Adobe Premiere Pro - Commercials - Movies - YouTube - Special Effects | Greyson James | Skillshare

Adobe Premiere Pro - Commercials - Movies - YouTube - Special Effects

Greyson James, Video Editor

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
34 Lessons (3h 4m) View My Notes
    • 1. Introduction: Adobe Premiere Pro Class Activities

    • 2. ANIMATION: Adding Animated Scribble Graphics

    • 3. ANIMATION: Write On FX

    • 4. ANIMATION: Travel Vlog Project

    • 5. COMMERCIALS: Chili's 1

    • 6. COMMERCIALS: Chili's 2

    • 7. COMMERCIALS: Groupon 1

    • 8. COMMERCIALS: Groupon 2

    • 9. COMMERCIALS: Google

    • 10. COMMERCIALS: Jeep 1

    • 11. COMMERCIALS: Jeep 2

    • 12. COMMERCIALS: T-Mobile

    • 13. GRAPHICS: YouTube Overlays



    • 16. MATTE LAYERS: Using Matte Layers

    • 17. MOTION GRAPHICS: Backgrounds

    • 18. MOTION GRAPHICS: Drag and Drop

    • 19. MOVIES: Movie Trailer Edits

    • 20. MOVIES: Ocean's 8 Movie Trailer FX

    • 21. PREMIERE TEMPLATES: Make a YouTube Opener

    • 22. PREMIERE TEMPLATES: YouTube Color Graphic Swipes

    • 23. RETAIL STORE SCREENS: Old Navy Store Promo

    • 24. SOUND: Justin Timberlake Audio Interview Techniques

    • 25. SOUND: Sound Editing The Bachelor

    • 26. TITLE FX: Neon Sign Title

    • 27. TITLE FX: Placing Text Behind a Subject

    • 28. TITLE FX: Replace Font With Video

    • 29. TITLE FX: Stranger Things Titles Opener

    • 30. TRANSITIONS: YouTube Pattern Transitions

    • 31. TV: Entertainment Tonight Online Logo Split Screen FX

    • 32. TV: HBO True Detective Opening Credits FX

    • 33. TV: Layering Deception on ABC

    • 34. TV: Making a Wild West Opener

16 students are watching this class

About This Class

Learn how to use Adobe Premiere Pro by making projects with FX in commercials, or make your own travel vlog with some simple animation tips. I use the 2019 version of Adobe Premiere Pro, but any version will work with these lessons. 


Take a look at TV commercials like Chili's, Groupon, and Jeep. I analyze what they are doing and show you what they did. I also look at the opening title sequence for HBO's True Detective and an ABC teaser for the show Deception. We also examine Netflix's Stranger Things title sequence and I show you how to get that burning glow effect with your titles in Adobe Premiere.


In the Jeep commercial they use a strobe effect at the end of the commercial and take an image and change the colors and over expose the images, while using jump cuts frame by frame. We will do the same thing and duplicate the steps.

The Chili's commercial has been stripped out completely with all of the layers. We examine the syncing of the audio track frame-by-frame with the words on the screen.

In Groupon, a title appears from the middle of the screen out of nowhere. I use a green matte and place the title behind it and use motion effects to bring it up and key out the green using the key filter.


If you are familiar with these tools, it's cool to see, or if you haven't done it, it's pretty easy. There are other ways to do this effect, but this one is a good one to watch. You'll be able to add this affect to your own videos with a creative way to place titles on video that not a lot of people know how to do.


As far as animation, I give you several layers, a map and an airplane and show you how to use motion in effect controls. You also get a sound FX audio file to add in the audio track layer to dub in the airplane sound.



