag it in, it will be faster, and I can also move it around. So vice click it and dragged to the left. Then it will start faster. If I dragged to the left, it will start leader. Okay. One thing to know about transitions. Let me just take these two clips and we're going to teach you something cool right here to quickly duplicate any layer or any clip on your timeline. Hold the option Key down cult. If you're on a PC and then click and drag, I'm still holding Ault down or option and then let go. It duplicates that clip. I could also select them press control or command see on my keyboard, then command vita pace or control seed paste, and it will paste it into this layer that you have selected earlier. We learned about thes track selection tools over here, which have to do with the source monitor. When you are selecting an overriding or inserting a clip, these toggle track modes right here this elects where you can copy and paste items. So say I'm gonna delete that. Then I select these two and then say I want to paste it to the second track. I'll just like V two paste it. It's on the second track. Okay, enough of a tangent. That's a cool trick for you to do. What I wanted to show you is say, you have two clips that end and they meet together. So see how I dragged the end of this first clip to the right and there's that little corner piece right there. that shows that that's the end of this clip. There's no more. I can't extend any further. Same with this one on the right, to the left, on the left side of the clip. There's no more before this. If I put these together and then I add, let's just say this flip over. What's going to happen is insufficient media. This transition will contain repeated frames. It's going to repeat frames because there are no frames afterwards to extend this transition. It might make a little bit more sense if one of these is shorter and then this one is at the beginning of this clip. So this clip on the left, we still have footage on the right side. So after this point, but with this one on the left, there's no more before it. Let's just take a normal dissolve, cross dissolve. This is your standard dissolve. If I take this and drag it over my clips, what happens is it doesn't allow me to put this transition in the middle of the clips because there is no middle. There is no footage to the left of this second clip, so when I add this, it automatically adds it just to this clip into the start of the next clip. I know that sounds really confusing, so it's just one thing you have to play around with. But I often get the question. Why can't I add a transition to this clip? Why can't I move or extend my transition? That's another thing. So say we have these two clips. They meet right there. Let me extend this one. Not to the end, but just a few frames in. And then we add the crosses off. Then I tried to make the cross dissolve bigger. It's not going to let me go bigger or longer because there are no frames in both these clips to the right or to the left of the cross dissolve. Let me delete this. I'm going to drag this over to the left, drag this over to the right, bring them back together to meet. Now it's at a cross dissolve. Now let's extend it and see how long we can extend it. That's because it's dissolving. Think of right here. This is where this second clip actually starts. Right here it starts T dissolve on. And then here, over here this is where this first clip ends. Over here, it's dissolving out. But if they meet at the end and there's no amount of time left in the clip, you can't add that kind of transition or increase the time of it. The last thing I want to teach you about transitions is that some transition have effects that you can change. So let's go over and check out this slide transition. This is one that you might use push. So if I add pushed to this, you can see that is pushing the second clip from the left hand side of the frame. If we click on this push transition, go to our effects controls window, which is up here on the left. We learned about that before we have some options for our transitions in this top left corner you have where the transition starts from the west to the east or the left to right , from the right to the left, from the top to the bottom from the bottom to the top. So if I click that bottom of the top, you see that this transition moves from the bottom to the top. How about that? That's how you add transitions to your video clips is time to practice that. Go ahead, pause The lessons. Go to your own project that you're working on and add a transition between two clips. We're going to come back. I'm going to review adding cross dissolves between two flips and show you an even faster way to do so with keyboard shortcuts. Enjoy the practice and wolves you in a few. 20. Add Audio Transitions: right after video transitions, we need to add our audio transitions in the clips that I have put together. There are a couple places where the transition is very abrupt and an audio transition can be helpful. Within the FX tab, you have your audio transitions folder. Under that you have your cross fade, which is the only audio transitions option in Premiere Pro. And there are a few different options. Constant gain, constant power, an exponential fade. What happens? And I'll just add one to the very beginning of this clip. Let's just add constant gain. Constant gain will increase the volume of your clip at the same rate from the beginning to the end of the transition year. I was diagnosed that summer, so it's a consistent gain going from or to being able to be heard toe all the way. Inaudible. Constant power is a little bit different because it increases the volume of a clip at a differing rate. It starts out very fast, and then it slows into that fade, so it's a little bit hard to explain, but constant power, exponential fate basically do a very similar thing. Constant power is the main default transition and the one that I use for all of my transitions. So if I put it between two clips went viral. Everyone, you can see and hear that the second clip starts to come in right here, and the first clip fades out. Over here. We can increase or decrease the size of the higher transition by clicking in or out of the edge everyone the night. We can even copy and paste these transitions, just like we did for the video by selecting it. Pressing command, see or control. See if you're on a PC, selecting the video or the audio track where you want to add it and pacing Command V or control the new and their mama's baby. So for a transition like this, we might want it to be very short noon, their mom. And then, when you play through it, just nudging it to the right mama or to the left to see what it sounds like. Their mom will help you understand which part you need to add it to new and their mama's baby. That sounds pretty good, just like there was with the video transitions. There's a keyboard shortcut for adding audio transitions to a clip. Select that transition and then press command shift D control Shifty if you're on a PC and that adds the constant power transition now you know how to add audio transitions to your clips. Is time to take action with your project that you're working on at an audio transition between all of your sound bites? Even if it's just a transition that lasts a few frames or so, it will help smooth out any sort of audio clips or clicks that happened between two audio tracks. So that's your action item for today. We'll come back and see you in a future lesson. We aren't going to be doing a review of this practice because by now you know how to do it already. But we want you to take action into it for your own project today. 21. EXERCISE: Custom Blur Transitions: Hey, welcome to a fun, practical exercise lesson. Today I'm showing you how to take an ordinary crosses off like this one and turn it into something a little bit more special like this one. So it's kind of hard for you to see the differences, but this one is just your normal crosses off. This is a cross dissolve with custom blur, transition added, and we're going to be creating this custom transition with the blur effect and animated key frames. So go ahead and download the practice files. In this lesson, there's a zip file with Anthony Clip one and Anthony Clip to these air two shots that we shot with the Osmo camera. It's a cool little Steadicam camera and import them into a brand new premier pro project or wherever you want to practice. Now, since we haven't learned a lot of the aspects that I'm going to be teaching in this lesson , including using effects and adding key frames, I'm just going to walk through it with you right now. And then I'll have you do it at the very end. I'm just going toe drag Anthony clip one into a new sequence into this new item button down here and then put the Anthony clip to next to it, just like so now they are. But it up against each other, I'm going to then drag in the end of this first clip to about Let's play through this and there you see this kid in the background doing we're trying to do, kick, flip, it goes, jumps, almost lands it something right there. And then with this next clip, I'm going to drag it just before we see this lady right here walking. And Anthony has to go around her, the dragon in right there, and then just move these to butt up against each other. So before I add the crosses off, I'm going to add a blur effect. So if you go to your effects been, if you don't see that, go upto window effects in the search bar. Just type in fast blur. You'll see fast blur pop up down here and simply drag and drop it onto the video clip on your timeline, starting with Anthony Clip one, and we can also go out and do it on Anthony Clip to, If you see now in our effects controls tab that pops up. We have this fast blur effect. If we increase the blurriness number from zero to well, just up the video gets more or less blurry. Zero means no blur at all. So we want to create an actual animation of this blur from zero to say about 50 or so. So just put your timeline indicator just anywhere on this clip and said, a key frame for zero. The way we set a key frame is by clicking this little time stopwatch right here that says Toggle animation. And then I'm going to go forward in this clip by pressing the shift button on my keyboard and then right arrow key. Three times. We'll just try that for now. You can see that our timeline indicator moved ahead about 15 frames and then change the blurriness number. Just click on it like so and type in 50. You'll notice that the edge of this clip gets a little bit dark, and that's just what happens when you blur it. So we're going to click this repeat edge pixels, which will repeat the edge, pixels, the video part of the edge so that you don't give this blur this dark blur. Now, if we go back on our time line either by clicking down here on the timeline or up here in the timeline of the effects controls, we can see that we go from zero blur to blur kind of cool, right? We're gonna do the same thing. We're gonna move these key frames around later on, so it's in the right spot of the clip. But let's just go ahead and add the same type of effect for this second clip. But instead of going from no blur to blur, we're going to go from 50 Blur. So I'm going to set this to 50 clicked the stopwatch and then shift right arrow three times or so and then change the 52 0 So now it goes from the start of the clip. I'm going to click repeat edge pixels. If I play through this, it's goes from blurry toe, un blurry. Now let's add the default transition, so I'm just going to right click and say, apply default transition. So now if we play through this, we get this crosses off, but we have to move the key frames of the Blur to the right spot. So I'm going to actually first just drag this select Anthony clip one. I'm going to drag the second key frame up here for 50 blurriness and dragged all the way to the right. Then I'm going to put my timeline indicator right here at the start of the cross, dissolve and put the first key frame right there and then with his Anthony clipped to just select Anthony Clip to and dragged the first key frame all the way to the left to the start of the clip. But your timeline indicator at the end of the crosses all and drag that key frame right there. So now let's play through this, and that's pretty good. The Blur isn't as pronounced as I would like in one way to make it print more pronounces, either increasing the blurriness of the second key frame or just making it start to blur before the crosses off. And to do that, I'm just going to drag this first key frame of Anthony Clip one a little bit forward, so it starts to blur a little bit and then, with the 2nd 1 drag the second key frame for blurring zero out a little bit as well. So now it starts to get a little bit blurry, and it stays a little bit blurry and gets into focus after the cross dissolve. So that's how you can create a custom transition, and you can do that with all kinds of effects. We're going to learn about MAWR effects later on. But if you go through any of these video fixed down here and anything from color correction of making things do sort of a overblown exposure transition to distortion and bending your image, all kinds of things. You can add those effects to your clips and have them transition from being off toe on with these key frames and then adding a cross dissolve in between two clips allows you to create a very cool custom transition. Now it's your turn. If you haven't been practicing, go ahead, download the Anthony Clip one and Anthony put two files from this lesson. Import them into Adobe premiere proud, and then add your own custom transition, playing around with the different strengths of the blur and also where you put it, how long the transition is from on to off, where the transition is in it. And even how long the cross dissolve come up with different ways to make this custom. Thanks for watching. Have fun and we'll see you in the next lesson. 22. STUDENT QUESTION: Having Trouble with Transitions?: Hey, everyone, I'm beginning a lot of questions about transitions. If you understand transitions and you're not confused by them at all, go ahead and skip this lesson. But if you're adding transitions in Premiere Pro, and you're getting weird error messages if you're not able to extend your cross dissolves. If you can't add transitions to specific clips, watch this video. I hope that it helps explain why that's happening. So I have two clips here that I've added to my timeline. These were shot in Joshua Tree on a recent camping trip, and I just got back from today and they're completely full clips. You can see that I can short in this first clip, but if I try to extend to the right, that's as long as it goes. There's no more footage to the right of that. On this second clip, if I try to extend to the left, there's no more video because this is where we started filming, and this is where we ended filming, and for this first clip, this is where we started. This is where it ended. So if I put these two clips together and then I add a transition say the cross dissolve and I put it on top of this transition. What we're going to get is an error saying insufficient media. This transition will contain repeated frames. What this does is Premiere Pro will actually duplicate frames from this clip from both clips so that it creates a fade or a transition. But and it's extending the clip to the left and to the right. So that's extending this first clip to the right and this second clip to the left, but only by duplicating frames. And we typically don't want to do that. So that's one error people have been getting into. Say, we have this first clip where we say we want to edit it and we end right here. We don't want to go to the end of this clip, so we just drag this part of the clip over, and then we put these up together. So now we have this clip and it cuts to this next clip. Remember this for the second clip. This is the very beginning of that entire video clip for this first clip, though we have some media over to the right of this clip. So say I put this actually up here and let me just actually delete all my audio because I don't need that. I can extend it to the right because we have more footage over to the right. So let's put these on the same layer now. Now I drag my dissolve over, and what happens is I can't put it in the middle of these two clips I can't put on the left side. I can only put it on the right side. And that's because Onley, that first clip can fade into the second clip in this situation. There's no footage from that second clip on the left side of this cut to fade from. So if I drop this down now, this first clip fades because they're still footage for it to fade from here during this cross dissolve. Now, if I extend this, it's only going to extend to the end of that clip, which is another error people have been complaining about. They say they see that they have this crosses off, but they're trying to extend it, but there's no way to extend it. They just can't get it to go Well, that's because there's no more video clip to extend past this part right here at this frame where the cross dissolve ends, you can only go as far as the media allows. Hopefully, that makes sense. And if I click this now, I can't drag it to the left at all because the second clip again, it starts right here. It can't go to the left at all. Now let me show you something. Let me doesnt lead. This crosses off. I say we start this second clip right around here. Remember, they're still media from the second clip right here. And if we move this clip over to the left to meet, let's just go over this one more time to make it really clear. So for this first clip, there's still media to the right of this cut. We can see that by moving this to the second track and extending this clip. See, with this second clip, we know there's media to the left over here, we can extend it like so. So with this cut its cutting from clip one to clip to. But there's media for both clips on either side of the cut. So now if we add a cross dissolve. We can choose whether we want it to be placed in the middle of the cut exactly like so, Or we can put it on the left side of this kite or the right side of this kind. So if we put on the right side like this, it transitions from the 1st 1 to the 2nd 1 and the crosses off starts right after the cut we had made before. And then lastly, one other thing that I get people asking about is say, you have a situation like this and you have this cross dissolve in the middle and you want to make the cross dissolve longer, but it doesn't allow you to go any further. Well, that's because you can only go as far as the media allows. This crosses all is now starting at the very beginning of this clip, and it's ending at the very end of this clip. So it's longer. But we can't go past that, and if we try to move it to the right or left, it's only gonna allow us to move. If there's media space that we can move it to the right, just a little bit because there's a little bit of space left from Clip this first clip. But I can't move it to the right anymore and I can't extend it any more. If I make it shorter, then we have more room to play with because there's enough media from both clips to have that transition. Hopefully this is clarifying things for you, hopefully is not confusing you even more. But this is something that I keep getting questions about. So I wanted to just add a little bit to the previous lectures about adding video transitions. Thanks so much for watching and have a great day. 23. Add and Edit Titles: in this tutorial will learn how to use the Adobe premiere Pro title creator to create title cards or any type of title for your video to create a new title. Just click this new item button and click title. It's going to ask you to name that title and choose the within the height, which will be set to the sequence settings that you are on. So for us, it's 6 40 by 3 60 I'm going to call this ice bucket just so that I know what it is. It's going to be a title that actually appears over the clips here where Anthony is doing the ice Bucket challenge. So you saw that this title editor pops up when you create that new title and to get to that title editor when you're not having it open, you can just double click any title. So here I have this title under graphics. I might even create a new bucket called titles. Put that in that bucket and double click it, and that opens up the title editor. Let's go around this and I'll just walk you through what these different options are. Then we'll go ahead and create a title for this up on the top left, you have a lot of control settings, so you have your selection, your text tool shape tools so that you can add shapes to your actual title graphics and some other ones that might come in handy as well. At the top, these are your fault settings in your text settings. This when you do start creating text, it will pop up with the choices There over on the right. You have title properties, which include MAWR Properties. I'll go through those in a second when we add our texts. And at the bottom you have preset title styles and the left bottom. You have a line tools. Let's go ahead and look at it. So if I just click in the middle with my text tool selected and then I start called typing Se Anthony's Ice Bucket Challenge video and I'm tidy. I'm typing, but it's going off the screen, so I have to make this smaller. So up here at the top, you have your font size. So just like really in any other text editor on like Microsoft Word or any other editor, you have your size up here. You have your font choice over here, too. So say, Well, let's make this something a little bit more clean. And then you have these same options over here on the right to some of them, like our family style. Regular bold italics size asked back, turning leading tracking baseline ship. These are all things that, um if you're familiar with regular text editors, you'll be familiar. Here is well, so you have to make this a little bit smaller and then change the color. So for now, let's just change the color from white to black just by clicking the color picker down here on the right. You also have other options for a pastie Say we want this to be a little less opaque. We can add strokes to it. So if we want an outer stroke to maybe make it stand out a little bit more, we can do that when I click that ad stroke. But in this new stroke, options popped up could change the color of the stroke. Teoh, Maybe read or something like that to make it stand out can increase the size of the strokes to really make it stand out and the stroke has all of their own settings to for a pastie sighs if you want it on the edge. Depth drawn. Face these air things to play around with just to see what they look like yourself. Drop shadow. I'm just going to delete that strokes. I'm just going to say, Delete drop shadow. This is another thing that could help your text stand out from the background, depending on what it is with the drop shadow, you have options like the color, the opacity, the angle, the distance from the text, the size of the shadow or the spread. How much does it favors? How sharp or hard the edges are. So these are a lot of IT options just to look through as you start designing your own tiles , and it's good to know they're there. We can move our text around, just like