1. Introduction: Adobe Premiere Pro Class Activities: 2. ANIMATION: Adding Animated Scribble Graphics: now included in this class are these animated scribble effects. Basically what they are, they are just individual brushstrokes, and there's maybe 10 images, and so you play them a little bit quicker and you can see how they're put together. Then what you do is you compress that file and just add key frames. What I used was an effect filter called corner pin. I'm grabbing all four corners and just moving it up and down and side to side, and then you can speed it up, and it creates that jumpy effect. Now, if you want to change the color under effects, you can go to color, replace and then apply that to the clip and used the eyedropper and select black is the target color and then pick the color that you want it to be. So I picked orange for this. Now underneath. This is just a white background, so I created a white rectangle in the title ER, and that's underneath. Now for the sun, you can do the same thing. Apply the filter and just drag that color. Replace filter over and then under effect controls select the target color and the replacement color And if you want to add some animation you condone, position it right or left, are rotated or move it up or down. So these are included in the course, and there's a few of them, and what you can do is place a title over it. It's, ah, kind of a cool way to dress up your video. So included in this course are these animated scribble effects. So you have this check mark, this cloud, this arrow and the sun, and you can change the colors and they're just compressed video files over this white background. And here's a sample. This is just a fashion tutorial, and I placed them over the video, and price, comfort and style has a check mark for each, so it's kind of a cool little animated piece that you can use. So I want to add this check mark to this video. You just grab it, bring it over the video, and then what you do is you add the color key filter. You can find that under King and then in effect, controls you just take out the white and bring up the tolerance, and then you can scale it down in position, and you can even rotate it if you want. And once you do all of that, so you don't have to do it again. If you just use the keyboard and hit command, see and then toggle a new track and select the marker where you want it to go and hit paste , and then you can paste it again or as many times as you want. So now we have three check marks and they're all on top of each other. So I go appear to effect controls and just scale it, and I just position it in a different spot, and then we can see it appear. And now I've got my three check marks. Now here's my cloud. I'll show you how to do that same principle. Grab the color key filter and then used the eyedropper to select white and bring up the tolerance until the disappears, and then you can position it where you want it. Now, if it moves a little too slow, you can right click and adjust the speed on it to make it a little more bouncy. And then also it's very similar to a looping audio track. We've ever done that before, after the animation has already taken place, meaning like the drawing has already taken place. You can cut like the last half of the video because it's just rotating around doing the same thing over and over again, and you can copy and paste it for as long as you want to. So it continues that loop so it could go on for 20 minutes if you wanted to. Now the next thing is, you can create a title. So for this, I'm just gonna create a price 3 99 and move it over the cloud. And then, if I drag it over, you can see it's just a cool way to add some more flavor and animation in life to your video. Now the last thing is say, you don't like these colors. You can easily change the color If you go to effects, type in color, replace, and it's under image control. And if you describe that filter and drag it over and then in effect controls, it gives you a target color and a destination color, so target color would be the color that it already is. So just use that I drop her to select that and then replace it with the color that you want . Saul. Select orange here and then, if you check this box solid colors and adjust the similarity that will take out the color for you. And then once you do that, all you have to do is go back each time and click the color that you want. Green violet. You don't have to keep adding in the programming for it, but that gives you some basic options for these scribble effects, and they go right over your video, and it's something that looks really easy, but it's not something that everybody knows how to do. 3. ANIMATION: Write On FX : alright. In this lesson, I want to show you how you can write on the screen with this Right on filter. All right, So the first thing that you'll do is you'll create a color, Matt. So if you go up here to file new and then select color Matt, it gives you some parameters there, but just hit, OK? And just select the color that you want to use. And if you want to re title it, you can. But for this will just keep color, Matt. Then over here, in your project, been it will place that map for you. And then if you just drag it over to the sequence timeline, this will be our background. So we have this teal background that will use for a color, Matt. Then if you go to the project, Ben and right click, you can select new item and then transparent video. So you need to add one more layer on top of this. And this is the layer where we will add the right on effect. And if you click to effects and type in right, it will give you this right on filter, which is under the generate falter. Now we have the effect, and you can see all of the different things here that relate to the brush. So you have the right on effect and you see the FX next to write on. That means it's on, and then you have the brush position, so we'll use that to animate where the brush goes. Then you have the color so you can change the color. There you have the size of the brush with brush size. Then you have the brush hardness soft or hard, and then you can do the opacity, which is the see through, and the last two are stroke length and brush spacing. All right, so we'll click here for right on, and now it gives us this cross hair circle. So first thing you want to do is select that stopwatch, which adds a key frame, and that is going to be where the brush starts from. Then click back on this right on and go over to the screen, and I'm holding the button down on the mouse, and I'm going to drag this dot where I wanted to go to create my pattern notice it will create a key frame for me for the second position, and I'll increase the stroke length right now to 10 and the spacing will be at 0.1 And then what I'll do is I'll go up here to my timeline and I'll move it about a second or so and add a key frame for each movement. So a position that dot where I wanted to go and then come back over here and move the marker down the timeline about one second or so. So what it's doing is it will add a key frame for each point where that dot is placed. And so we're creating some key frame animation as we're drawing our circle here. So I moved the marker again about a second or so, and then I moved that dot and create another key frame. Now, if you don't like the creation that you're making, you can go to these individual dots and drag them in, position them to where you want them to go. So I'm trying to get a little bit more of a circle here, too. Eventually go around that old Navy logo. Now if I go back and hold the left button down in the mouse and scrub through it. I can see my animation here with the right on. Now, if I toggle this off, I could replace a video where this color Matt is. So I just talk all that I out so I can see where I could play something underneath. So what I'll do is I'm just going to grab this old Navy skate promotional video and I'll drag it into my project been, and then I will place that where the color Matt is. And then I'm just going to drag in the video portion and then uncheck that I So it appears . And it's a little bit smaller than I wanted it to be because it was exported at a smaller aspect ratio. So use the effect controls to scale it up. Now I've got this right on circle that we've created, but you can also scale that down to get a different size. So now I'm going to scale it down and move it over with the X and Y coordinates. So that's the advantage to having a transparent video layer above it is that it's its own separate layer. Now, if I don't like the size of the brush. I can increase or decrease the brush size and play around with some of the parameters with the hardness and opacity and things like that. Now, once you've created that, if you look at this brush spacing, you want to get it down to that 0.1 so it connects those dots. But if you wanted a different effect, you could increase the spacing in between to give you those dots so it creates a gap in between each paintbrush dot and you can play around with that. He's right on effects. Use up a little bit more ram from your computer, and sometimes Congar bogged down. So if you want to see the final effect, I'm holding the left button down on the mouse and I scroll through it. But if you wanted to see it in real time, you can render it. So you go up here to sequence and render it from in to out, and it will render it and we'll do it real quick. Here, all speed it up, and now we can see what it looks like. All right, so hopefully that's an effect that you'll be able to use and get created with 4. ANIMATION: Travel Vlog Project: So getting started, you're gonna pick a new project. I named this one plane animation, and then you'll bring in the folder with all of the assets. You can just drag it over from where it is on your computer. All right, so let's get started. My work files gonna look slightly different because I have the titles that are already created. So I'm gonna double click on my map here. Okay, There it is. And I'm going to grab it with this handle, and I'm just going to bring it into my timeline, okay? And I wanted it to be my first bottom layer, so I'm gonna bring it into video one. So we have our map, and right now, when we bring it in, it's too big. So let's go to effect controls. And let's start here at the beginning of this clip. So here's our clip here, and we want to make sure that this marker they call this a marker is at the beginning. Okay, so when I'm starting this, I want it to be scaled out, so I want it right here. But let's go 60 now. The U. S. Is not on the screen So I'm gonna use my X y coordinates, and I'm gonna take my X coordinate, and I'm gonna move it over. All right, so we're going to start here with the United States, So at 13. 60. Okay. So I like where that is 60 and 13. 60. So what I'm gonna do is I'm going to toggle the animation, which is otherwise known as adding a key frame. So I'm adding a key frame for position. So you see it there, OK, and then I'm going to add a key frame for scale. So scale, remember, is in and out, and position is excellent. Why? So now at this point in the video, it's gonna stay there until I add another key frame. So right now I'm holding the left button down on the mouse. And as I'm rolling through its not moving by the time it gets to say one second, I want the map to be moving. So I'm gonna go ahead and move it. All right. So I'm gonna put it here. And then as I move along a little bit more, I wanted to get to Egypt. So by here, I want it to be I want Egypt. Maybe that's a little bit too far. Someone, Egypt. Maybe about Right. Right there. So? So now I go back to the beginning, and now I've got my map. That's moving. Okay, Now let's add the plane. So come over here, click on that and drag the plane over toe layer to All right, So now you see already it makes it appears, though the plane is moving and it's just a map that that we added those animated toggles to . So that's the deal. Now my plane is going the wrong direction. So let's go be here to effects and let's go to video effects and then go to transform and select horizontal flip and bring it over here, and then it flips it over. Okay, Now, also, my plane is not starting where it needs to start. So what I'm gonna do is I want to scale it down. So I wanted to be a little bit smaller, so I'm gonna bring it down to say 50. And then I'm gonna hit my scale key frame, toggle animation, key frame, which puts that right there