so we can even increase or decrease the size just by clicking on the corner and increasing or decreasing the size to lock the aspect ratio so it doesn't get squished or really spread out. Just press the shift button on keyboard while you click the corner and drag up or down, I mentioned these title style is down below. Let's just click on one of those and see what happens. Boom. It adds a bunch of styles, really something that you could have done with the title properties over the right. But there's just a lot of presets styles that you can choose if you want to use one of these styles. I usually just come up with my own style and some of these air a little bit too dramatic, too a little too to, um, extreme for me. So I usually go with something a little bit cleaner. Let's go ahead and add a shape, so I'm going to click this rectangle tool and then I'm going to set the color and we'll just keep it at Black, and I'm just going to draw, drag out and draw this rectangle down here. Then I'm going to select my text with the selection tool and change the color of the text toe white. Now it's hard to see it, so let me just move it up here so you can see it. Let's play around with ease alignment tools. If I select both of these layers that shape layer and the text layer by selecting one, then shift clicking the other one. Look what happens when I click this horizontal center, but it they're aligned horizontally centered. If I do the vertical center, too, they are now on top of each other, but the black is on top of the text. I want this to go to the back so I can just right click, say a range and say, Send back. The reason why I want this shape is so that the black or the white text stands out from the background even more so. I'm just going to make this shape a little bit bigger. Then I'm going to select both layers again. Click that vertical center and horizontal center, then move this down to the bottom left of this clip. When I'm happy with my title, I can just click this exit button right here. Then I'll take this ice bucket text right here, drag it onto a new layer above the video clip that I want to add it to. And so now if I zoom in here, you can see this clip things title will play over these clips right here, a less ice bucket challenge, and I can extend it over to the right and also just copy and paste this cross. Dissolve to the text layer itself, so select it. Command C Command V Control for you PC users. And there you go, a nice title that explains what's happening in the video. If people don't know, and especially for something so short like this, you might need some titles toe give some more description, and it stands out from the background. That's the hardest thing when you're adding titles to a video to make sure that they stand out from the background. Sometimes you can get away with it by just making the text a lot bigger, adding a drop shadow or a stroke. Other times you need some sort of shape layer behind the text to get back and editors title , we can double click from the Tyler Timeline itself, or double click the ice bucket title in the program window itself. So that's the title editor. Go ahead and start adding a couple of titles to your project. I recommend just adding one or two just to get the hang of it, play around with the title editor if you have any questions, let me know. I'll be sure to answer anything that I didn't go over in this video and expand upon it and the answer, or even create more tutorials on how to use it. Thanks so much, and we'll see in the next lessons. 24. Create Clean Lower Thirds: in this video, we're going to just walk through designing a clean, lower third title just like this. I'm a very big fan of minimalistic Title is so using clean Sohn Sarah fonts that aren't fancy, that don't have the fancy edges and bolds lots of capitalization but also differentiating the title the name plus the descriptor down below. This is what a typical lower third title, even though it's not in the lower thirds, which is the actual typical way to do it is to put it in the lower third of a video. So if you split your frame up into threes, you have your top third, middle third and lower third. You would add that title to the bottom third, but for me, I break those rules and I put my titles in different places. But this is what we're going to be recreating. So let's go back to our other project. That was the finalized project, and let's go ahead and create that lower third for Anthony. So I'm just going to select my tackles, been and say New item title, Gonna call it Lower Third. Anthony, I just use the tax. Lt say OK, make sure you're on the right spot of the film. You can actually scroll through here. And when you scroll through here, you get the video in your tattle editor, which is good to know so that if you want to edit a title so it matches a different part of your video, you have to have you on that part of your video in your timeline. But we're just gonna go to the start where he's sitting down in his chair. Let's take our textual type and Anthony Carbajal. You'll notice that I did not capitalize it yet, and that's okay. I'm just going to use the font. Helvetica Helvetica is a clean old school font, but it's nice and it's a song Sara Font, and it looks really good on video. Gonna make it a little bit smaller and then to make everything capitalize. What I can do is just click this small caps button and then actually increase the small cap size 200. Or if everything's lower case already, you can leave it at whatever percentage. Then I'm going to change the color from white two black, and I'm going to change the style from light of there or over here too bold and make it a bit smaller, just using the corner and dragging in. I'm also holding shift down so that the aspect doesn't get squished and put it right over there. I could click the text type tool up here and then click here to create another text layer. Instead. I'm just going to duplicate the Anthony Carbajal text right here by selecting it and copying it, command C and then pasting it command V and dragging it down. It's OK if it's not a line, because we're going to use the line tools to align them in just a second that I'm just going to double click inside Press Command A. To select all the text, delete it and then give the descriptor. So the bottom part of your lower third is there to give more description of who this person is. Typically, you have the name on top, then on the bottom, you just have a little bit more of a description of who they are in, especially in terms of what this videos about. So for us, we're going to just call it diagnosed with a less in 2014 I could just put this underneath right here. But I like to differentiate the size and the style of my top text from my bottom text. So I'm going to change this from bold to regular and then the size we're gonna go down a lot smaller, something like so And I tried to outline it by eyeball, but that didn't work. So I'm going to select both. I could just drag over and select or just clicked one and then shift, click the other one and then with my align tools, I'm going to align to the right so the right edges line up like so So that looks pretty cool. I could go in here and do something else if I wanted. I can actually create a shape, just create a white shape, change the color toe white. Then I'm going to actually arrange it. So right click Arrange sent back, and I'm going to select the diagnosed text with that shape, layer and vertical center and horizontal center. And then maybe for this one, I would just select all of them, actually, and do vertical center so they're all aligned vertically in the center. That's another cool way to do a clean lower third. You don't have to have a background for everything. But the white does make this bottom text pop out even more. I like that. So I'm gonna leave it like that, exit out of here, take my lower third and put it on to my video track. I do tend to try to have my graphics all in one layer, so I'm just gonna make my layer for my graphics layer. Layer two or Track two. It is my interview. A camera track one is interview be camera. Track three is video and photo B. Roll Track four is my graphics, so I'm gonna extend it there. So here's one title. There's the next title. Thanks for watching. That's how you create a clean lower third. Go ahead and do that on your own for your own video and try to get creative, come up with something a little bit different than that. This because at the end of this project, you're going to be posting it on the course page for me to check out. And I can't wait to see what all of the students like you are coming up with. Thanks. And we'll see in the next video 25. Create Scrolling End Credits: How do we create scrolling titles for the end of Ah film? Perhaps click the new item button. Choose title rename. It will call this end credits. Click OK and then from this menu up here, the rule crawl options. Click that and Choose Rule, which will have the ruling credits from bottom to the top or crawl left or crawl it right, which will roll them from the left or the right, or going to the left or to the right. Then there's this start off screen option, which is good. Let me just leave those unchecked, and then I'll show you what that does. Then all we have to do is with the type tool or with the area type tool. Which might be better. For this is create basically a text box where you on it. We can center our tax. We can change the size of our texts. We can choose a more clean text. I like Helvetica, and then we could type in our credits. So we'll see, say, a film by Phil Evan ER starring Anthony Carbajal, and you can see what happens is that our tech starts to disappear because our text block isn't big enough. So let's expand that. And what happens when I expand that we have the scroll bar on the right hand side, which allows us to scroll through our text to see what it looks like, then say we had cinematography and I would write down my cinematographers Well, Kernaghan, Sam Shimizu Jones etcetera. You know, I could go through everything Music by Nick on Evita's. And if we scroll down, we have to extend this a little bit longer. Okay, so now you can just add all your text. You can design it, however you want exit out of that, add this end credits to your film or to your timeline. And now let's see, when I play through this, it scrolls through all of them. But what happens is that it doesn't scroll through. It doesn't start black and end in black. So that's what that option was when we I went to our role Cross options. Click this start off screen and start end off screen. OK, now free exit out of that and play through it. It starts off screen and ends off screen, but this is way too fast. It's super easy to make it slower. Just extend the length of our credits by clicking on the edge and dragging out. So now it will scroll and really with scrolling text credits. The key is to go slower than you think, because when you export it and when you're projecting it or when it's playing on a computer or a TV, even if it's going too fast, you get a little bit of a flicker as it moves. So going really slow is a good idea. That being said with scrolling credits, I don't suggest putting in credit on all of your videos, especially any sort of short video that you put online. I would only put end credits on something like an actual short documentary, a narrative film, a longer film, something that really deserves credit and you want people to sit through the credits is if this is a YouTube video, no one's going to sit through 30 seconds of scrolling credits. So be aware of when and where you should actually have credits at the end of your films, 26. CC 2020 Update: Underlining and Renaming Shape Layers: here are the premiere Pro Sisi 2020 Updates for the essential graphics panel. What you can do, right within Premiere Pro is pretty simple, but maybe exciting for some people. So the first is underlining. So if you have text, there is now going to be the underlying style which wasn't available before. Simple as that and the next is renaming your shape players up here you can double click layer. I've given this rectangle the name of Bill, and here we got Bob so pretty exciting stuff. If you are super into organizing and you want a name your layers, which actually will be super handy, the other major change is Mawr. If you use Premiere Pro templates or if you're into after effects and you create your own motion graphic templates, you can see that now. The text, um, templates can actually have bulleted lists or multiple lines in a graphic, which is pretty cool. I was actually just trying to do this other day, so I'm happy they added this and then drop down menus before there was only sliders, where you can slide between different fonts or even shapes, sizes or different things like that But now there's drop down menus for all of that kind of stuff, which is pretty cool. So nothing spectacular. But over the past few years, Premier has really built out the Central graphics panel, and you can do pretty much everything we wanted it to do when it first came out, and it didn't have a lot of these settings or options, so I'm super excited about that. So anyways, I just wanted to update you on the new stuff in the graphics panel. If you were wondering if there were any updates, Cheers. Have a great day. 27. EXERCISE: Design Your Own Lower Third: Hey, what's up? It's time for another practice exercise. Today. I want you to design your own custom, Lower third for yourself with your name with your descriptor and at a little bit of motion to it. If you can try to replicate what I've done here for my own video clip with my name, a little bit of description and this little line that pops out right here, this is a little bit more advances actually looks. This is something I would use in a real video. And it's all created right here in Adobe Premiere Pro. Sometimes I used Adobe after effects to create graphics like this with Motion. But you can create some more advanced graphics like this right in Premiere Pro. So if you can try to replicate this, do it. I'll give you one clue to get started, and that is that. All of these layers are separated. So my name, my descriptor, and this line that they're different title layers. They're not in the same title card. So get at it. Try to replicate this if you can, and then the next lesson I will be going over how I did it 28. EXERCISE REVIEW: Design Your Own Lower Third: So did you figure it out? Where you able to create something that looks similar to this? Let's go ahead and learn how I did it. So I'm here on my timeline. I'm just going to duplicate this video clip by pressing option, clicking and dragging it over to the side old. If you're using a PC, then I'm going to go and click the new item button and say Title. I'll call this Phil Evan, er, that pops up the tattle Creator. I'm going to use my type tool Click right here and type and fill Evan er, going to take my selection tool. Changed the text to railway one of my favorite funds. Change from thin to medium and then change the small caps. Click on the small caps and trained small capsize to 100 and I'll just position it right about there. Exit out of there and drag this fill a better title card on top of this video clip. Gonna zoom in right there and extend it to the end of this video clip so this title card is on the whole time. Then I'm going to simply duplicate this tattoo card, a cool trick to do that is by option clicking and dragging, just like we did the video. And that actually creates a completely separate title card in our project. If you just copy and paste the original Tala card, it's not going to create an actual separate version, meaning if you then go ahead and edit that copy you made. It's going to also add it the original, but by creating completely new version by duplicating it with the option or all button and clicking and dragging. Now we have this separate title card. I'll call this video creator and then I'll go in here. It doesn't change the name on here unless I then go and drag video creator right here again . If you want to do that, you can, just to be more clear, clear, and I'm just going to double click that tala card. I It already has this text because we duplicate it, and I'm just going to move it down. Double click Inside Press Command A. Were controlling if you're on a PC to select all of that text and type in video creator, but I'm going to press my selection tool changed the medium too bold change the size from 100 to 50 and then just move it over to the right side like something. So it's about aligned with the right edge of Phil Abner and maybe just move it down a little bit. I'm selecting that Tex and pressing down on my keyboard so that there's enough space in between. For a little line that looks pretty good, then what I'm going to do is I can either just quickly duplicate one of these or create a new title card, and I'm going to call this line and then open it up right here. I'm going to select the text and delete it the video credit text that we duplicated from before. Then choose the line tool right here. Then I'm going to click on the left side of Phil, drag over to the right while holding the shift button down while holding the shift button down. It locks it to this axis, so it's a straight line. If I don't have the shift arrow down, it's easy to mess up and create a line that is slanted. So hold shift down to create a straight line, something about their and then I'm going to change the line with over here to three. And if I click on selection tool and then click off this, you can see what it looks like. And maybe I just need to nudge it over to the right or left a little bit by selecting and using my arrow keys to move it to the left or right. Yeah, looks pretty darn good. Then I'm going to exit out of this. Now let's add the motion and the transition that we had in the first clip. Let me just show you what that was. Phil Abner fades on, moves on to the left video creator fades on moves to the right. Those air pretty basic. And then the last one is those line, which is going to be a little bit harder. So let's just go to the very beginning of our title card. Really. Anywhere is fine, actually, and we'll start with Philemon er, go up to your effects controls, go down under motion and will set a key frame for position. And then we're going to drag that position key frame just to the right a little bit. And then, with our timeline still at somewhere else. In the beginning of our clip, we're going to drag the position to the right. So now this creates this animation from right to left of the tattle card. And I'm just going to drag this first key frame or the one that we created in the big ah of the motion. The second key from we created all the way to the left. So it starts at the very beginning of this title card. We're also going to fade it on. We can do that by just right clicking and applying the default transition. Or we can create a custom opacity. Animation starting from zero said that key frame it automatically will of you type in zero and then going to 100. So moving forward in the timeline and setting that to 100 and you'll see now it automatically creates this transition. And I wanted to fade on and fade on completely before it ends its motion so you can see that it fades on completely and then it continues to move just a little bit. So let's do the same thing for video creators. So I'm going to select video creator. I'm going to set a position and opacity key frame. This is an easy way to do both at one time move these over to the right and just move the position just a little bit further to the right so that it lasts a little bit longer. And then with the position I'm going to move to the left. Actually, this time, move to the left and then drag that keep him all the way to the left and said our past to get zero and drag that all the way to the left. So let's see what this looks like. Pretty good fades on Nice, a little bit slower than before, but I like it. I'm going to nudge the video creator text title card over to the right just a little bit, just so that it fades on after the first text pops on. I think staggering animations like this helps make your videos a little bit more dynamic, and then lastly, let's think about this line. How are we going to animate this line on select that text? Or that that title card go to motion under scale? You see this uniform scale check Mark Uncheck that. What That means is we can animate the with in the height of the whatever it is the title card separately. So if I do the height, if I go all the way down to zero, it disappears. If I go with is squeezing this Tala card. But it's kind of weird, because you see that it's squeezing this in to the right. And what's actually happening is imagine this whole key for this whole title card. It's squeezing it in. Let me just quickly show you what it means. I wanna show you exactly what that means. I'm duplicating that tattoo card. I'm just going to create a circle something like this. Now, if I go to this title card and squeeze it with the scale with see what's happening, it's squeezing the whole Tyler card so that hopefully that makes more sense. Now when you see this title card, just the lines squeezing in. So what we have to do actually is move this line to the center so that it squeezes in. So let's double click that. Select this line and the just click this horizontal center button, it moves it to the center. Don't worry, we're gonna move it back in the right place later on. But this is for creating that animation. So I'm going to set a key frame for with at 100 move that to the right a little bit and then set the scale to zero. Now you see that it squeezes and it grows from the very center. I'm going to slight both key friends moved to the left. Make sure that we don't lose it. Just move the 1st 1 all the way to the left side and make sure that it's at zero. Yet we're good. You can play through this now. It looks pretty good. Maybe we wanted to be a little bit faster, so move the second key frame in now. We just have to put it in the right place, so I'm going to drag my position over to the left. I'm just clicking and dragging that position to the left. So now it's right in the original spot. Now it grows on, like so we wanted to slowly grow on a little bit more with a little bit more poof, making a little bit more dynamic, so I'm going to right click, select both of them right, click them and say Ease in. So that's going to make it grow on a little bit in a more dynamic way, so it slows down as it gets bigger, and we want to make sure that we go to the final resting spot of the text. As you can see, here I put the line at the wrong position is a little bit too far to the right, so make sure that you go on your timeline till to the spot where the tech stops moving and then moved the position of the lines So it's aligned with the final resting spot of the text. That's pretty dark. Will. I might just nudge this just a little bit more the toe, the line so that it pops on a little bit after the Philemon or text. That's pretty darn cool. That's all created in Adobe Premiere Pro. Hopefully, you were able to create something similar to this. If not hopefully This helped you understand how you can do it and opens up the wide world of creating motion graphics right within Adobe Premiere Pro. Thanks for watching and we'll see you in the next lesson 29. Adjust Audio Levels: We're in a new section of the Premiere Pro course, and this section is all about audio. So we're going to learn things like adjusting audio levels, adding audio effects, making our audio sound better and even adding music to our videos. So we're gonna walk through our project, and the first thing we're going to learn is how to change the audio levels, how loud or quiet your audio is. And there's a number of ways to do this. So we're going to go through all of the ones that I use. And sometimes I use all of these methods in the same project because they do different things. So if you want to just increase or decrease the volume of a specific audio clip, say this very first clip that we have in our little documentary we have on our timeline tools to do so. If you open up your track, your audio track, so that you can see your audio wave forms, you should see this little line in the middle. If you click on that line and go down or up, you see these numbers pop up. There's a number and then D B D B is decibel, and that's how we measure sound. So going down will decrease the audio, and going up will increase the audio. Okay, so you can just literally open up your audio track, move your mouse over to this line and move up or down. We can also get in here and do a little bit more advanced editing. So I'm going to zoom in here really quick. So say we're playing through this and this little peek right here. It's not that loud, but say we think it's too loud or you do have a bit of audio that actually is too loud and you want to lower just that piece, Will. You could go in here and used the razor tool to cut around it and then just take your mouse selector tool and decrease this little bit. But that's a little bit too much work for me, so I'm going to take my pen Tool P is the keyboard shortcut to get to the pencil and put points on this line so I can put a point here. I could put a point here. I could put a point here, and I could put a point here and then I could take my selection tool. And I can decrease this middle point. These points act as anchors that lock the track audio to a specific point. So if you set a point, then you're basically saying at this point I want my audio to be at this level, but you could move these points around and if you have two points, you can move the bar in between the point up or down. Okay? This is also another way that you can create a custom transition. So I'm going to delete this constant power transition that we added last time. And I'm just going to take my pen tool, set a point there and then take a point there. And now we have a pleat Lee customized here. I was diagnosed audio transition, and I can take my selector tool and move these around holding shift will also help you because it locks it to that decibel level. See if I don't hold shift, how it I'm moving it left or right, but it kind of goes up or down and decibel level. If I hold shift down, it locks it to that level zero db What if we want to increase or decrease all of our clips at once. One way is by selecting multiple clips for us. We're just going to select all of our audio clips, right clicking them in doing this audio gain effect. So if we click audio gain, we have different options. If we say adjust gained by and then we put a positive or negative decibel level here, say we go six. Then say OK, all of these clips and you just saw that the wave form the actual audio of these clips increased. So we're not just editing the output like we did with this bar. Were actually editing the the clip itself and increasing those audio way forms by six decibels so increasing that. So I'm gonna undo that by present command Z control Z is always undo on a PC. Say we want to edit these a little bit more smartly, smartly, intelligently. That's a better word. We can select all say, audio gain. Then let's say normalize Max Peak. Sometimes if you're working on a project and you're screening it at a film festival or if you're playing it online, they'll ask you, said the Max peak to negative 12 db or whatever it is. So if we want it to be negative 12 to be, we can say normalized Mac. Speak to negative 12. Then say OK, What it does is it finds the loudest point in all of these clips, and it puts that at negative 12 and then adjust all of the other clips with the same amount of reduction. So if it dropped the Max Peak, say five decibels to get it to be negative 12 the output is negative 12 and we can see the output as negative 12 when we watch through it. So here on our audio track mixer, when you're watching this under track two, which we haven't really gone through this we will go through this in just a second a little bit more. But we have our tracks. We have 1234 and then our Maxtor truck, which combines all of our trucks together in track to where our audio is. You'll see this decibel level bouncing up and down. Negative 24 negative 17. The max one will be now be negative 12 and the rest of them were decreased accordingly. Let me just undo that and then just show you the other option, which is if we go to audio gain and we say normalize all peaks. What this will do is it will look at the peaks in all of these clips, and it will raise each clip individually to be negative 12. And this is actually a cool tool to use. Say, you were using multiple interviews in one piece, for example, if we interviewed Anthony for this documentary than we interviewed his wife and his mom and his sister, and we combined it all in one video. But we shot unlived, different locations, maybe with different cameras, maybe with different microphones, and they all recorded at a little bit different levels. We can select all of them every clip in the interview, and we can say audio gain normalized all peaks to negative 10 or whatever it is, and it will make all of the audio generally feel the same loudness. So that's a quick way to make all of your audio sound the same levels. The last way that I want to talk about changing the levels is by track, and that is what this audio track mixer is good for. So we saw this just recently and we saw that we have are different tracks. We have our first track 1234 and they have sliders. So I'm going to play through this, and I'm just going to decrease the slider. And as I do this, the levels get lower and lower and lower until they are completely gone. The reason why I would want to use this is if I have, say, music on one track interview, audio on one track background noise and effects on another track. Typically, music is a lot louder when you put it on your timeline, so we might want to just drop down the entire track level to adjust that audio mix. We'll do that in a future lesson when we add music to our peace. So this is a great way to at it. The track audio, meaning everything on this audio track will be adjusted and we'll learn about audio effects . But you can also add audio effects to an entire track. If you drop down this little icon right here, it has this little menu where we can go through an ad audio effects if we want to add reverb, which is like sort of that echoey nous that you get from your your audio when you're shooting in a room. Or if you want to add some filters or equalization, which will improve, the sound of your audio will go through this in another future lesson. Shortly, we can add these clips for the entire track rather than having to do it through every single individual audio clip. This was a big lesson. Audio editing is very important, though, because audio sometimes is more important than what's happening on screen, especially when people are watching our videos on their little phones or on their ipads when they're busy. Sometimes we will just listen to the videos, and they don't even watch it because they have another tab open on their computer. So having good audio is really important, and now you should know how to adjust the audio levels of your video. So the action item for today is just to play around with the pen tool, maybe go through the interview that you've edited so far, and if there are any peaks that are really loud or any parts that are really soft, bring those up using the pen editor when I was editing this interview. There are some moments that I had to do that with because Anthony, sometimes when he gets a little bit more emotional, he gets a little quieter when he's talking about a sad thing. And then when he he's excited and emotional, he gets a little bit too loud. So I had to use the pen tool to adjust the levels of this interview. Thanks for watching, and we'll see you in the next lesson and continue learning about audio editing in Premiere Pro. 30. Adjust Audio Channels: When you start working with multiple cameras recording audio with a audio mixer, you'll have different audio coming in and imported, and it will Onley sound come from the Left Channel or the right channel, meaning that it will only play through your right speaker or your left speaker. So you'll put on your headphones and you'll start listening to an interview that recorded. And it will only be in your left ear a quick effect and tip that you need to know. Is this Phil left with right and fill right with left effect. So if you go toe your effects tab under audio effects or just search for Phil, you'll find Phil left with right to apply this to a clip. Just select the Clipper and don't you? Don't even have this like the clip. Just drag and drop this effect onto your clip. What this does is the fill left with right will fill the Left Channel with what's happening in the right channel. So if you have any interview or audio that's just coming from the right side, then you want to do this one. If you have something coming from the left side, use the fill right with left so that your audio will be coming from both channels now. And make sure that when you're editing, you might want to test it out with headphones. I know sometimes that I in the past and other people have edited their entire project just on their laptop, and they don't even realize that the audio is only in the Left Channel coming from the left speaker until you listen to it in your headphones and you notice that so be careful about this. The other thing is not just this effect for filling in both channels, but maybe you want something to just be on the Left Channel or the right channel, and that is actually a cool effects. Say, you're editing a video and you have a plane flying by, but it looks like it's coming by on the left side of the screen, or it's coming overhead and you want toe feel like it's coming over the left of you. You can change the panning of a clip, so if you select your clip, you go toe effects controls. And if you go to pan er you can pan left or right, you don't have to go all the way. But you can just do left negative 25 which is about 25% to the left compared to right in the middle or all the way to 100. And you can also have this change going from left to right. You see what happens when I add or just change this to negative 25. Up here we have basically another timeline right here. We can expand it just a little bit. So when I change it to negative 25 what I'm saying is, I want from for this entire clip specifically right here. I wanted to be at negative 25 pan to the left, and it creates this key frame, this little diamond that says that it's telling the program. At this point, I wanted to be negative. 25. If I go forward in time and I say over here, I want it to be 25 it will make a transition going from negative 25 as we play through this to 25 that's how you would create the effect where it's a car driving by or a plane going by. That sounds like it's going from your left side to your right side, so that's really getting into some advance editing there. You'll also notice while I'm here, I'm just going to delete these just by selecting them and pressing delete on my keyboard or backspace. If you're on a PC, you'll notice that we have this volume control right here, which is another way to adjust the level of your audio if you don't want to do it down here in your timeline, you'll notice, though, that it already has all of these adjustments that we've made with the pencil in the last lesson. See all these key frames right here? These are all those little pencil adjustments that we made you can see here that is going from negative Infinity 20 decibel. That's that transition that we had created. So just another know if you need to adjust these key frames, we can select these key frames and move them around if we want, or just individual ones, or even create new key frames by either typing in a new number, negative five or by clicking this ad removed key frame button right there, so much to go through in Adobe Premiere Pro This lesson, though I want to just clarify the panning left to right for an individual clip. And if you have audio, that's just coming out of one speaker. How you fix that, And that's with the fill right or fill left effect. Thanks for watching, and we'll see you in another tutorial. 31. Fixing Audio with Low and High Pass Filters: Let's make our audio sound batter with two quick effects. To really grasp this lesson, you have to understand a little bit about frequencies or audio frequency. Sees. Everything you hear has a frequency low sounds have low frequencies, and high sounds have high frequencies. I totally have a high voice, though, so I can't really do that when you're shooting an interview and you want to get rid of some of the that background noise. An air conditioning in the background, the car driving by a plane flying by some wind that caught the microphone. One way to improve that noise is by removing some of the very high frequencies and some of the low frequencies. If you remove too much, you're going to start removing our voice, which is more of a mid range frequency. But let's just dive in, and you'll kind of start to understand when you play around with it yourself. If you select a clip and you go to your effects, been over here not your effects controls, but your effects bins. You'll see under all you effect that there is a high pass and a low pass filter. So let's take this high pass on. And what happens when you do high pass is it is saying that I'm passing through all the frequencies above whatever amount you want. So I'm just going to close this volume so you can see a little bit more up here on the left . When we apply that high pass to this this trap clip, you get this high pass effect and the cut off is 14 95 hertz. That's really high. So listen to it right now. Number the whole A less I spoke Onley. The high parts, the high frequencies are allowed to play. If we drop this down to, say 100 summer, the whole a less ice book it It sounds a lot more natural because it's allowing all of the hurts all the frequencies above 100 to play through. If we go to zero, well, it won't let me go to zero, because that's like if this effect wasn't even on here. For most people, going up to 100 or even 150 or 200 if someone has a high voice is safe because you're not getting rid of any of the frequencies that are in there they're talking, but you're getting rid of any of the background rumbles that you might hear. The same thing goes for the low pass filter. If we take this low pass filter, it's allowing Onley the low sounds of the low frequencies to play below this frequency. So if it's out 14 95 then it's pretty low. So we have to take this up to say, 5000 or so. Book a challenge. Phenomenal. And that stuff sounds a little bit too low, too, because he has kind of a deep voice. I want to show some have a little bit more of his higher frequencies. Summer, the whole a lot. But there are some of the background noise that does get it does get rid of, and you can really notice this if you put on headphones, if you play it really loud without these effects on it, you could also click these bypass options right here, which is just a quick way to say to Premier Pro. I don't want to hear it with this effect on. I just want to compare it before and after, So if you want to turn it off or just test it. Without this effect, you can just click that bypass right there. So the general rule of thumb is to quickly get rid of some of the that background noise. Add the high pass and the low pass filters and said the high pass to around 100 in the low pass to around 5500 and go up and down from there. Just play around with it, see what it sounds like. Make sure you're not cutting out any of the frequencies of the person's actual voice and not changing how they sound. But if you can remove some of those high levels those high frequencies that you might hear in the background Thanks for watching. If you have any questions, let me know animals you in another lesson. 32. Improve Audio with EQ: Let's look at another way to make your audio sound better with Adobe Premiere Pro Back in our Effects tab under audio effects is an E que effect called equalization. Drag this on to any of your eclipse and you'll see that a new effect with a custom set up button pops up in your effects and say, Edit. We're gonna click that at it. A new window pops up, and this has all kinds of dials and things that if you were a pro sound guy or girl and you played with sound boards, you might understand what this means. But for a lot of you, you will not know what that means. And so I'm going to walk you through. So to understand what's going on, we have some different presets right now. It's such default. Let's switch it to Master e que. What that does is it basically just checks all of these boxes right here. If we don't want to do that, we can just go from default and check all of these boxes as we do that you can see that these different points that were added to this graph right here on the left we have the level, the decibels, the level of the audio, how loud it is on the bottom. We have the hurts or the frequencies. So on the left we have the lows, and on the right, we have the highs. Don't pay attention to anything down here right now. Let's just look at the graph first, because you can control everything right in this graph by clicking on these points and moving them down or up, or left or right If we move this point up, what's happening is the level of these frequencies right here are going to be louder. If we move it down, these frequencies air lower. And if we move to the right, it's editing all of the frequencies to the left and around 88 Hertz, which you can see change right here. So do pay attention to the bottom doll right there. But it does it in a different way than our high pass or low pass filters that we added last time. The high pass and low pass. It's a specific cut off point. It's 100 below, and everything above 100 is free to go For here. It's more of a You see this? It's not a linear curve, it's a curved graph, and so it sounds a little bit more natural than just cutting it off at 50 or 100 or 200 or whatever. So the reason we would use this graph for this this effect is to warm up our audio to make it fuel like it has more presence. And it's kind of hard to explain what that means, like. But if you want your audio to sound full and sometimes when you're recording with your camera and your microphone, it just doesn't sound full. It doesn't sound like you're sitting there with that person and you're hearing all of their voice so we can play around with some of these levels, especially the lower levels between 200 Hunt 1000 k just by increasing those that can make the audio sound a little bit better. You see, as I increased this one, we have sort of a small peak right here, so it's affecting those frequencies right around 200 most. But then once we get up to 500 or down to 100 it's not really affecting those as much we can make it affect a wider range of frequencies. By clicking on these small dots to the left or right and dragging to the left or right, you see that the hill becomes bigger. That means it's affecting more frequencies. And the reason why we have this is say you want to at a very specific set of frequencies. Maybe you have a an air conditioner on, and it's making a really loud noise right around 5000. The Friday 5000 hertz. You can add it just a very small amount with a small gap, something like that, at a very specific frequency. Most of us, we're not going to be doing that. But it is there for those of you who have some more professional, adding that you want to do in general. I just boost some of these, and then maybe I take the ones up here and on the left and right down. No, though, that if we already have the low pass on anything above 5500 is already cut off. So editing these ones over here on the right hand side, it's redundant. But if you don't have the low pass or the high pass filters on, then dropping down some of these high frequencies and some of these low frequencies over here might be a good thing. Finally, you can pay attention to these dials, these air. Just another way to control what's going on up here. I think it's easier to just click and move around up here, but you can adjust them down here. So if we want to address the gain, weaken just the gain of all of these different points by clicking and dragging to the left or right. First row is the frequency, and the last one is that basically the with of the graph, How much is it affecting around that frequency? We can also change these first points to a cut. So if we don't want to add the low pass and the high pass filters, we can just cut out all the frequencies about below 36 hertz. Or we can move this up to 100 and this one down to 5500 or whatever we want. Just with this e que effect. There's also this output gain. This will increase or decrease the audio for the entire clip with these same effects. So say we increase the middle frequencies, but that makes it a little bit too loud. We can then compensate by adjusting the output just a bit. There's also some defaults that you want to pay attention to. Thes sometimes work. For me. Warm presence is one that might work a little bit more than the others play around with the 19 forties. That one sounds like an old 19 forties radio. They are some cool presets to use, and while you're editing, you want to make sure that you're monitoring, so whatever you're doing up here will affect how it sounds when you play through this clip . But once your path, this clip everyone, it's not going to affect this club anymore, because this e que effect is just on this clip right here. When you're done, just click that red X and you're good to go if you want, though, you can easily copy and paste any of these effects to any of these other clips. So if you edit this first clip with e que, you probably want to do the same thing for the rest of these clips, so you can just select that effect from this clip. Copy it by pressing command C on your keyboard and then selecting any of the other clips you want to add it to and press pace Command V Control V if you're on a PC. And now, if I go to a specific clip over here, you have this E que Effect added, and you can do that with any of these effect. I'm undoing it right now, but you can do it with the high pass, low past any of them. And next we're going to look at this and how you do it to an entire track using the audio track mixer in the next video. 