at that point in time and then the position at that point in time is off. So I want to use my X Y position. Coordinate, and I want to have it right over here in Los Angeles. So it's about 1 22 or so 1 20 and then I'm gonna bring it up. I'm gonna start right here. Okay? So and I could also maybe go a little bit smaller. I think might be a little smaller in the final one, but you can decide how how small you want to be. Um, let me select my position. Toggle here. So that's locked in. And then since I made a mistake here, and I wanted to be a little bit smaller, I can select this highlighted again and delete it and say, I wanted it. Really wanted it at 40. Okay, so now it's a little bit smaller now, So because the map is moving, it makes it appears that my plane is moving. So what I'm gonna do is I'm gonna scroll over to Egypt, okay? And at that point, so right about here, where my map stops that I want the plane to already be in Egypt, so I'm gonna work with my destination point and At that point, I'm still highlighted on the plane. I want the plane to be in Egypt, so I'm gonna use my X y coordinate tool, and I'm gonna bring the plane over to Egypt. So my number is 7 73 and then I want to bring him down right there. Okay, I'm bring it down just under, so we can still see Egypt on the map. So I have it at 7 73 3 73 Okay, so we're starting here with the plane, and then we have him land in Egypt right there. Now, the other thing I did was I wanted to scale the plane and make it appears that it was getting larger. So about right here in the middle, I had it scale up. So I'm gonna go ahead. And at that point, I'm gonna put it at say, you know, 100. Okay? And then it goes from 40 all the way up to 100. And by the time it gets to Egypt, I wanted to be back down to 40. So right here I can pick 40 now. Something else you can do if you don't like this slider tools just click on this and just type in 40 and then hit return on the keyboard, and then now you have it at 40 and then you can adjust this so it lines up the same time where the map stops. Now, to do that, just select it, and you could move it. So that gives you a basic idea of how to animate something. Okay, so here we go. So it starts in L A and ends up there. Now I'm holding the left button down in the mouth. So this gives you this real time view. Adobe installed this virtual playback. It's called a mercury playback engine. They did that a few years back, which is really cool. It allows you to see things in real time. Okay. All right. So there we have it. Now, let's go ahead and add the clouds, Simon effects mode. So let's toggle or were in effect. So just click over back to the project. The next thing we need to find is the pan video. So I'm gonna grab that, and I'm gonna bring that into video layer three, okay. And let me use the wheel on the mouse to go a little bit higher. And now notice. Remember the cameras Always looking from the top down so we won't be able to see anything underneath it. So if I remove it, I'm seeing the plane. And if I put it back there, I can't see anything. So they call this an opacity handle. So right now I've got this line at the top. And so if I roll this pointer over it, it gives me an option to use whatever this is. OK, so it's showing me it's giving me this opacity control handle right when I put it there. So if I hold the left button down in the mouth, Seiken, bring the whole thing down. If you just wanted to have that cloud layer at that point now, I wanted it to fade in and out so I can start with that and then I'm going to use this. Add remove key frame. Toggle. Now, if you don't see this, it's because you don't have it all the way open. So they do this thing where they don't even appear. So See, there's nothing there until you open it up. So about right here, it opens up okay. so you have to have it at least that that high for it to show. So now that we've done that, I'm gonna go ahead and add my key frames and what this does, Is it just It's almost like a thumbtack, and it tax in that command at that particular point. So I'm gonna add another key frame here and maybe another one here and another one here, and then I can go adjust them. So at this point, as the plane gets up to the sky now I can move this left or right, or I can bring it all the way up. And remember, as I'm going all the way up, it's blocking out what's underneath it. So at this point, now I can see that that's what I want. And so I have it right there. And but by the time it gets back down to Egypt, I need those clouds to disappear. Okay, so that's how I do that. And you can play around with that to see, like, how much cloud image you want or don't want. Okay, so by the time it gets here, I'm going to go ahead and just bring it all the way down, so there are no clouds now. Something else that you can do is see. This video clip is really long and some sometimes I like it to be clean so I can roll over this, and it gives me this other tool. Hold the left button down on the mouse, and I can bring that all the way in. Okay. For the next part, we're going to create that orange rectangle. So you're gonna goto file new legacy title, and then you can rename it here. I usually like toe work quicker, so I don't like to stop rename it hit, okay. And then select this show background video icon. If you want to come over here, select the rectangle tool. And I went to buy right here. I'm holding the left button down on the mouse and then I'm giving myself that rectangle. So you have some options over here? I wanted orange, so you can select the color and pick that. And then I also wanted to be able to see through it. So I selected the opacity down here to about 88 or so. Now, I also animated this. So what? It did was about right here. It came in to the frame. So what I'm gonna do is select this title five. And at this point, I don't want it on the screen, but I wanted to come on about right there, so I like the scale for it. I like the position for it. So I'm gonna go ahead and toggle those key frames in at that moment. But over here, at this point in the video at the beginning of our video, we don't want it on the screen. And then we just need to add our final title. So I'm gonna go up here and go file new legacy title and then title six. Or maybe this one you want to call it Los Angeles. Come over here to the type tools like that Los Angeles. It's gonna be too big. So I'm gonna take the size down and get my selection tool so I can place it where I want to . And maybe I don't like that color. So what I'm gonna do is I'm gonna highlight this whole thing and then come over here to the color that I like it blue. And then now I've got blue. I'm gonna hit my next title, which was to hit Return Cairo, Egypt. And then, for this you can scroll through and pick a different fonts to match. It was but Mo is the one I picked. And then right above this, after you choose the color, you can select the center tool which will center that and then you can scale it up, use the selection tool toe, bring it up a little bit to make room for the last title. And for the last title, just select that T. And then you can start typing 69 20 miles and highlight that or you wouldn't need to if you want to select some of the defaults that adobe has at the bottom. So once you find one that you like, you can highlight it in center it as well and scale it up a little bit and then use the selection tool to bring it right underneath The title of this one Was Los Angeles enough? I just x out. It'll save it like that and it's over here and I just drag it right to the top. This is Video five and then Los Angeles. to Cairo, Egypt, 69 20 miles. Ok, now we want our title to fly in so we can go ahead and select the scale in position and I want it to flying like this. I'm gonna go ahead and scale it out. So it's at 2 62 But by the time it gets here, it comes in and it matches up with the orange and you're just gonna grab the audio and bring it down here, okay? And then we have the plane flying, so I'm gonna grab that and bring it down here. And when you play with those, you can decide how loud or how soft you want that jet engine to be. And so it's the same principle as the opacity handles on the video. And maybe you wanted to get a little louder, like as it gets closer. So what you do is add your key frame to where you want it to be so right here and also to if you need to zoom in a little bit more to get more precise, go ahead and hit the slider tool down at the bottom, so that gives you a little bit more control as you add these dots and just a we'll keep frames in a short period of time. OK, now, at the end, you may want to fade out the jet as it lands. So hit a key frame there and then bring the audio all the way down to 5. COMMERCIALS: Chili's 1: all right. Now you can toggle this icon down here, which switches the current view to icon, view or list view. Now let's start by making a new title. So go to file new and Legacy title and then type in made. All right now you can toggle this eye icon to see the video behind if it's not there. So I went down to a body and you can position it right next to the chili, and then it will put it into your project. Been view Select Project Chilies lesson all, and just go ahead and grab that over and place it on the video track above. And I'm leaving a gap in between these layers in case I want to make some adjustments. But oftentimes they're stacked right on top of each other. But for me, I like a little more room, and that's why I'm doing that. And here's a quick shortcut to make a title is if you just double click on the title that you already created, you can click this T icon in what looks like a movie clip and then rename it some and then you can type in some. It will save it as some without having to go file. New Legacy title. I selected a body light to get that title and go ahead and drag that over and we're gonna stack it right above made and we can trim off the end and notice when there's nothing there . Then we don't see anything. So now for a short cut, I'm gonna double click on the title some, and I'm going to duplicate the title by selecting the tea. And then I'll type in major for this one. I have 28 days later. That's a font that I downloaded, so you may not have that one, so you may have to select something that's very similar. So go ahead and grab Major, and it looks like it's right underneath the chili. You can grab the corner and scale it out and then grabbed Major and bring it right over the top and so made some major so we can see how we can put these titles on the screen separately, and it is a pretty cool effect, and it looks like it's a little bit taller, so I'm gonna grab the bottom and extend it out 6. COMMERCIALS: Chili's 2: So now it's time to bring in the audio, and this is something that you'll have to sync up with each word. So they have this soundtrack, and it's a compressed audio track. It has the music and the voice, but each time the singer sings the word of the song, it matches the word on the screen shoes would do. So we'll bring in the 1st 4 seconds. We're just gonna work on the parts that we edited. And what you have to do is if you bring it up to audio track one and use the slider tool, you can see this wave form. You can really isolate the text with the beats of the music. And so as you scroll through frame by frame, when those words come on the screen, it has to match the audio down below with the words that they're singing. So they saying every single word that's on the screen and you just have to sink that up. So what I'm doing here is I'm just holding the left button down on the mouse, and I'm going through by holding it towards the right, and it's dragging the marker through the audio so you'll have to do this to slow it down, frame by grain. So as you scroll through this and you you listen. You're gonna have to maybe listen a couple times for each word and make the adjustments by rolling over the text and trimming off the ends. So you see here improvements comes on the screen three times and will have to make the adjustments toe. Have it matched the music there as well? So the only lesson here is that you have to take your time and you've gotta listen to each beat and word, and you may have to move things forward or back all the way through until it lines up. And if you really need to get specific, you can zoom in even closer and really get those peaks and valleys identified so you can see where there's not much sound on the