33. Adjust Audio Tracks with Effects: We just spent a lot of time learning how toe add individual effects to individual clips. But say we want to add something like this High pass, Low pass or e que to an entire track. We might want to do that to be amore efficient editor, and that's what I suggest doing. So I'm going to delete these from this clip and then go to my audio track mixer. We saw this briefly before. If we click this show hide effects and sends but in we now have an option to add effects to individual attracts. All of our audio is on track to, and we can see that if we scroll down in this window and we see track to bouncing up and down, we can click one of these buttons. It's just kind of the space in between. And then we have the same effects available as we had for the individual clips, so we hav e que high pass low pass its own off, I say low pass, and I set this to 5500 and then I go down to the next option right here. That's blink and go to filter high pass set that to 100. Then we can play through this, and it is affecting everything on the timeline. Not just this first clip, but everything in track two. You have to be careful about this on some tracks. Say you have sound effects or music. You might not want to do this on a single track if you have lots of different types of audio or different people who have been interviewed because their voices will be different . And so you might want to have interview with Anthony on track to you have another interview with his wife on track three, etcetera, so that you can adjust the add effects to the entire track individually for each track. Hope that makes sense. And to delete any of these, you can just select this down but and say none or like we had before. If we want to turn them on or off, we can just click this FX button right here that will turn it on or off just to preview it to see what it sounds like before and after. That's a quick way to add effects to an entire track. Thanks for watching, and we'll see you in the next tutorial 34. EXERCISE: Fix Bad Audio: This is Phil in my backyard, and in this practice lesson, I want you to actually improve the audio of this video. I'm using the road video Mike Pro. It's an external little shotgun microphone plugged into my canon seven d d to record this audio, but I am outside behind me there, probably about a mile way. There's a freeway, but I can hear it and you can probably hear in the audio, too. Just sitting in my back garden actually built its per gala this weekend. That's one of my hobbies that I've been doing lately. So take this audio, try to improve it, and I'll follow it up with a review showing you how I would improve this audio. Thanks for watching, and we'll see you then. 35. EXERCISE REVIEW: Fix Bad Audio: Let's take a look how I would remove the background noise and make this sound better. Now I will say this was a very tough clip because we had that bad noise from the background from the freeway. That really is all frequencies. It's high frequencies Lovering with these mid frequencies. And what that means is that the same frequencies as my voice are happening in the background and creating this background noise. And if I remove those, I remove my voice as well. So it's a bit tricky, but let me show you what I did. First, let me just show you what it sounds like after eight. This is Phil in my backyard and before this is Phil in my backyard I used the e que tool, and that's all I needed to make this sound better. And one word of advice is to use headphones while you're editing. So let me just play through this. I'm gonna delete this eq you and start from scratch in this practice less so One tip is to find a spot where you just see the background noise. So let's go here. I got this clip on my timeline. I can see right here. I'm not talking, so I'm actually going to put an in point here, but nothing go right before I start talking and put it out point. Then I'm going to turn on loop play. This is something we haven't seen, and it's right here. If you don't see this loop, play button, click this little plus button and then just click and drag the loop option but and down here into this toolbar and you see, there's lots of other tools here that you can play around with, make sure that's highlighted. And now, if you click play it loops through this clip. Just where I have the in and out points. My face looks ridiculous, but that's okay. I'm gonna deal with that while I add the e que effect to this clips search for e que and add. It thinks like under custom set up at it. Okay, I'm gonna block my face because that is just annoying. So what we want to do is actually use the huge tool to figure out where the noise is coming from. Right now, we're just listening to the background noise. So if I click on mid to And then I basically drag this up. What I can hear if I sweep to the left or to the right. I can tennis here where it's loudest, where the most of the frequencies are down here and the left. There's not that many over here on the right. There's not that many, either. But as I get in this race, 1000 to 5000 that seems to be the hot spot of where the big noises. And so by knowing that I can then just take this point and drop it down all the way, and that sounds a lot better is cutting out a lot of that background noise. Then if I uncheck, loop, play and play through this of this video, I can just move this. My extending the curve like so so that it doesn't sound as robotic microphone plugged into my canon can turn this on and off to hear what it sounds like by what I'm checking the toggle on. And there are probably about a mile away. There's a freeway, but I can hear so one thing we want to do is use this output slider to increase the output here and you can probably hear so we don't lose any of the actual volume. Even though we're getting rid of some sounds, we want to make sure that my voice is still the same level there in the audio to the other thing I'm going to do is check the low and the high buttons and make that it a cut. Then I'm going to change the low from 50 hertz to 200 the high from 10,000 to. I'm gonna go a little bit further than normal to 4500 just sitting in my back garden actually built this purse, so that's cutting all the frequencies above 4500 and below 200. So if I exit out of here weekend, that's one of my hobbies that I've been doing lately. So take this audio and turn on and off the e que effect you can kind of hear back and forth what it sounds like. And while it's not perfect and it's just because of the situation wasn't perfect, it is better. So hopefully you were able to get something similar to that with your own practice. If you have any questions, please let me know. Or if you have any other ways that you were actually able to make this video even better. Please let me know. I would be happy to see what different effects or different settings you use yourself. 36. Add Music to Your Project: in this tutorial, we're going to be talking about adding music to your project, and the key things I want to teach you are one. Where can you find free music or high quality but inexpensive music for your projects? And then next, how do we add it to a project? And specifically, how do we short in a song? A lot of times are video isn't going to be the perfect length matching up with a song, so we're going to have to cut it shorter, and I'll show you some tricks on how to do that. So we get a sequence that looks something like this. Where here, down below, you see, actually, goodbye Summer. This is a song we chose, and Secret Conversations were using both of these songs for our project. So, first, where do we find free music? One place is the YouTube audio Library. If you sign into your YouTube account, which you'll have to sign up for and then go to the Creator studio and then down under create, there's this audio library where you can search through and find all kinds of free music. You concert by genre mood instrument duration also attribution some of these songs you can use for free on whatever project. Other times, you have to give credit to the actual author by crediting them in your video, or at least in the description of your video wherever you upload it. Another place that I like is audio jungle dot net. This has a bunch of good music that is relatively inexpensive. 10 to $20 seems to be the range for most songs, and they have a lot more higher quality and different music. Then you confined for free. So those are my two. Resource is that I go to when I'm trying to find music, which, although is not one of my favorite parts of video editing, is something that I find myself doing often as the video editor for projects. So let's get back to Premier Pro, and I'm just going to actually move this music that I already added over to the side so I can start from scratch. The thing about music is that it can really add a lot to your video. Audio is so important, and music can make a scene seem more exciting, more happy, more Saad more dramatic, more suspenseful, So music is an important part of video creation. You don't necessarily always want to have music. It's sometimes good to actually not have music to make a point. Stand out. If someone saying something very important, just let it let them talk without music. But for a short documentary, having nice music throughout is a good idea, and changing up music also makes it even better. So in this little piece, even though it's only a minute long, we're going tohave a transition from a happy er song to more of a sadder dramatic song. Because there is a tone shift in what Anthony is talking about. I've included some music that you imported probably already these air songs from the YouTube library, so feel free to use them and whatever project you want. I'm going to start with the goodbye summer truck, so I'm just double clicking it to open it up in my source monitor. Then I'm going to play with the timeline up here, go to the very beginning, set my endpoint, start playing it or just go forward just a little bit and then sent my outpoint and all I'm doing is just taking a little bit of it, so I can then bring it down onto my actual timeline. So I'm going to do that. I'm going to drag it down to my timeline. One thing that I already did before this lesson was I went to my audio track mixer and I changed the level of Track three and track four to Negative 20. When you add music to your project, look at your audio track mixer. Play through it and see the decibel level that the voice and the music is bouncing around. You see the voice over here bouncing around Negative six. Negative 10. Negative 15 and then the audio for the music is bouncing around. Negative 24 Negative 25. In general, you want the music to be 10 to 15 decibels lower than the vocal or the voice of the interview so that the voice isn't drowned out by the music. So adjust accordingly, and I did that for both track three and four so that I can add two songs and have them sort of fade into each other. So we have this song, and if we play through it and listen to it on our track will see that it actually adds a lot to this interview. Same year I was diagnosed that summer, the whole Bayliss Ice book, a challenge. It's happy. It's exciting. Anthony's talking about something that is exciting. The ice bucket challenge ugly, you know. So he's happy this whole time, and then it kind of switches his tone when he gets to this point when he talks about, I meant that I wasn't for a disease that literally will take away in my voice. So when he talks about for a disease that will literally take away in my voice, that's when it takes a dramatic shift. And that's where we want to transition into another song. And we're going to do that with the Secret Conversation song. But first we're going. We need to end this goodbye summer song, and we could just faded out. That's something out that we could do. We could just bring it in to this point on the timeline, add a default transition and faded out, or we can try to end it with the end of the song. Sometimes songs have a nice ending. Where there's it sounds different. It's more of a closure to the end of the song, so we might want to use the end of this song. So what I'm going to do is take my razor blade tool pressing, see on my keyboard. Just make it cut right around here. It doesn't really matter where it is right now. Then I'm pressing. Why on my keyboard to bring up the slip tool. And I'm going to click this clip the second part of the music and dragged to the left all the way until the end of the song. And you can see from the way forms that this is the end of the song for a disease that literally Then we have to find a place where these can match up. Thankfully, this song is relatively repetitive, so we just have to find a beat where this song will look at our sound. Good meeting up. I'm going to solo track three and track four. Just gonna make the videos even smaller. So I have more room for the audio timeline, and actually, right now, I'm going to put this second part of the song on track four. So solo four and three and then extend this part of the song over this first part. Now you have are two music clips kind of overlapping. We want this second part to end right about here. So let's hear what Anthony is saying. Me meant that I wasn't alone so it can fade out when he says I wasn't alone right about there, and then we're just going to tweak it. So we're gonna zoom in here and see where the beats of the song are, and you can see it just from the spikes on the way form. So in this top on, we see a beat. Here, Here, here on the second part, we see beats here, here, here. So I'm guessing that if we match up one of these beats something like this, where there's a beat, their a beat there it might sound good. And to test it out, I would just play it with these two overlapping. It's a little bit off. I see. As I zoom out that actually there's beats Here, Here, here, here, here, here. So that's what I'm going to line up. So I'm just selecting this second part of the music clip pressing command and right and left arrows on my keyboard to nudge it to the left or right, and now I can play through it. It's pretty good. Maybe nudge one frame to the right. That sounds really good. So now we just have to cut this first clip, probably right about here in the second clip right about there and just drop this second part on top of the first part. Delete this part, and now if we play through it, we need a little bit of a transition. So just right click, apply default transition. That sounds pretty darn good, especially when we have the vocals on it are the interview because it's ugly, you know that doesn't go viral, but as soon as somebody does something random and fund, it goes viral. So that's right. Did for that sounds great. And now it just fades out that I was exactly where we want to fade out. Then we can just quickly take the secret conversation song, and I'm just going to take the last part of the song, so I'm just going to go on the time line up here towards the end, said an in point. Drag it down here to track four you can see with this song. It does have more of a dramatic fade out right here. So with the wave form it goes, and then right around this point, it fades out. So I'm gonna put this point right at the end of my audio right about there, and then it kind of fades out with just the couple guitar beats at the end. So with my razor blade tool going to delete, cut that last part, apply that default transition faded out at the end, then extend it right about there to meet up with this audio. Just have a nice fade in with the default transition that I wasn't for a disease that literally will take away my voice for a demographic. And this song seems to be a little bit louder and you can tell by the way form it's a lot bigger than this one over here. So we're going to actually go to the audio track mixer and drop this one down to maybe negative 25 db. Just play through it one more time. Biggest thing to me meant that I wasn't alone for a disease that literally and I think that sounds good. The transition of the music definitely amplifies the emotions that were getting in the film itself. Thank you so much for watching this video. If you have any questions about adding or editing music to your own project, let me know. But for now, your action item is to choose one of these songs or find another song on the YouTube library. Or, if you do want to purchase the song on Audio Jungle, you can but find some music that you think makes your video better. ID it, edit it to your film and we'll go from there. Thanks for watching, and we'll see in the next lessons. 37. Easily Remove Background Noise with Audacity: in this video, I'm going to show you a quick and easy program you can use to remove background noise from your own videos. Sometimes it's hard to manually do it with the frequencies, like we learned with e que the low passing the high pass filters. Audacity is a free program that you can download online. Just search for audacity, and there you can download it for free. And it has a really powerful noise removal effect. There's lots of stuff you can do. An audacity. I'm just going to show you the noise removal effect. Open up audacity. Once you've downloaded it, then with any sort of audio track or even video, you can just drag and drop it right into audacity. It's going to import the files, and then you will see a wave form for that file, and you can play through it. You can just click on this with your space bar or with your mouse and then press space bar to play and you'll see level is bouncing up here. You can zoom in with this zoom tool right here and to remove background noise. What you want to do is find a part of the clip that has no talking. I'm gonna go back to this little selection tool right here. Play right here for all kinds of reasons. And but so you want a good chunk where there's no audio? So if you see no way forms something like this, click and drag over it and that creates this selection, and then if you play through it, it just stops right there. So it just plays through the selection. I'm going to zoom in here even more and turn it up even louder to see what this sounds like . Make that selection again. There's just a little bit of background noise is very subtle, but you can hear it if you play it up loud. So then, with your selection, goto effect and then noise removal, the first step is to just click this, get noise profile, Click that button. What happens is it sees our selection, and it analyzes it to see all the frequencies that are playing. Then, when we unclipped this, zoom out with the zoom tool you can right click to zoom out. Then with our selection tool, just select our entire clip right here just by clicking on the clip right over here on the top left, then Goto effect noise removal again. And now we have these presets settings that I think work really well. So I'm just going to leave those and click OK, it's going to remove the noise. Basically, what it does is it takes those frequencies that we selected and it removed all of those from the entire clip. And, um so it doesn't do much for this clip, but it will if you have a lot of background noise. I mean, we were using a pretty professional set up, so we didn't have that much noise going on. But I want to show you what happens when I say we select this setting right here where Anthony's talking, we go to effect noise removal, get noise, profile, and then we select the entire clip, then go back to effect noise removal. And then we say, OK, it's going to remove all of those frequencies of Anthony's voice and you'll see that these wave forms dramatically change dramatically goes down. Somebody does. I spoke a challenge again, and it sounds so wacky. You would never want to do that. I just want to show you what's actually happening because you couldn't really tell when I was taking the sample where Anthony wasn't talking because there wasn't that much background noise. But trust me, if you have some wind in the background, if you have some loud buzzing or something like that, this can really help. Once you have removed your audio, you want to save this as a separate file, so go to file export and it's going to ask you to save a wave file. Or you can choose a different type of file. A. I F F or wave are the ones that I would suggest MP three and all these other ones or some of these other ones are compressed, so I would just stick with wave. Then you can save it to wherever you're working on your project. Click Save It will ask you if you want to add any metadata to this. So this is like if you were exporting a song and you had artist name, year genre, we're not gonna add any of that. I'll just say, OK, it's going to save it to the desktop where I chose, and then we're going to have to import this back into Adobe Premiere Pro and sink it up with our video itself. So you might want to do this before you start editing your actual videos. Um, we don't really need to do this for the project we're working on right now, but in the future, it's a good idea to do the noise removal before you start editing, so you don't have to deal with re sinking any footage. Thanks for watching, and we'll see you in another lesson. 