screen, and then when a new word starts and that may help you. So the main part here with this music is just to be patient and to go through word by word until you have it's inked up, and that's pretty much it 7. COMMERCIALS: Groupon 1: all right, So this was a group on commercial that just played in the recent Super Bowl, and we're just gonna look the title to see how it comes in. And then we're going to look at the screen graphic that starts behind the title and then comes in and over the last part of the video, so we'll use a clip from the video that's right before this in the background. But what you're going to do is you're going to create this other file, which uses a green layer in the title window. And then we'll create the font. And this green layer acts as a mask and will need to create a compressed file using these two title pieces, the Green Layer and also the group on title. And then what we'll do is we'll bring that in and we'll key out the green and the black as it's created in the compressed file. And then for this last part, the screen square comes in behind the title, and then we adjust the opacity level so we can see through it, and then we'll blow out the background using an effect 8. COMMERCIALS: Groupon 2: all right, so let's start with the new project, and that's just title this one group on. Okay, there's only one file that you will use for this, and it's just a clip from the commercial titled Group on dot M. O V. So go ahead and drag that in, and we will work with that file as our background and also look at it for our sample. All right, so if we double click on this, this is just the last part of the video. So at the beginning, it's just a still frame because it recorded that part. But so she talks at the very end, and then this is the part that will work on which is the title. Now notice. There's this, like, almost invisible straight line that's about in the middle of the video, and the titles come in right behind that, so we'll create this title. No. One thing we're not really going to focus on is noticed that it's staggered so G is all the way to the top. But in is coming in. That's an extension activity, but the main part here is I want to focus on this invisible layer because the title just appears out of the video. So it's a unique effect, and we do see it every now and then. And the other part is this square that turns into rectangle and then we can see through the background. And then I add a blur effect just to as an additional filter since this background display heard already. But we're not using this exact portion of the video. We're gonna use this part which is right before. So what I want to do is since that's going to be my bottom layer, go ahead and hit the marker in and right before this title comes in, hit the marker out. And so we're just gonna use, you know, a few seconds here of this video, and then you'll grab the video into your timeline, and it will automatically name your timeline group on. If you ever get lost or one of these windows, shut down and go to your project window and just select this icon, which is the icon fear sequence, and it will bring this sequence Timeline back up. All right, so we have our background now. The next thing is, we're going to create two layers. So let's go and create our title. So let's go file new legacy title and entitled this group on all right, and this is a title, so it's a different extension, so it won't be a conflict with our group on title that we keep using. Now go to this type tool and right around the center, hit all caps and type in Group on, and the title that is the closest to the actual group on logo is future. So select that and then right underneath of it, select bold and bring it up to about 1 40 or so. Now you can select this center tool, which will put it in the center from right to left and then the other center tool, which will put it in the center from top to bottom. So you have two different solutions there for centering. Now, when you ex out of this, it will save it and put it in your project window. Now let's create the next title, which is file New Legacy title and this one. Let's type in Green Mask, which is gonna be that rectangle that we're gonna create. All right, hit okay and select this square and about halfway into it, just roll over it, holding the left button down on the mouse and then come over to the solid color there and just this randomly select green color Doesn't matter exactly. Uh, if it varies. But I picked this one and then Will x out of that. And so now we have our green mask and our group on title. Okay, let's bring in our group on title. And just to make it the same length as our video clip, I'm gonna use the razor blade tool and cut off the end and used the selection tool. Highlight that and then press delete on the keyboard. That's one way to do it. So we have our group on title, and then I want to bring in the green mask. Same thing I can hit the razor blade tool and select that Selection it here. Delete that. So it's a nice clean sequence. Okay, Now, what I want to do is I want the group on title to come in underneath the green mask, so I'm gonna select the group on title. Okay, I'm gonna hit effect controls and I'm gonna bring it down below. So this is sort of what happens in the actual video is the title is hidden, and this green mask is hiding it. Okay. And so but the beginning Here we have it positioned underneath. Now, if you want to see what's there, you can always toggle the green mask. I as you're working on things, you can toggle in and out down here, and it will take it off the work window. OK, But for right now, they're both on the screen, and I'm gonna go ahead and go to the beginning of this video, and I'm gonna add a position toggle, which puts in this dot right here, which is called a key frame. Now I'm gonna move forward, Okay? About one second or so. OK. And then at that point, I want the title to be on the screen. So I'm gonna go ahead and use the why. Motion, Coordinate and roll the mouse to the left while holding the left button down. And then Groupon appears. Now, if I go back here and grab the marker at the very beginning, it's off the screen. And then at this point it's on the screen and it won't move