38. Color Correction - Lumetri Basics: Let's learn how to color. Correct your video in Premiere Pro with the latest version of Creative Cloud, they have a very powerful color corrector built into Adobe Premiere Pro that really any color is unless you're you're doing a professional future film. You might want to use a different program, but for anyone that's making videos on their own, you can color correct your footage. Very powerful E. In Premiere Pro. Go up to your window and then change to your workspace to color. This will open up the Lumet tree scopes window over here and then the Lumet tree color panel over here. And this is what we're going to be doing to edit our video. Select the clip that you want to add it, and then I just want to show you why we do that. Because if we go over, there are effects controls really quickly. Nothing has changed, but as soon as we make any changes over here in the Loom ITRI color panel, it will apply this loom ITRI color effect to this clip. So watch me as I just drag any of these sliders to the left. Check that out the loom. ITRI color panel apply. Effect applies over here, and it can be adjusted just like any effect turned on and off. You can also addressed all of these sliders over here on the left, but it's harder to see and use. And that's why I use the Loom entry color panel over here. Let me just delete that one more time. Go back to my scopes and I'm going to be showing you why we use scopes to color. Correct our footage in this first video. We're just going over the basic correction tab Over here. You can see that there's multiple tabs in multiple ways. Toe edit your video, and we're going to go through all of these in the future lessons. But first, let's start with basic correction going from the top to bottom. The first thing is input. Lut. Now you might have heard me mention before that we shot this video with a Sony camera that used a raw sort of format called S Log three, meaning this doesn't have a lot of contrast already. It doesn't have a lot of saturation. We apply that afterwards a lot, or a look up table is sort of a filter that can be applied to this footage. Now we shot an s log three and you can actually install and find specific look up tables for your camera and the way that you shoot online. Or maybe it comes with your camera already they don't have an s log. Three input with the latest update two Creative cloud. What I like to use is the Amira Rec 709 So if I click on that, you can see that applies a look to this. Now, this doesn't look great. It's too bright and we would need to make some changes. But then we can go down to the rest of these things. Say exposure dropped the exposure just a bit. If we need to add more contrast or less contrast, we can do that. But the look up table is a place to start. So that's one way to edit your footage. I'm not going to use the look up table, though. I'm just going to edit this as if we didn't have any look up tables or as if you were shooting with your own camera and you didn't need to use a look up table. So moving past the Let We Have White Bounds. You have a white balanced selector, which allows you to click on this color picker. Find anything in your video that has no saturation like something that's white or even something that's gray. It can't be overexposed, though, so these behind Anthony, we have these curtains right here. It's a little bit too exposed right here. If I choose that, it doesn't really do anything because there's no information there. It's over exposed. But if I go over here where there's some grey, it does affect the temperature and lead 10 sliders. See it added a little bit more blue and added a little bit more magenta. We can go in here and add more blue if we want or make it more warm. Say we didn't like that blew that, I added. We wanted to be a little bit more warm. You could do that just by dragging up or down on the slider and same with the tent weaken drag to the left toe, make it more green or to the right to make it more magenta. I'm gonna undo that just by pressing control Z or Command Z. If you're on a Mac. You could also type in a specific number if you want, by clicking on this number and typing in the specific number that you want to use. So that's how you quickly adjust the white balance. The color picker is the best way to do it if you have something in your clip that is white or neutral next, we have tone. All these letters adjust the brightness or the darkness of different parts of your footage . Exposure effects everything in your clip. So everything becomes darker. Everything becomes brighter to reset. You can just double click on the slider bar, and it will reset to zero. Contrast, if I drag to the right, actually makes the dark starker in the brights brighter and you can see over here. Look at the scopes, see what's happening. First, let's go back to exposure. If I bring drag to the right, everything's becoming brighter because at the top of the scopes, it's the bright. It's the whites. At the bottom is the darks and the blacks. So if I go all the way to the left, everything becomes black. The goal is if you have blacks and whites in your frame to have some things touching zero at the bottom and some things touching whites at the top 100. So, with contrast, when we add contrast, it's expanding the colors or the brightness and darkness. And because this image is so flat, this is good. We want to add contrast, so you can do that with the contrast lighter. You can also do that with the rest of these sliders down below. The highlights will just adjust the highlights. The bright parts of the footage, these shadows will just adjust the shadows. The darker parts, the whites and the blacks are even brighter and even darker. So the whites air just the really highlight parts, and the blacks are the very dark parts of your frame. So with the blacks were really going to crank these down quite a bit, saying with shadows, trying to get the bottom of this graph to touch. And that's because we do have some pure black things in this footage. This camera lens right here that's pure black, so that should actually be very close to the bottom. And we have whites up here with the the curtains behind. So the those should be close to the top. I'm going to do that. But I'm also actually gonna bring down the highlights so we don't over expose Anthony's face. You can see, though one thing that one issue we're having is that this image is very unsaturated. Thankfully, we have the saturation slider and when we're shooting with s log three, it's very unsaturated. So if we drag the saturation all the way to the right, we're getting more to a natural look. If 200 isn't enough, we can actually type in something higher than where the slider goes to 50. Might be a little bit too much to 25. That might be exactly where we want to be or close to it. So this is the basic color correction tab. This is where you want to start. This is where a lot of people just stay. You don't even have to go down to the all of the rest of these effects in the loo Metarie panel. You can get a pretty cool in pretty proper color correction here if we want to take it to a step further to grading. I just want to explain really quickly what grading is versus color correction. Grading is giving it more of a stylistic look. And that's what we're going to be doing mostly with the rest of these tabs, giving it more of a style more of a cool filter. That's what grade looks. Warming it up toe. Make it look happier because it's warmer or cooling it down to make it look more depressing or sad. And we can do that with things like this sliders up here. But you can really do it with some of these sliders and tool down below. So in the next video, we're going to move on to the creative panel. Ah, and for now, just play around with the basic correction and start practicing with the clips that you have on your own sequence. 39. Color Correction - Creative Tab: we're moving on to the creative panel, so let's just open up the creative panel. The first thing is it has these looks or speed looks, and there's a drop down menu with a bunch of different looks. They're also kind of filters. So they're similar toe lutz, except the Let's match with a camera and with how you're shooting. So if you're shooting with the Phantom or the Ari, any Ari camera or that Alexa or the mirror, that's why they have these specific looks here. The creative filters and the looks are more for any type of camera. We can preview what they look like by clicking these arrows over here on the right side or the left side by to scroll through these different filters. And if we find when we look like say, we want Ah, let's just go with this clean Kodak HDR look, we can click it and applies to this this video clip. Let me just undo that and uncheck the basic correction so that we can see really how it looks, a Sinise base. Look click on that. It applies right here. We can increase or decrease the intensity of this look with the slider right below it. Think of these looks as filters. If you use Instagram, it's very similar to what an instagram filter filter is like. And then from there, we Congar ahead and make all of our corrections in basic correction. And if you are using your looks, I would start with look here and then do the basic corrections or the corrections down here . Below this looks panel. We have adjustments. Let me actually turn off this look by choosing none from the menu. And then I'll actually turn on our basic color correction. We can add a faded film look, and this will make things mawr or actually less saturated and less contrast. E. So you might have seen Samsung commercials. They use this effect a lot where everything looks very unsaturated and uncontradicted, so that's kind of a stylistic choice. If you want sharpness, this is a cool tool. This will sharpen the edges of things in your footage. Great for interviews just to add a little bit of sharpness to people's eyes or amounts, especially if you're using a camera with a very shallow depth of field where it's hard to get everything and focus on someone's face. So for this footage, I will actually increase this to something like 25 or or so. I don't want to go too much because then it starts to look really weird and has a lot of artifacts to it, because when you add sharpness is actually adding sort of this grain to the footage that I don't want. So I only do it a little bit and don't get me wrong. This won't make out of focus footage in focus. It just makes for stuff that's in focus already a little bit more sharp. We also have vibrance and saturation sliders here as well. Saturation does the same as what we saw in basic correction. It adds saturation to the entire clip, or it takes away saturation. Vibrance is sort of a smart saturation. It increases the saturation of your frame, but it maintains the saturation of skin tone, so yellows, browns that you typically have in skin tones. It's not going to saturation saturate those as much, because when you do that with the saturation slider, you can see that it starts to look weird. Anthony's face gets really orange, which is unnatural, but If we use just the vibrance lighter, it increases the saturation of, say, his shirt, the this yellow in the background. But it maintains his skin tone, so that's a smart way to add more saturation. Lastly, we have shadow tint and highlight tape. The shadow tint affects the Hugh or the color of the frame, or what's in the frame that's in the shadows. The darks. So say I want to make the dark colors more blue. I can click in this middle and dragged down two. The blues. See how it makes him more blue. If I go way too far, it starts to affect everything, but just a little bit might be kind of cool. And then the highlights will affect the highlights. So if I want to make the highlights more warm, see how the color the the blind or the curtains behind him become more yellow. That's making it more warm. That's affecting just the highlights. And then the tent balances the balance between which one is more powerful, the shadow tent or the highlight 10. So this is a cool way to get more of a fun look or creative style. If you're doing music videos, something mawr experimental. This is a cool thing Teoh to use. And there are other similar things that were going to be learning how to infect just particular parts of the film down below in these next panels. But this, for now, is the creative panel. Have fun with it. Start playing with the creative looks fine ones that you like, because there are some that I really like that, um I use for a lot of mind some of these Fuji Look, some of the Kodak ones. I don't use a lot of these ones that I like blue or gold. Ah, yet, But perhaps they'll come in handy in a future project. Thanks for watching. And in the next video, we'll look at curves. 40. Color Correction - Curves Tab: the next panel we have in the Loom ITRI color panel is curves. So let me just close down creative and close. Turn off the effects that we added for both creative and basic correction and then go down to curve so that you can really see what this is doing. The RGB curves will add or decrease well exposure or even contrast to your footage. Clicking in this graph and dragging down will decrease the exposure or increase the exposure. If you move up, we can add contrast by creating a little s curve. The bottom or the left side of this graph affects the darks. So if I drag down, that's decreasing exposure of the Dark's and the blacks and then over on the right side, we have the highlights, so if I click and drag up the highlights, it's actually making it mawr exposed. So having a s curve like this adds more contrast, and you can see over here in the limit Tree scopes panel. How it looks. There's mawr colors, the highlights are higher and the darks are darker. Weaken, go into specific colors and say we want to add a little bit more warmth to it. We can choose the red graph and just click and add a little bit more red to this. Now you don't want to go, Duke, go too crazy. Unless you want this to be more stylistic because as you drag up, it starts to get a little bit wonky. You can do the same thing with the greens and the blues, and to undo any of this, you can just double click. Next. We have the hue saturation curve down here and this effects just a specific color in your frame or or a group of colors. Let me actually reset this s curve and turn back our basic corrections on so we can see what the hue saturation curve does. We can select a specific color by clicking down here, say, weeks like the blues. And then we can adjust just the saturation of that blue by increasing or decreasing. Now, this is a range so we can add or increase the range that selected by increasing the size over this range. Like so, then we get ad points like so. So now this is selecting all the blues and de saturating it. Maybe we want to de saturate everything except for the blues. You can actually increase the saturation of the blues like so and then take the rest of the colors and move them down in words, clicking and dragging in, well, D saturation and going outwards in the circle Wool ad saturation to it. If we want just the blues and just the yellows, we can do that. We can get creative with this. So just the yellows justice face. So this means everything except for the pings and the magenta is and the greens is going to be saturated, almost too saturated. So that's how you use the hue saturation curve. To get creative, you can imagine ah, shot of a red rose in a green field of flowers. Maybe you want just that red rose to be saturated. Everything else to be de saturated. This is the one of the tools that you can use to get that sort of effect. You can also do that with some this HS l secondary panel, and we'll be learning that in a couple of videos. So this is the curves panel. It's another way to add contrast at saturation to specific colors or even with this main white graph right here to the entire clip itself. Thanks for watching. And in the next video, we'll be going over color wheels. 41. Color Correction - Color Wheels: the color wheels are very similar to what we saw above in the creative with the shadow tent in the highlight 10. Instead, though we have three different parts of the video. We have the shadows, the mid tones and the highlights. So if we increase or decrease the slider on the right or on the left side of any of these, it increases or decreases the luminous or the brightness of it. So that's just another way they see. There's a lot of things that you can do in the loo metric color panel to do the same type of effect. So this is just another way to increase or decrease the exposure of a part of the film or add contrast by decreasing the shadows and increasing the highlights. You can also affect the color of these different parts. So just like we saw before with the highlight tent, we can take the shadows and make them a little bit more blue. The highlights maybe a bit more blue as well, and then the mid tones we could make more warm, or we can go crazy with it and make the mid tunes green, the shadows pink and the highlights sort of a green color, you know, for my documentary, this isn't what I'm going to do. But for a creative music video or experimental film, this might look kind of cool. So that's the color wheels. It's another way to get kind of creative. I usually don't use it for my typical projects because I've already done most of my correction in the basic correction and the creative tabs. But you might come. It might come in handy for a project that you're working on. So it's just something that hopefully now you have a good idea how to use it. Thanks for watching, and in the next lesson will go over the H S L secondary. 42. Color Correction - HSL Secondary: Let's learn about this hs l secondary panel. Now, I've already edited this last clip here. I can turn off and on that effects so you can see what I've done with this last clip of Anthony cruising down the street. This is a way to effect just a specific color in your frame. And there is mawr different ways to choose that color that we're using. So first we have these color pickers by selecting and Keller, but with his eye picker eyedropper and then finding a color say we would click this red car back here, see what happens on the H S L. We have hue saturation and luminous. So Hewas the colors that we're selecting S is the saturation and Ella's luminous the brightness. If we click on these triangles on the bottom and the top here and drag, we can see what we have selected and dragging to left and expanding. This will increase what we've selected down here seem with the saturation this will increase or decrease what we've selected And then the loom it's again we can see what we've selected. So we haven't selected much because the color we clip we selected wasn't much in this frame . We can add color to this by clicking this odd color and say we want to add that color or maybe pick something back here. So that address just a little bit too. We can remove color. Say we want to remove something that was selected like his skin tone if we don't want a skin tone to be selected So this is how you select the color. Or you can just pick any of these presets up here. So say, I just picked this magenta right here that will just pick the magenta in this frame. I'm gonna undo that, though. With command Z Control Z, If you're on a PC and then down below, we can refine our selection. Blur will blur the edges of our selection and de noise. If there is a very small speckles that were selected, increasing the D noise will get rid of those small speckles. So that might work good for this because we don't want to select much of his beard or him that much. We just want us like this car in the background. Then we have the correction. This is how we adjust just the selection. So if I click into the middle and I want to change the color of this car in the background , I can do that. If I go too far, though, you can see what happens that the other things that were selected his hair, the the building over here are also affected a lot. So we don't want to go too far with it. But see how cool that is. We can change this red car to a blue car and then we can change the tent, the temperature down here if we want to make it even more changed or whatever we want increase or decrease the luminous of it over here in The cool thing is it affects the entire video. It's not just for that one frame. It's the entire video. Pretty cool, huh? Then again, we have our sliders for contrast sharpened sat trace down here. The difficulty is fine tuning the selection. So you're just affecting what is on what you want to effect. So that's where we're going to have to spend a little bit more time. But this is the H S L panel. Next, we're going to be moving on to the vignette panel 43. Color Correction - Vignettes: Let's talk about the vignette. Panel vignettes are a great way to focus your audience's attention on something specific in your frame in the center of your frame. Typically so for talking head videos or in interviews that sometimes works in the vignette panel, we have the amount slider. So we dragged to the left that's increases. Or as a Darkman. Yet to the right, it's a white vignette for this panel. We can even type in even further if we want Mawr of no vignette or less haven't been yet. The midpoint will increase or decrease the size of them in yet. Going to the left will make the vignette bigger, basically, or decreasing the hole in the middle or to the right will make it less. I typically air on the side of less because I think vignettes are cool. But it's one way that I comptel an amateur video from a more professional video. Amateur editors tender add vignettes to everything because it looks cool, but vignettes aren't supposed to be noticed. It's supposed to be very subtle, and it's supposed to just naturally affect how your viewer sees your footage instead of being like Oh wow, there's a vignette there, so be careful when you're adding even, yet you don't want it to be too pronounced. The roundness will make it more square or circle. So if I increase the amount a lot saying Negative 10 0 I can't even do negative 10 Negative five is the greatest amount. Weaken Dio. Then I increase the or degrees of the mid point. You can really see what the roundness does. Make it a perfect circle or more square. I typically leave this at the standard zero, which matches the aspect ratio of your video clip itself and then fathering. Let me actually decrease the midpoint. Federal feathering will increase the feathering or decrease, make it more hard line or make it fade more. I typically add more feathering, so it's again more subtle. So if I turn this on and off, you can see that it's it's subtle. You wouldn't notice that is there if you just saw this film, but it adds a little bit and it draws your attention to the center of the frame. And this is a great idea if you have a shot of something other than a talking head that you want to focus your your viewers attention on or just for a stylistic approach. So that's the color panel. I hope you've enjoyed this section and the exercise that we've had and hope that you have learned how to use this panel. If you have any questions, let me know, and I'll be happy to further explain any of these features to you. 44. Color Correction with Adjustment Layers: in this video, I want to show you how to color cracked with adjustment layers. It's an easy way to apply the same color correction to multiple clips in your video sequence. Right now we have all these clips of Anthony speaking, and I could go and copy this lou metric color effect and select all of the interview clips on my timeline and paste it. But maybe later on I might make a small adjustment to the the saturation or to the contrasts, as I see necessary. Then I would have to go through and edit it for all of the different clips. And Easier Way is with an adjustment layer. So we need a track between our interview here and the rest of this B roll and the titles up here. So I'm going to select all of these titles and the B roll just by selecting, and I'm going to move it up one track. So now we have this track in between. Then I'm going to go to my project file. I'm going to go to the new item button and go adjustment layer. Select. Okay. And now we have this adjustment layer, and you might want to title it. So you know what it is? We'll say a camera color. So I know that it's the color correction for a camera. Now I'm going to put it right on top and throughout this entire video. Then I'm going to select the actual color correction for this clip right here. Actually, first I have to decide. Am I going to use it from this clip, which I did with the look obtainable or this one, which I did from scratch? They look very similar. Except for this one has have the vignette. So I think I'm going to keep the one from the been yet. I'm actually going toe. Copy it. So select it. Command, See or cut it command X and then paste it on the adjustment layer. Command V Control V. If you're on a PC, then I'm going to go to this next clip right here that had the previous color correction and delete that one. So now none of these clips right here from interview camera A have any color correction on the actual clip itself. This adjustment layer does, though. And if I want to make a change, say I do want to add or decrease the vignette. Say I wanted just decreased the vignette. I can do it right here in the FEC's controls or by opening up the Loom entry color panel. Change it to zero, and it changes. Is it for the entire video in one click without any Coppinger pacing? So I would suggest using adjustment layers when you have interview clips like this when you're editing a narrative film or a documentary with video clips from all kinds of different scenarios. This won't necessarily work from you because the color correction will be different for every clip. But when you're editing, Ah eh, eh, an interview or something where it's the same lighting set up, it's the same exact correction you want to apply to all kinds of clips. Sometimes the adjustment layer will work better. Now you might be asking what happens when I want to use the be tracked down here. We haven't even thought about using this interview be camera, and we can do that by either deleting the A camera. Or maybe I want to cut from the A camera to the B camera. So let's go through this. Maybe I want ugly. You know that doesn't go viral, but it's maybe you right here. I want to cut it to the wide camera. What I can do. I can't just select the A camera and drag in because what happens is the audio gets dragged in as well. I can option select, which allows me to just choose the video of this track and dragon. So now the audio stays there, but then it cuts to the white image. I think the problem is that this adjustment layer isn't perfect for the wide shot. The wide shot settings were a little bit different. So what we can do actually is Let's just open this up just a little bit so I can see more of my timeline. I can add another adjustment layer between my A camera and my B camera and changed the settings for this. Be camera shot. I'm just going to duplicate this a camera adjustment layer right here just by selecting and pressing Command C Command V rename it by pressing return on my keyboard and typing and be camera color and put it right here above the B camera shot. Then I'm going to start out with this loom ITRI color effect that I already added to the A camera. So I'm going to copy that and paste it onto the B camera profile. Then I'm going to delete this adjustment layer where the B camera is shining through with my razor blade tool C on your keyboard if you want to get to that and then V to get back to your selection tool. So now this adjustment layer is affecting all of our B camera. I just have to write in it a little bit, so I'm just going to go down to exposure, set it to zero, maybe even point to something like that. 0.1. Small adjustments. So now waken cut from here to there, three color correction looks the same. The colors look the same in each of these address. Mint layers are affecting all of the video clips for that camera. All the A camera and be camera. If you have any questions, let me know. Otherwise we'll see you in the next video. For now, I want you to actually go through and color correct your footage not only for the interview clips but for any B roll that you've chosen to use 45. Adding Motion to Title Graphics: one thing that will make your video stand out from the crowd is not only having nice, clean graphics but adding motion to those graphics. And you can do that right within Adobe Premiere Pro. I used Adobe after effects for a lot of my own motion graphics, but a lot of what you can do for some basic graphics can be done in Premiere Pro. So say, Let's for this title right here say we want to have it pop up onto the screen. What we can do is selected this clip, and this can be done for any clip, whether it's Ah title video, clip a photo, then go to the motion tap. We saw the motion tab before, when we were controlling the size and the placement of our photos. We can add key frames to create an animation. It's a thing that tells Premiere Pro that at this moment in time, this clip should do this. It should be at this size at this position at this rotation or at this opacity or anything like that. Let's zoom in here to this graphic. Let's go forward just about a second or so we're going to set a position key frame. So up here in the first line, we have position clicked the stopwatch next to position. It creates this key frame right here. Then go back to the start of the clip just by dragging up here or down here to the very start of the clip. And all we have to do is move the position down or to the laughter to the right. So if we do that and then we play through this, everyone does. I knew then their mama's baby. And I'm realizing halfway through creating this class, how odd this is to be using this footage of Anthony and Bikini and tight pants. So I apologize that this has probably been the weirdest course. The weird is added that you've every see every scene, but I don't want to go back and re record everything with another project because I think this is a very important project. So don't mind Anthony and his tight pink shorts. So anyways, what you didn't notice was the video or the title was popping out, one that I knew, and it pops up a little bit slow, so I'm going to make it a little bit faster. So I go to the ice bucket tech text. Then I could just take the second key frame and move it to the left to make it faster. Everyone does. I knew that looks good, but everyone, it's not too fluid. It just kind of comes on and then stops abruptly. And that's because the animation between these two key frames is Lanier. It's going at the same rate from the very beginning to the very end. But that's not how things move naturally in the world. We when we start to run or we start to move, we start slowly than we get faster. And then when we're about to stop, we don't stop abruptly. Unless we run into something, we slow down and then we stop. And so for this one, we wanted to ease into this final resting spot. I don't really care how fast it goes from the beginning, but at the end I wanted to ease into that last spot. So I'm going to just right click this second key frame, go to temporal interpolation and go to WBEZ EA, and you see that the key frame changes from the diamond to this hourglass figure everyone the night. So now when you play through it, it kind of slows down to the final resting spot, and I think that looks a little bit more natural. So that's how you add sort of an intro motion into a title. Say we want to just add a little bit of motion to this entire graphic just going from left to right just a little bit. What we can do is select this title, Goto Motion said, a key frame at the very beginning for position, then go somewhere in the middle. Usually, I go just anywhere in the middle and just drag the position to the left or to the right wherever you want, maybe just to the right, just a little bit. And then I'm going to drag this key frame all the way to the right. So it's at the very end. Now, if we play through this, you get this very subtle motion. Super subtle. But the more subtle I tend to think the better the more professional it looks. So that's how you add motion to your titles, where you can do this to any other graphic in photo shop. So that's how you add motion to your titles in Premiere Pro 46. The Ken Burns Effects: We just learned how to add motion to a title. Let's do the same thing for our photos, but with photos. Sometimes you call this the Ken Burns Effect, where you slowly zoom in to or out of the subject or a part of your photo. Ken Burns is a famous documentarian. He's made a lot of great documentary's from Civil Award World War two baseball. He's a he's one of my favorite documentarians of all time. We're going to do the same thing, so we're going to enemy the position. But we're also going to animate the scale, so I generally don't care where I'm setting the key frames. Initially, I'll move them later, so I'll just go anywhere on this photo. If this is a good final resting area, that's good. But if not, maybe we want to find the final resting spot or the shuts the final shot right there. Set key frames and then move these to the end. And then we have to decide if we want to assume aneurysm out. I think I'm going to be zooming in, so that means the key frames before have to be a smaller scale. So I'm going to send this to 60 and I'm also going to just move it down a bit. So now between these two key frames, that kind of moves up and zoom Zen, I'm going to move these key frames to the very beginning, or just like so we will take away my voice. Okay, I'm going to do the same thing with the car image. But instead of zooming in, I'm going to zoom out. And sometimes I think that looks really good when you're zooming in and then you match it up with the zoom out right after that. So I'm going to set a key frame right there and they're and this will be our final resting spot. Then I'm going to zoom in just a bit, maybe 25 and tilt up, maybe over to Anthony and just a little bit. So the car is revealed. Move these key frames over to the left, zooms and zooms out, has never looks pretty good. Let's play through that one more time for disease. Zooming into this nice photo of Anthony and his mom, a graphic of people that zooms out from Anthony revealing him in his car. That's how you add the Ken Burns effect to your photos 47. EXERCISE: Add Motion to Your Video: adding motion to a video clip. Whether it's while you're actually shooting or during post production can make it more dynamic. And that's what this practice exercise is all about. Adding motion to your videos With the advent of especially four K footage and even to Cape footage, even back when we were shooting just regular HD or 7 20 p verses 10 80 p. These higher resolutions allow you to zoom in on footage and move it around in pushed production without losing quality. So that's the exercise for you today to take the video clip that's included in this lesson , download it and adds a motion to it to make it more dynamic. Here, you can see what I've done with it. I want you to replicate this clip, this type of motion and this'll type of motion right here. Very subtle. Subtlety is the key, I think, in terms of adding motion to video clips, but it does make it a little bit more emotional, more dynamic. In the next lesson, I'll show you how I actually added this motion to this. Now it's your turn to take the clips and try it yourself 48. EXERCISE REVIEW: Add Motion to Your Video: How did you dio? Hopefully you were able to add some full motion. I have this sequence that I created for the preview of this lesson shown you some different motion of this clip to start out. What we need to do is take this four K interview clip and drag it into a new sequence. You might be saying Wait, what what are you doing? This is a four K sequence. We need to be able to zoom in on this clip, and if we do, we're going to lose quality. That is true. So we have to change the sequence settings for this clip first. And maybe this is something you forgot to do. Go up to sequence sequence settings and then, under editing mode, change it to customs so that we can change the frame size to 1920 by 10 80. This is still HD, and then say OK, just say OK, it's going to say that the clip that we added it's too big for this sequence or it's not the right settings. That's totally fine. And you can see now that I said OK, are sequence is actually smaller than the footage. This is great, because now I can take this clip, go to the motion and zoom out or moving around. So that's what I'm going to do. There's two types of motion I want you to consider, adding to your clips to make them more dynamic. One is a zoom, and one is just sort of a pan across. And like I mentioned in the last little preview lesson, this is something you can do while you're filming. If you have a dolly or a slider or even a camera with a tripod, you can move around the frame. But when you are shooting an interview and you don't want to mess up the shot, it's hard to do that if you only have one camera. So shooting with two cameras is an option. You can have one camera moving around and the other dis stable or shooting with one camera in a higher resolution is if that's possible, shooting and four K or to K to get some footage where you can punch in and move around later on. So with this clip, I'm just going to zoom and start the frame around 57 and I can put my timeline indicator really anywhere and just set a key frame for scale and position. Then I'm going to drag those key frames all the way to the left. And then I'm going to zoom and even more and dragged down and to the right just a little bit, so moving to the right and move these key frames to the very end. Now I want to play through this to make sure that it looks good and it's not too fast because you might have motion. That's a little bit too fast. I actually think this is a little bit too fast, so I'm just going to move these key friends back and change it to maybe 68 and move it just back to the right and back up just a little bit and move these key frames to the right again. Now, the cheese percentage change from 57 to 68 is less than 57 to 72 meaning this motion is slower and more subtle. You can still notice this motion, and maybe this is a little bit too much, but I actually kind of like it. So now I'm going to show you how to add the pan. So I'm going to take this video clip again, drag it onto this sequence. You can see it's already punched in, and I don't want to go any more than 100 on scale. That will mean a decrease decrease in quality when I export it. So if I go up to 110% that's basically digitally zooming in on this footage. I passed the point of its full quality, so I'll just set at 75 and I can make it move either way. But I think going from left to right might look good. So I'm going to move Anthony over to the right a bit, said a key frame for position, dragged out to the beginning and then just drag to the right just a bit and drag this key frame all the way to the right. So now if I play through this pretty darn good, pretty subtle. But I like that. Now I want to show you something. This is a cool trick, actually. So say I added that position animation, But I think oh, actually, I think his head is a little bit too close to the top. I want a little bit more head room. Well, I can't just go in here and drag him down like this because that's setting a new key frame for position, and it's actually making the motion of the video clip, Go to the left and then down and then continue what I can do. I'm just going to believe that what I can do is change the anchor point. The anger point is what I call the saving grace of affecting or fixing position. If I have key frames, I can actually take the anchor point and move this clip around. Now the anchor point, if you're familiar with photo shop or adobe after effects, might make a little bit more sense. It's basically where this clip is anger, too. Originally, it's anchored in the middle. But by moving this anchor point setting around, I can move the anchor point basically elsewhere. That's really all you need to know, but what this can do now as I can move it up or down, and it actually keeps the motion of the previous animation. But this whole clip is nudged down now, so I have a little bit more head room or say I want to move it up even more just to show you what happens. It's moves the whole clip up, but keeps the motion the left to right motion that we added before. So that's just a quick tip if you get stuck so that you don't have to actually go back and change both of these key frames for the position. Because sometimes that happens where you make a bunch of key frames and you do go back and change all of these while you can actually just use the anchor point to do that. So that's how you add motion to a video clip to make it a little bit more dynamic, especially for shorter promotional trailer type pieces. It's kind of a cool way to make your video look even better. Thanks for watching, and we'll see you in another lesson. 49. OPTIONAL: Add Motion to Screenshots: In an earlier lesson, we learned about adding motion to our different clips in this video to Dural. I'm going to walk through adding the motion to all of these social media posts that I did in my original video that looked like this. You see them flying in, there's a little bit of a rotation, and once they fly in, they grow. And then this last one fades in. So let's do that to our project. The first thing I'm going to do is delete this cross dissolve at the beginning, So I'm just going to delete that from all the beginning because these aren't going to fade in. They are going to fly in with this 1st 1 I'm going to go right about here to where the final resting spot is going to be. I'm going to set the position in the rotation. I'm not going to set scale while I can set scale against that scale for now there. Then I'm going to go before just a little bit, and then we'll move our key frames later and I'm going to rotate to the left Negative 25 and then I'm going t move it all the way to the left until it's off the screen and maybe just a little bit down by increasing this next number and then just scan through this with the timeline and see what that looks like looks pretty good. I'm going to move the scale to the left to match up with these 32 other key frames. So now we have these three for the position, scale and rotation. I'm going to select all of those, move them to the left. I'm going to keep my position and rotation right there. Then over here on the right, I'm just going to increase the scale to something like 75 and then move that to the very end of this. So let's just play through this birthday flies in. It's not growing as fast as they want. So I'm going to go to this key frame where I can just delete it, make this 80 being put this at the end. So that's what I did first day. I got 100,000. That's pretty good. I want to add a little bit more pop to this, so I'm going to select all of these key frames for position and rotation. How I did that was by clicking and dragging over the position key frames and then shift clicking and dragging over rotation. That means we don't have to select the scale. Right Clicking, changing the temporal interpolation from linear Teoh. Busy? A. So that's what I did first day. So that adds a little bit more pop to it. So let's do the next one. So after this one flies in, it's on the screen. Yep, this one should poppin right about there. Some going to set a key frame for position, rotation and scale. I'm going to put the position in the scale right about here, actually, so it's gonna fly in from the right land right about there, and that looks pretty good. Then I'm going to go to the left on the timeline. I'm going, Teoh, do the rotation to the right 25 instead of negative 25. Then move it to the right off screen and move it down just a bit. Now I'm going to move these two key firms to the left. First position and rotation Move the scale rotation to the left as well. And then I'm going to set a scale key frame later on for 80 again and move it to the right all the way, selecting rotation and then shift clicking and selection being position. Key frames, right clicking, temporal in relation. I'm changing it. Too busy? A. If I play through that, it's a little slow, so I'm gonna make it's faster by just moving these second key frames in a little bit. 1000. Then the next, something like that may split the difference. And then the next. All right, the last one. We're going to fly in and it's going to land on the right, so I'm just going to move the position over on the right. I'm going to set key frames for position scale rotation moved back on the timeline, just a bit, rotated negative 25 degrees and then move it off the frame and down just a bit. And then the same thing. We're going to move the scale, the position and the rotation all the way to the left. Then I'm going to set another scale key frame for maybe about 68 for this one all the way to the right, and I'm going to select my rotation and my position. Key frame is right. Click them. Change it too busy A. Now let's watch through this zooms on, zooms on, zooms on. That last one is a lot faster than other ones, so I'm going to make it a little bit slower. Just selecting these 2nd 2 key frames and a 1,000,000 make it a little bit slower. And then this last one is just going to fade on and zoom in so we can either fade with a cross dissolve or why not an opacity animation. So I'm going to set my opacity animation about half a second or so in 100 going to go back in time, change it to zero. It's not fades in. Then let's add that scale animation. Let's go on the timeline toe where I can see it. Let's zoom in just a bit, so it's going to come in just a bit, zoomed in already, said a key frame. Move that scale all the way to the left and zoom in. I might also need to pan up while I'm zooming in, so I'm just going to set a key frame, move it all to the way to the left so that matches that first key frame and now move up just a bit with the position. And now move these position and the scale key frames over to the right fades in and it zooms and everything. To me, it's a little bit dramatic, so I'm just going to delete that scale, which was 77 and I'm going to set it at, like 72. Move that to the end again. So now it's just watched through. It zooms, end, zooms in Zoom Zins. They're all growing. And then this last one grows into thing to me. Way could play around with this. Tweet this. I might make this a little bit slower still. Maybe make it a little bit bigger. One cool way that you can reposition objects after you've added position key frames because I noticed that it zooms in, but it's a little bit too low. I wanted to be a little bit higher. We can use the anchor point. The anchor point allows us to move around. Are objects in a different function than the position without affecting the key frames of the position. So if we put it there or, like, go crazy with it. We could put it over here just so you can see what's happening. Love zooms in over there on the left, but obviously we want in the middle. So that's right. The first day I got 100,000 the next, and then they all fade out. I might stagger this fade out so I might have the 1st 1 fade out than the 2nd 1 fade out than the 3rd 1 fade out and then the last one fadeout and have the white just fade out. Just a hair after the rest of them. Just insane. Bigot Lee all fade out one at a time. It looks pretty good. Okay, so that's how I added that effect to those social media posts. Go ahead and do something like that for your own video if you haven't done so already and we'll see you in another lesson 50. Exporting High Quality, Small File Size Videos: Wow. We have learned a lot in Adobe Premiere Pro in this course, and I really hope that you've enjoyed it so far in this lesson. I want to show you how to quickly export a high quality and small file size video perfect for uploading online to share your video with the world. In the next lesson, I will be walking through all of the export options to explain them further. But really, for this one, I just want to show you exactly what to do so you can do it quickly. The first thing you want to do is go through your timeline and set in and out points for your export. So go to the very beginning, press I on your keyboard to set an endpoint, then go to the very end and maybe a few frames after the end and press Oh, for the out point. This means that it will only export this portion of your timeline, and it won't include any music or clips or anything. You have to the right of your timeline that you don't want actually part of your export, then go up to file export media or press command em on your computer or control em If you're on a PC first, you want to go to format up here, make sure it's on H 264 then under preset go to down to YouTube 10. 