anymore with that last keep frame. So whatever the last key frame is is what the command will be going forward. All right, so now we have our mask we've got group on, and what we want to do now is we want to remove this background video, so I'm gonna go ahead and toggle it out. So now we just have black and green. So I use this I icon and I toggled it out, and so that videos not there. What I want to do is I want to compress this file as one complete video clip that's all merged together. So all of the layers air just gonna be embedded into this video clip, and then I'll bring the video clip into my sequence again as a new video. So to do that, I'm gonna go ahead and export this clip. And so let's take the marker out point and it highlights this gray and then I scroll to the very beginning and I have my marker in. It tells me it's going to be about two seconds and 21 frames. Now, let's go to file, and I'm gonna go to export and Media and the setting should be H 2 64 You can match the bit rate. I'm gonna select 10. 80 p, and then I'm gonna come down here and render at maximum depth. Check that box and use maximum render quality. I'm gonna check that box that just make sure that it's the highest quality. And then I'm gonna go ahead and hit Export. Now it save this file as a group on file again. But this is an MP four. So if you wanted to retire that you could have done that. I'm gonna go ahead and find it wherever I exported the file to. So there it is, and I'm gonna go ahead and bring it over. And now I've got this compressed video. So as I roll over it, this is what we created with the two layers 9. COMMERCIALS: Google: joining. Mobilize with me. I will say it right now. Allowed me to me, too. All right, so let's go ahead and look at this Google commercial, and we're just going to work on this title effect that they have in their search bar. And there's one particular spot in the video that is the most complicated. So we'll do that. It starts right here how to be a strong woman. Now, if we go back and look at this frame by frame, it will give us a better idea what's happening so you can see the cursor and the 1st 3 words get typed. And then it goes letter by letter. Here S T R O and G woman, and then the cursor blinks. Now, to do that, I am going to take a still frame of this Google search bar. So go ahead and hit this camera icon and type in Google window. And then if you select this import into project, it'll export that frame and put it right in your project window. All right, so now we have that image and go ahead and drag it over into your sequence. Timeline. All right, let's go back to the sample here. Now I've already created these titles to save a little time. Also, you can toggle in down here at the bottom if you want, see the images or just go line by line. But here's my title that I created, and I use aerial for the font. It's pretty close if you want to type it in again. So I'll drag that title over that you'll need to create. And it's how to be a strong woman. It's right inside the search box, okay, And then the other title that I created was just a straight line, and that's red on your keyboard up at the top. So just under the delete button now, I could bring that in right above the how to be a strong woman title, and I can toggle it off. Now what I want to do is I'm going to bring in this cropping tool that will give us the effect. I'm going to go over to effects and choose the Transform folder and select the crop tool and just direct that over into the how to be a strong woman title. All right, so if I go to effect controls and I see my crop filter that I've added. I'm gonna go to the right side and I'm gonna crop out everything except the word. How so I'll stop right there at about 83%. And then at that point in the video, I'm going to add a key frame. Now, as I move the marker up about every few frames or so I'm going to start cropping out each letter. All right, so I'm going to go with two, and it puts a key frame right there at 79%. All right, I'll move it forward a little bit more, and then now I want to take it at 69% right after the word be, and I'll move the marker forward again a few frames and then crop that back to 65%. Now, this strong word will go letter by letter, because that's what they did. So take that 61 now, notice it's right in between S and T. So I've got to get really specific, so I'm gonna type in 60.7. I'm gonna try to guess here, 61.2. All right. That will do it right in between and we moved the marker a little bit further and right after the tea and type in 59 a half, 59.5 and at a key frame there and for the are 57.7 and move the marker a little bit further after the G 48.7 and then after woman, we'll do 23.7. So now we watch it back, we can see how they did it. 10. COMMERCIALS: Jeep 1: So let's go ahead and get started. Now. I'm just gonna bring this video clip the last four seconds or so into my timeline. So if you use the marker in point, it will highlight that area grain. You can drag it in here, so let's slow it down a little bit and look to see what they did. So we've got the Jeep logo and then the next frame, it moves closer and then closer than they cut it off. And then there's a couple logos, one on top of the other, and then it duplicates itself and that kind of thing. And there's a little color added. Now I'm not going to go through every single image I'm gonna go through, maybe 45 steps, and with that you'll get the hang of it and I'll add another filter effect that I thought was pretty cool that they didn't use. Know what's cool about this is if you go over to this camera Icahn, you can click it and it will export. Wherever the marker is in your sequence. Timeline, it will export. That is an image. So we're going to do that with this Jeep logo so If you roll the marker over this Jeep logo and then hit this camera, you can rename your file and it will export it for you. And once you export it, you condone drag it in and now you have this image. So I labeled it Gee pick. And so if you drag that in now, we'll be able to cut this picture up. And the reason we have it as a pictures because the videos constantly moving. We just need that logo so we can start adding effects to it. So what we're gonna do with this Jeep pictures I want to use the razor blade tool. Want to cut it into maybe 10 sections? So just take the razor blade tool in about every, you know, 20 or 30 frames or so. Go ahead and make a cut and what that does. It allows us to access each part of that picture so we can add in effect to it. Now click over to the second clip and then go over to effect controls and you'll be able to adjust where it ISS. So there's our first effect. All they did was just zoom in a little bit then move it down. So we've got our first and second frames right there. So that's the original video. 