80 p. HD. So you see all of these presets. These are great quick ways to export for specific devices. They've got everything from Apple, iPad, vimeo, TiVo, android. But in general, if you just use the YouTube 10 80 p h dif setting this is going to create a very high quality father. That's good for practically any of these devices. No, though, that for our video that we're working on right now, 10. 80 p is actually larger than our sequence setting. Remember when we said our sequence settings It was 6 40 by 3 60 And you can see that actually, right here. So this is actually going to stretch it up to 1920 by 10. 80 which isn't really making a HD. So for this project, these might not actually be the best settings. But for any video that you shoot on your phone or a modern DSLR, you probably are going to be shooting at this setting the 1920 by 10 80 dimensions in this YouTube 10 80 p. HD preset is the perfect one for that click on this output name and this is where you can choose where you want to save it and name your file. So, Anthony, Doc, I'll save it to my desktop. Just click save. We do want to export video and audio. We're skipping over a lot of this stuff right here, but make sure that this with and height is 1920 by 10. 80. Or, if you wanted to be smaller, you can eso for us. We actually might want to make this 6 40 by 3 60 But if you're again, if you're recording a typical video that you shot on a different camera and it's not compressed 1920 by 10 80 is good. If you scroll down in this window, you'll see two settings that I might consider increasing. One is this bit rate encoding go from BB are want and passed a V B R To pass under here, you want to check, use maximum render quality and up here you render at maximum depth all of these check marks and checking these boxes and changing this to to pass. It doesn't increase the size of the file, which is estimated down here, but it will make it look better. It will make the colors come out better. It will make it more sharp everything that just slightly you might not be able to notice it , especially if you're watching it on just a phone or on YouTube. But if you're watching it on a high resolution screen, you probably will be able to know some minor differences when you check all these boxes. Versus not. The downside is that it does take longer to export. So if you need to export faster, you can uncheck those, and it will still be high quality HD. But for now, this is good, and she leave this target bit rate right here at 16 and the maximum bit rate at 16 16 is a good number for 1920 by 10 80 videos. If you're exporting four K footage, this should be higher, maybe around 25 or so. But for our purposes, 16 is good. Then just click this export button. If you hit Q, which is totally fine. You can hit this Q button, and it will take it to media and coder to export. But if you want to just export it quickly, right within Premiere Pro Just Click Export. It's going to start exporting. It's going to do the passes through the audio in the video, and then once it's done, it will be on your desktop. Thanks for watching. I know this lesson actually is a little bit longer than I was hoping it to be, but I wanted to talk through a couple of those things. In the next lesson, I'm going to walk through more of these settings and specifically the the render queue with the media encoder. Thanks, and we'll see you then. 51. OPTIONAL: In Depth Export Settings: let's go through some of those export options that you understand what's going on. So again, if you say you're in and out points for an export, then go up to file export media. It will open up the export module on the left side. We have our source, and you can actually adjust the in and out point of your export down here on this timeline like soldiers, by dragging or down here, you have this source range, and you can choose it thes sequence in and out points that you set on your timeline before you can do the entire sequence or your work area, which, if you go back to your timeline and then you click this little three line button right here and say work area bar. This is another bar you can use, actually, which comes in handy to limit yourself. Say you have a project that needs to be 30 seconds. You can put this right at the 32nd mark, and that's where you'll know As you work, you have to end, but right there and then back in your export settings that go command M or control em. If you're on a PC, you can change it to that work area where you're just going to leave it on sequence in and out. That's typically what I dio so going back to the export settings on the right side. If you want to export it, just at these settings of your sequence that you imported, you can just click this match sequence settings button, and that's going to export it at thes settings of your sequence. And so that might be a good thing if you are quickly at it exporting something for preview purposes. Typically, I changed the format, though under format you have H 264 and then all kinds of other formats, from quick time to impact to to just audio files. MP three. There's also a I F F wave form. For most purposes. You're going to want to use H 264 It's just the go to quality for most video makers. Now, when you are posting online videos later on, we'll learn about the quick time setting when you're exporting a full resolution file. But for us, we're just going to stick to H 264 We mentioned all of these presets over here you can create priest sets. And I also did that. See this Y t quick 10 80. It's the YouTube quick 10 80 settings that I use, which basically sets everything the target bit rate, the maximum bit rate. But it also matches the sequence settings for whatever sequence I'm exporting, and you can create new presets by changing all of the settings down here and then clicking this button right here to save it. It's not going to let me because I am on a set it preset right now. But say I change this frame rate to 29 97 and then I say, Save preset. I could say this Oz, the YouTube quick 10 80 29 97 preset we saw here. This is the output name clicking that will allow you to change the title of your video and where you save it. If you just want to export the audio for some reason, you can do that or just the video. This summary gives us all of the information about our output and our source. And then down here we have different tabs. Over on the left. We have different effects. You can do things like apply look up tables or Lumet tree looks, which is a preset effect that will go over in another future lesson. You can add image overlays like a watermark name overlays, time code overlays, things that are more for professional video editors. Uhm to use the video tab. This is what we saw before, where we have our settings for the size of our export so we can change the size to whatever we want. Typically, we are looking at a 16 by nine frames, so 12 80 by 7 20 is an HD format, 1920 by 10 80 with this little button right here locked, it's going toe lock the with and height aspect ratio. So if I uncheck that, I can make this a perfect square if I do 1000 by 1000 pixels. But that's not going to look good because it's actually going to squeeze this into a squid square. So we want to make match the actual aspect. Ratio of our project 16 by nine Frame rate 29 97 Sometimes you might be exporting for different places on TV. Might need to use 29 97 or 59 94 Or you might want to just match the frame rate of what you shot. 23 976 Fueled order comes from how your video is actually output on a screen. Actually, your video is broken down into a lots of lines. So if your height is 10 80 it's 1080 lines, and it's just the way that it appears. And so for most cases, we're just going to use progressives, so just leave. That is progressive. Same with the aspect. Square pixels is generally what you want to check unless there is a specific case and someone asks you to export at these other options, depending on if you are projecting it with a sort of temper projector or something like that. TV standard Pal vs NTSC. As it says when you hover over this U S and Japan use NTSC, Europe and Asia use Pal. It's just the way that it's been for a long time. So if you're watching this and you're in Europe, you're probably going to be shooting and exporting in PAL leave profile on level at Main and 4.1. We saw this render at maximum depth. It's really interesting that this is an option. I don't know why Premiere Pro doesn't automatically render at maximum depth, so I just check that to make sure that it has the best export quality bit rate settings. This is what really affect the size of your file bit rating. Quoting You have options C B, R V, B R. One pass and VI br to pass. Choose between VI br one pass and to pass. One pass will make your export quicker, but two passes means it actually goes through the export twice. That goes through all of the frames of your video twice, and it makes the colors and everything look a little bit better. The target bit rate and the max bit rate. The bit rate is basically how much information in terms of file size is happening per second, so your target would be 16 megabits per second. You're Max is how much it's limited to, so the max will be 16. Generally, these two are the same. You could lower this if you want, and if you lower the target bit rate, you'll see down here. The estimate of follow size decreases so if you need to export a small file size, you can just lower it down here. Once you get past 16 when you are exporting a 1920 by 10 80 film or video, there's no real reason to increase the target bit rate past 16 because it's not actually going to make your video look batter. Each size has a specific bit rate that is sort of the maximum bit rate that matters for that size of video, and 16 is about that for 1920 by 10 80. There's these other tabs right here. So, like audio, you have different audio formats. If you know you have to export Dolby Digital. If you're playing in a big theater that requires Dolby Digital, that's an option for us. We're just going to leave it at a C and down here. The audio settings were leaving the sample rate at 40,000 hertz. You might need it to be 44 100 hertz with 32,000 hertz, but for most of our projects, just leave it at 48,000 channels stereo. Unless you I want to make your mix mono, you can. But then that's going to just make the same exact sound, come from both the left and right speakers. Stereo. If you have things on left and right speakers a little bit different. If you recorded your audio and stereo, it's going to export at stereo or 5.1 surround sound. An audio quality. Just leave that at high for audio bit rate. Leave this at 3 20 the highest kilobits per second. Eso the higher the bit rate, the higher the quality. So just leave that at the highest multiplex or captions publishing there just some more advanced options, like if you want to add captions to or if you have created captions in Premiere Pro, you want to export them as a specific file. Or if you want to publish directly to things like Facebook, YouTube, Vimeo or Adobe Creative Cloud, you can do that. You just have to sign into your accounts to do so and down below. We saw this use maximum render quality again. It's just an extra box. You have to click. I suggest clicking to make sure that it is the best quality, and then the other one I just want to mention quickly. Is this import into project. If you want the export to be imported into your project automatically, you can just import it with that last time we just click this export button and exported straight from Premier Pro. But you can click this Q button and it will open up the export in Adobe media encoder. What this allows us to do is export in the background while we continue to work in Adobe Premiere Pro. Sometimes I'm batch editing a lot of projects at one time, and so I want to export a long project. And sometimes it's not just a one minute project that takes a couple minutes. Maybe it's a 30 minute documentary or ah, two hour long event that I'm editing, and I'll want to just start the export. But be ableto continue to edit other projects or different versions of the same project right within Premiere Pro. So I do that Q option, and it opens it up in Adobe Media Encoder. Here we can go through and change our export settings. They also have presets on the right hand side as well. On the left, you have your age 264 setting option, and if you click. That brings us back here to this window, where you can change all of your settings. The preset. If you click that again, it goes back here. There are different presets that you can choose straight from adobe media encoder like we saw before, and the output file. You click that to choose where you want to save it. Then, to start this, you can just press this start. Q. And the reason why it's a Q is because you can actually add more projects to this. For example, when I'm editing a course, I often add it multiple lessons at once. So we'll have 10 lessons that I want to export. So all just be editing them in Premiere Pro, then export them and add them to the Q and continue editing while all of them export. So you can see here. After I pressed the button, it starts to export, and we are on our way to having a great project exported. If you have any questions about this, please let me know. There's also lots of great resource is on Adobe's website on the different Kodak's, the different formats that would take too long to explain in a video, but I will be glad to help point you in the right direction if you need any help, Thanks for watching and we'll see you in another video. 52. Exporting a Full Resolution Video: Let's learn how to export a full resolution video of our clip. So to do that, go selector in and out points for your sequence that you want to export. Go to file export media or just command em. Then change the format up here from age 2642 Quick time. Skip the preset right here. Rename it here by clicking it and then renaming it to whatever you want and setting where you want to save it and then under here under video. Kodak. This is where you change it to the full resolution. Kodak. So change it to Apple Pro Rez. 4444 This is going to be completely high quality. Full resolution Apple Perez for two to H Q. Is also the same. Basically, for most of us, you won't be able to know the difference at all. But with four K footage, it definitely used the 4444 If you're not using four K footage for two to H, Q is totally fine. And then for the basic video settings down here, just click match source so that it matches whatever your settings were for the video that you used and then click export. That's going to export a full quality Apple Pro rez file. It is a quick time file, but it is completely full rez. Thank you so much for watching and we'll see you in the next video. 53. Exporting a Small File-Size Preview Video: say you're working through a project and you want to send a version for review to your team or a client. You might not need to export a full resolution file that will take longer toe upload and process online, even though it's relatively fast with most of our Internet speeds. And nowadays, but for a lot of us sending that first draft at a lower resolution but a small file size is what we want, so set your in and out points for your sequence that you want to export, then press command em on your keyboard. We want to keep the format at age 264 the preset. We can change to something like YouTube 7 20 p so it's still going to look good. You might even consider going down to 4 80 p, but I would just keep it at 7 20 p. And this is assuming you're editing video that's bigger than seven 20 p or 7 20 p for us. We're editing this really small video, so it doesn't really make sense. But if you're editing normal footage from your own camera than it will be bigger than 12 80 by 7 20 so this will still look good. It won't be stretching out your actual footage and go down to bit rate. This is really where you can get a small file size change of the 16 to even one might look good anywhere between one and three. That's going to give you a really small file size, but it will still look decent enough, but it's just going to be a lot easier to use. You can even send this over most email servers if it's under 25 megabytes. So that's how you export a small file size video. Thanks for watching, and we'll see you in another lesson. 54. COURSE PROJECT - Finish Your Short Documentary: So how are you doing, Phil? Here. Live while not live but in person with you right now. I wanted to check in again and see how you're doing. How is the class so far? And I also want to prompt you to do the work to do the exercises. I know throughout some of these lessons I prompt you to odd titles to add transitions to make your edit. And I hope you've been doing that so far. But now you've learned everything that you need to to actually put together a nice little short documentary, and I want you to do that. So your action item for today before you move on with this course, is to finish your 62nd short documentary, export it and post it online to share with us. You can post it on YouTube. You can post it on vimeo dot com. You can even put it somewhere like Google Drive or Dropbox and share it with me posted on the course page in the Q and A forum, or send it to me in a direct message. I can't wait to see your work, So get to it and we'll see you in another lesson. 55. Add and Adjust Effects: in this section, we're going to be looking at some of the visual effects and fun things that we can do to make our projects look better or more interesting. So in this lesson, we want Teoh just learn how to add effects. Learn more about what types of effects there are in Premiere Pro. And the first thing we're going to do is I've just put together this sequence of the same clip six times with different effects, and we're just gonna watch through it and see all of the different things that you can do in Premiere Pro. So this is the first clip. No effects. Just this couple walking down the beach. Let me just rewind just, um, it. So walking down the beach. No effects natural light. Here's another effect. This is a threshold effect. Get that black and white. We add some grain in this shot with this shot, we added this spotlight effect with this next one we at we actually flipped the effect. So it's going to the left and with this when we added this bevel kind of style and this is just scratching the surface on what types of effects you can add if you go to your effects been we just closed down these bins. You can see that there are so many types of effects, and if you open up one of these folders, you can see different adjustment effects, changing the color levels, changing the highlight shadow levels under blur and sharp. And we can add blurs different types of blurs. Color correction. These are all of your color correction of facts If you don't want to use the loo metric color panel, the three way color corrector. This is the main effect that we used to use as editors to color. Correct our footage before the little metric panel. One of the most fun bands is this style eyes we can make our videos have brushstrokes toe look like it's a moving painting. We condemn boss the edges. We can create a mosaic texturizing all that. You go through all of the effects, but I want you to understand how to use them first. With all these effects, you'll notice in our effects control, been or panel that up. Here we have the effect settings. So for threshold, it's simple. The level of the threshold we can increase or decrease the amount of threshold allowing Maurer of the highlights toe have some black texture. But if we decrease it all the way on Lee, the dark parts of this image get this sort of dark silhouette. If I turn this off, you'll see just the dark parts right here. And this image is actually a good one to see this out on, because there are so many highlights on this bright, warm beach, so you can adjust all of your levels with the effects controls. Here we have the noise effect added, and we have 25% noise, which is actually a lot more than I typically would add. But I wanted to just really show you what happens when you add noise. So if you want to add a little bit of dust and grain, make it a little bit noisy, like an old film camera used. The noise effect the noise type. I unchecked the use color noise because the color noise. If I make it a lot bigger, you can see that it has all these red and green and yellow dots. I like just the black and white noise and typically maybe around 10% or so, just a subtle amount, just a very subtle amount. With this next one, we have a lot more options. So this is the lighting effects. You have multiple lights that you could add to your clip. With this effect, I'm just using with light one. All of these effects adjust something so the center will adjust where your light is set. Both the major and the minor radius will adjust how big and small your light is. The angle will adjust where it's coming from. I wanted to match where the sun was coming from for this clip. So it looks like that spotlight is actually just the sun. The intensity is how bright or dark the light is. You can actually make it darker, and the focus is how wide or narrow it is. How much of a sort of feathering does it have into the rest of the footage? And this is just light one. We can add another light if we wanted to go into light to weaken change from none to another spotlight, and we can move this around, do anything we want with it. With the next clip, we just flipped it. So we used the horizontal flip effect and it just flopped the image from right to left, and it just flopped the image. So now they're walking on the left hand side, and sometimes flipping an image can make him or dynamic shot or dynamic transition right here. We have the action of this footage over here in the bottom left corner. Say we had another shot that we're cutting to after this that has the subject down here in the bottom left corner. We wouldn't want the subjects of this shot to be on this corner and then the next shot, the subject on this corner. It's a more fluid and peaceful transition if the main eye catching subject is in the same relatively the same area of the frame. So using the horizontal flip, we can make this shot match that and then with this last one, this is just the bevel edges. Just another effect. You can see that I can adjust the bubble edges where the lights coming from to create that shadow on the edges. The color say we want to make this something wild and fun with, like a blue edge, something like that in the intensity of the light again. How contrast it. We want that light toe. Learn all of these effects. It would take a very long time for me to walk through every single one. So what I I think you should do, and the way that I learned these effects is just to play around with them. Just go one at a time, add them to your clips, see what it does. Say, Hey, what's this auto color? Let's drag it onto our clip. It's automatically adjusting the colors of our footage. See this on and off makes it a little bit more contrast in. And that's actually pretty darn nice, I would say so. The auto color is a cool effect. Just go through them and see which ones you like. There's some that I've never even touched and some that I use almost on every project. If you have any specific questions about a specific effect, please let me know. I will be covering some of the ones I use most in the next few lessons. Otherwise I just have fun with it and we'll see you in the next lessons 56. Adjusting Effects with Keyframes: in this lesson. I want to show you how you can adjust effects with the key frames, so this will allow you to create sort of an effect transition onto or off of a clip. So here's the shot that I have of the Swiss Alps that I shot while I was on a trip to Switzerland with my wife and say, We want this shot that maybe this is the end of our film or the beginning and it's going to start off on the shot. And then we wanted to blur so that we can add a title over it. Let's go down to our blur sharpen effects. We're going to add the gouge in blur to our clip. When I do that, nothing happens. We have to go to the effects controls. And first we're going to set a key frame for blurriness at zero. So I'm going to go to where I wanted to. Transition may be right around four seconds, said that key frame by clicking this stop wash icon. Then go maybe a second or two later, and now I increase the blurriness something like so and with this effect, I'm going to repeat edge pixels. You see here that as I increase the blurriness, the edge gets a little bit dark. I don't want that to happen, So I'm just going to click this repeat edge pixels, and that makes the edge not have that shadow on it. Now, if I play through this, it transitions into this blur. This is something that you can do to sort of replicate a blur of focus. If you were doing it manually out there in the field, sometimes that works better than others for different shots. And now, with the blurred out background, we can actually add some text to this, so it will appear a little bit better. Let me just show you that really quickly. So if I go to my project tab, click the new item button Click new title school. Leave it at Title one. And if I just add this title in the middle, we'll just call this the Alps. Exclamation point. So exciting when you call changes toe Helvetica changed too bold. Then use the center options right here to center this text, maybe add just a little bit of an outer stroke. It's the black outer stroke clicking the odd stroke. But in increase the stroke size exit out of that and this to my clip, let me just show it to you. What happens. So here before his blurt out, Yeah, it's visible. But right here, when it does blur out, it's much more visible. So whether this kind of transition, I would probably create a fade on for the title. As the blur of the background starts to come on, Sol Goto the on the timeline appear. Oh, goto this first key frame, and I could get to it by clicking this button right here. These buttons are the go to next key frame button and will make sure that all my timeline down here, my cross dissolve starts at that point, and then I'll go back to this timeline. Go to the next key frame, which automatically jumps my timeline indicator down here to this point, and I'll increase the crosses off to that point. So both the cross develop dissolved and the blur happened at the same time. At the same rate, that looks pretty darn cool. So that's how you can use key frames to adjust the settings of in effect and create that sort of animated effect on or off of your clip or just MAWR or less dramatic. So maybe it's already blurred, and then we want to make it even more blurry. We can do that. Let's just set a key frame here again for 49. So that because if I just went here and increased it to whatever 1 94 that means from this key frame to this key from there will be, in effect on an animation. But I wanted to stay at 49 for a while, set a key frame there for 49 then go forward, changed this tooth, whatever 200 or so, drag this key frame to the end of the clip. And maybe that would be a good place to fade out of the title flinches fate of the title here I think a little bit sooner, kind of a cool effect. Anyways, I think you get the point now how to add key frames to your effects. Have fun with it, and we'll see you in another lesson. 57. Using Lumetri Color Presets: The new versions of Adobe Premiere Pro Creative Cloud also have some lou metric color presets. So earlier in this course we learned how to use the loo metric color panel to do color, correction or color grading. There's actually some presets in our effects. Been under Lumet Tree Presets. Let's drop down this folder. You'll see four different bins. Cinematic film stocks, monochrome and speed looks cinematic will have some more cinematic effects. So if we go down here, it will actually give us a preview of kind of what it looks like. So you can see the Sinise Space 100 for example, makes everything very warm and contrast e while some of these other ones in the space 25 faded film makes it look more faded and apply any of these effects weaken, Just simply drag it onto our clip and applies that effect. See, very faded. I'm gonna undo that. Next we have film stocks which will make our footage look like actual film stock from Fuji Kodak. You see these different film stocks, so these have some different types of effects because different film has different looks. You can see here this F 1 25 looks very contrast. Very dark, cause while the 2 50 d makes things a little bit brighter and faded, which is a popular look right now, monochrome these, they're going to be all of your black and white. So we have a range from very very contrast E something that is very uncontradicted e very faded. And lastly, we have our speed looks which go with different cameras. So these air set up for different cameras that you shoot on this shot at this wedding was shot with the canon five D so I could just go to the five d folder and it confined a different of an effect that I want these air. Very stylistic. So if we want this to be a day for night scene, we can apply this day for a night footage. The shot doesn't look too good because you can obviously tell that the sun is out shining harshly on their shoulders. But if you did have a shot with some more overhead lighting that looked like a street light or something during the day, then that might look good for you. There's lots of effects if we want. This is already very warm, so we wouldn't want to make it more warm. At least I probably wouldn't. But these are different specific effects or filters to add for your camera. If your cameras not here, you can just go ahead and use three universal effects. But the cool thing is that loom entry has kind of gone through each camera and tweak the settings so that it does a better job, depending on what kind of camera you are using. So these are great ways to quickly add a look, a grading to your footage. And with all of these, if we do apply them, say we apply this one right here. We can then go into our metric color panel and continue to added it so we can make changes so you can see that it has this input that we added right here. That's this input right here. But we could say, if this is a little bit too dark for us, we could boost the shadows back up a little bit to bring back some of those details. Thank you so much for watching. That's how you use the loo metric presets. Have fun with it and we'll see you in another lesson. 58. Stabilize Shaky Footage with Warp Stabilizer: in this tutorial, we're going to learn how to stabilize footage using the warp stabilizer effect. So go ahead and find the warp stabilizer effect. Search for warp in your effects. Been Here are two shots from hiking in Southern California. The first is unstable ized. The second is stabilized. You can see that the first there's a little bit of camera shake the second nice and smooth . It almost looks like a nice tilt down with this shot. It's a lot mawr fakey, and the stabilizer tries to do a better job of stabilizing it, and we're going to dive into the details of the effect to see how it's actually working. So first, with this 1st 1 let's just delete the warp stabilizer you can see without. Then when we add warp stabilizer, it analyzes it. It sees what's going on. It tries to see what's happening with the camera shake, and then it will apply it, and this one automatically does a decent job. We have the settings that are standard with the effect. We want a smooth motion shot. If you want, we can do no motion and what it's really going to be doing then is zooming in and cropping just a bit. So see, look, it literally like no motion at all is a little bit of a sort of perspective change in the beginning, But I like the smooth motion a lot better for this shot. It doesn't look bad at all. The smoothness. You can change it from the 50% to a little bit slow lower. So if you want a little bit more of that motion, or if you want less motion, that's getting closer to the no motion option. And then the method We have subspace warp position, position, skill or perspective. Position is just going to move the frame around to try to get it to be stable position scaled rotation will not only just move it around, left right, up and down, but it will rotate and it will scale up if necessary. And with perspective. This will do a relatively good job because it's actually looking at your frame, and it's kind of as if the camera angle was turning left right up or down to get a different angle. Not does a really good job for this shot. Subspace warp kind of combines everything and it will actually bend your image so that it looks stable or tries to make it look stable. Let's jump over to the hiking three clip, so without it very unstable with the effect stable. But you get this gelatin effect, and I'm going to tell you up front that this shot it's just too shaky to have a good stabilization in Adobe Premiere Pro. You can take it into after effects or other programs and get it to be stable. But in Adobe Premiere Pro, there are some limitations. What we can try to do is change the subspace warp or change the smoothness. Maybe we don't want it as smooth. It's kind of counterintuitive when you're trying to make it more smooth. You think, Oh, I want to make it 90% or 80% but sometimes you have to decrease the stabilization so that you don't get that jealous in effect. So at 10% you still get a little bit of that gelatin effect, but it's better than without it. So without it super shaky with it, I would say a little bit better to see what's going on. Let's change the borders framing from stabilized crop on auto scale to stabilize. Only look what's happening. This frame is bouncing around is going crazy. You see the edges. It's rotating. It's scaling up or down. Well, it's not scaling up or down right now, but it's rotating. It's moving around. If we want, we can do a stabilize crop, which just crops it in. And then these stabilized crop and auto scale will actually zoom in to the footage to fill the frame can. So these are a few options to play around with. If you have a shot and you're trying to get it stable, I would definitely play with the smoothness going lower or higher. And then the method. Sometimes subspace warp works better, but sometimes just perspective might look better than you. Don't get as much of that sort of jello effect. It's a little bit shaky still, but less of that jello. So that's the warp stabilizer in Adobe Premiere Pro. It's a great tool. I add it to a lot of clips, even stable clips that he used my mono pod on because there are some of those minute hand motions that you don't think you're making, but then when you're watching your video on a big screen or just in high resolution, you will see those little minute motions and adding Warp stabilized. It really helps. And also for drone footage. Really good toe. Odd warp stabilizer to it. Thanks for watching, and we'll see you in another lesson. 59. Make Footage More Cinematic with Overlays: in this lesson, and we're going to learn how to make our footage look mawr cinematic with overlays. So we saw this clip right here. I added a couple of different overlays to create this cool film burn transition and also making it look a little bit more cinematic with this wider aspect ratio. So let's recreate this from the beginning and learn how to use different overlays. I'm just gonna move this footage over to the side. Just going to take my beach to clip, bring it down on my timeline, going to cut it it right after a couple of seconds and then we're going to cut it. Toothy beach shot them on the lifeguard tower. See that bird flying by like so the first thing we're going to do is add theosophy pecked ratio overlay. So you'll find in the resource is for this course that there's this overlays folder in it Are these aspect ratio overlays and these air basically just black bars that are going to go at the top and bottom of the screen to change this footage to look like it's a different aspect ratio cinema or cinemascope. These are wide aspect ratio So if I put this on to track, too, it's automatically set up so that the video shows through it. It's just black bars on the top and bottom so you can see it with it on off, on off and automatically. This makes it a little bit more cinematic. Now the actual video itself is still going to be 16 by nine. And for the full resolution videos, this is shot at 1920 by 10 80. So it's still going to be that resolution, which is actually good for playing online for putting on YouTube. You could actually go into the sequence sequence settings and change the frame size to the actual different aspect ratio you want. But this is just a quick and easy way to do it. And actually like they said, better for uploading online because YouTube likes the 16 by nine format and playing it on your phone and everything else like that. So this is pretty cool. I'm going to move this up to track three. The only thing I don't like about it now is that when they're walking up, his head starts to get cut off a little bit too much then I would want. So I'm going to select this clip Goto effects controls but emotion and just drag down just a little bit. I don't want to cut off her too much and actually like seeing her flowers just a little bit in there. So just a little bit just a little bit then with this shot there at the bottom of the frame , which I like, But I'm gonna move them up just a little bit, too. Something like that, Alex. A lot better now we want a nice transition between the two Adobe Premiere Pro as lots of transitions. We could just add it. Cross dissolve with command D to dissolve between these two, but we're going to add a film burn. This film burn came from a free website online, but you can find all sorts of film burns and Boca clips that are great overlays online just by searching free film burns or free Boca overlay. Now, if I take this film burn, open it up here, I can watch it and I can see what's happening. It's got this nice film burn. Look, if I take this and I put it in between on track to what happens is it's just the black video. With the film burn, we have to change the blend mode of this clip so that the black is invisible. So go up to effects controls. With this film, Burns selected, go to opacity and change blend mode from normal to screen. The screen effect will make the entire film burn all the black disappear, and only the highlights show through. Then we want to move this to a good position, so it looks like it's transitioning from one shot to the next in the burn. So I'm just going to go right here in the middle of these two clips that I'm going to adjust the film burn so that there's a spot in the film born where the entire frame is covered up with the burn. So I'm going to slight the film burn and pressing command on my computer, on the keyboard and the right arrow keys or the left arrow keys, and I'm trying to get to a place just nudging it one frame at a time until this entire frame is covered with the film burn, and this is going to look better than before because it completely transitions to this next scene. It goes on a little bit too long, though, so I'm going to fade out of it. Just select the clip and press command D that adds a cross dissolve. I'm just going to make the cost is off a little bit shorter. So now you have them walking up Film burn looks amazing. We also have this Boca. If you want, you can try the same thing. So I'm just gonna put this on top of it. Just put a little bit of it on top just to see what it looks like. Then change the blend mode in capacity. Now this one. You might not like the screen because it's too bright. We're only see getting rid of the dark parts of the Boca. We want to get rid of some of the light. So changed this to multiply. Multiply is a good one. Darken is a good one. Light and screen. Even overlay can be good, too. Those are the main ones that I would look at dark and multiply of light and screen overlay and even soft light. And here softly, it's very subtle. Multiply might be a little bit better. It gives kind of a cool effect. If I want to double these effects, I can move my cinema top and bottom bars up to track four and then put the Boca on top of everything like so you know, that's maybe a little bit too dramatic, a little bit too much. And maybe I would actually put this below film burn so that the film bring goes on top of the Boca as well. But if you're looking to get really stylistic, it is a cool effect. So that's how you can play with overlays to beg your film more cinematic, combining them, changing the different blend modes. Those are the keys to using overlay. If you have any questions, please let me know otherwise. Have fun playing around with ease and we'll see you in a another lesson. 60. Capture Still Images from Video: with modern cameras. The actual resolution and the quality of video is really, really good, and especially if you're just using it for an online clip or you want to share something online, taking a still image from your video is a good option, and you can do it very easily from within. Premiere Pro. Just put your clip on your timeline or even just open it up in your source monitor and then in your program window or source monitor. You see this little camera button right here? We can just click that. I'm just gonna find a better frame right about there. Click the camera button. It's going to ask us. What we want to call is. I'm going to call this hiking in so Cal, we can choose the format JPEG, PNG tiff. Those are good options. I would just do Jay Pek, and then you could also import it into the project. So say you want this still image to be a part of your movie. You can automatically import into the project, and of course you want to save it somewhere on your computer, so just click browse set where you want to save it to. I'm just gonna put on my desktop for now and click. OK, you see here that it pops up in our project. So if I wanted to use this for a tattle card, I could or if I want to post this online, use it for a block pose or the thumbnail of this video on YouTube or Facebook. I can take this photo, added it out of title to it in photo shop or whatever program you use and you can see that's super high quality. Good resolution photo. So that's how you capture a still image from your video clips in Premiere Pro. 61. EXERCISE: Remove Noise and Grain from Video: Here's another practice activity, but this one's a little bit tougher than the previous one. So I'm actually just going to walk you through it. Activity or the challenge is to remove noise from your video. What I mean by noises when you shoot with a camera and you boost up the I s 02 make it brighter. This happens a lot when you're shooting at night. If you're shooting, you know, event videography at a wedding or something like that, you just need to boost your eyes. So to be able to see, I shot this clip of my cat, Zohra, and she was under the bed and this was actually shot during the day. It was really dark down there, but this was shot with 64 1000 I. So that's really, really high. And that's why when I zoom in and I go over here, especially in the darker parts where there's not as much detail, you can see all this noise. It's kind of digital grain that you get. So how do we fix that? We're going to fix it using after effects, and I know you might not have after effects, but if you have subscribed to Adobe Creative Cloud you should be able to download after effects. It comes with any creative cloud subscription, and I do a lot of work with after effects and premier pro combined in. The great thing about it is that you can use them together seamlessly. They kind of talk to each other, and I'm going to show you how to do that right now. First, go ahead and open after effects and you don't need to know how to use after effects Teoh kind of tea to learn what I'm going to teach you in this class. This is a completely different course that I have. If you want to learn yourself, Ah, you can learn how to use adobe after effects, but for now, just open it and you don't have to open it. All you have to do is go to your Premiere Pro clip that you want to edit in after effects, right? Click it and say, replace with after effects composition was going to happen is it's going to open up in Adobe Premiere Pro. You're going to want to save this project, so just click command s and it might prompt you before and just save it as whatever. I'm going to save it as practice and I was already playing around with us, So I'm going to replace that after effects work somewhat similar to a video editor. But it's really different. Eso It might be kind of confusing, but you have your timeline down here with your clips. You have your project been over here with your video files and you're sequences or in after effects. We call them compositions. You have your composition window where you see what you're working on in the middle, and then you have all sorts of other windows that you can go open and close by, going up to window and then checking them all on and off. The only one you need to have on is this effects and presets panel. Go to your effects in presets and type and remove grain. It's under the noise and grain folder and just literally drag and drop it either right here in the middle of your composition window or down here on this layer. What happens is your effects controls panel, similar to in Premiere Pro, will pop up and the remove grain settings pops up. We have this preview little square that shows us what it's actually going to result look like. And we can move this around by clicking in the middle and dragging it over. And I'm going to do that, Teoh. Somewhere where I can see more of the grain. Then I'm going to zoom in. I can do that by clicking this little percentage. It might be a little bit different. Your computer, depending on how big your resolution is, I'm going to say 100 and then with my hand by pressing the space bar on your keyboard, I can click on this composition window and move it around. So just do make sure you're pressing hands so you're not actually moving the clip around, but just the composition itself. So you can already see that this has helped a little bit inside the box, there's less noise than outside. We can go down to our noise reduction settings and quickly just increase the noise reduction to to And then the pass is Let's just drag all the way up to six to get it all the way as good as possible to preview the whole clip, you can change this viewing mode from preview to final output that's going to process it. And then it will show you what it looks like. And if we turn