1st 2nd 1st 2nd And let's go back to see what we did. So we have our first and second, so it's not gonna be exactly the same, but you get the idea. So all they did was have to images there. 1212 All right, Now let's go to our third image and see if we can add in effect there. So they have one to and three. So the third images over to the right and that Jeep is a registered trademark is now flipped up to the top, and it looks like they added a little color there. So I'm gonna use effect controls again. I'm gonna use motion, and I'm gonna use scaling to make it a little bit bigger. And also, the position is gonna be I have this at 9 38 6 11 So I move it down. Now I'm gonna add this effect so you're going to go to effects and then channel and arithmetic and grab that over and then it gives you some options. Here. You can play around with this for this I selected. And and now I can adjust the red, green and blue value until I get that color that I like. Alright, so I've got roughly 1 63 on red and 2 55 on green and blue. And that gives me something similar to what they had. Alright, so I've got 12 and three now. The next thing I want to do is I want a copy. This the one I just created. And I want to paste it again on the next video track so I can toggle video track three. So the copy and paste you can just use the keyboard and hit control C or command. See? And then select the track where you want to place it with that blue toggle and then hit Control V and I paste it on video Track three. And now I've got the second image, which is the same over the first image that we've already altered. So I wanted to look like this with Jeep is a registered trademark. And so I've got this second image there. All right, someone a copy and paste 1/3 image. So hit command, see and then command V and the video will be pasted into the layer that's identified, and it will show up where the marker is. I'm gonna go over here to video effects and transform and crop and bring the crop tool over to the top. I'm gonna make it a different color just so I can see the difference between image one and image to because they're exactly the same. And then I'm gonna bring it down, make a different color, and now I can see I'm gonna roll over this crop out the bottom and crop out the top and crop out the left and crop out the right. So now we have that small E. And then I can place that e in there, take a little bit more off and then change the color back closer to blue. And I'm gonna add this other little effect here, which is caution Blur, and I can blur this just a little bit. It's kind of a nice effect. I don't know if they had it blurry, but I'm just giving you some options. All right, so we have 12 and three and we go back to the original And they have 12 and three now, number four, they've cut off the last letter. Let's see what we can do. So let's scale it up. Now, How can we take off the last letter? We're gonna go to effects and transform and grab that crop tool. Drag it over and we're gonna crop out the right side. All right, so there we have it. Now I'm gonna add that channel arithmetic filter, and I'm gonna select and and I'm gonna change the color. All right? So it has a fainted blue and there so you can see how it starts to come together here. So that's basically what they did is they just had several images, and they cropped it out and added color and positioned it or have them overlap. Ah, and then compress the file. Let's go to our fifth image so we can see they have two images here, and it's a lot larger. So let's go ahead and scale it way up. And we need a second image. So I'm gonna right click and copy, and then I'm gonna paste it by checking that V three. So hit command, See? And then command V and the video will be pasted into the layer that's identified, and it will show up where the marker is. I'm gonna move it over so I can see the two because I've got two of the exact same images. So I need to move one over. And now if I cropped the top by adding that cropping tool, I can crop it. And then now Aiken scale it in or out, and now we have something similar to what they had. And let's go to Channel and then arithmetic. Drag that over and let's see if we can change the color. So I'm gonna select and and adjust the color again so it gives you some options on how to change colors. And if you don't like the color that they selected, you can also pick something else. All right, so that's pretty close. Like I said, it wasn't going to be exact. I was just trying to give you an idea 11. COMMERCIALS: Jeep 2: now there's another cool effect that they didn't have in there. But I want to show you this really quickly. And I think I've seen Jeep do this before, is I'm gonna add this lens flare and it's under generate in the effects been and it puts in the lens flare for us and I'm gonna animate this. So if I toggle in the key frame right here at 7 68 4 32 then I go to the beginning of the video, I can move it to the left and then I go to the end of the video. When I move it to the right, it will animate that going across like that. So that's another cool effect that you might be able to add in there. 12. COMMERCIALS: T-Mobile: all right. I just want Teoh identify the T mobile commercial on all of the layers that are in there for their titles. And also that pink color in the background has some capacity handles that are brought down to allow you to see through it. All right, so let's toggle out each piece. So we have t Mobile. The logo. Four lines is an individual title. Unlimited Data's another title, and then we have that rectangle in the back. I'm gonna toggle everything out except the first layer, which is the pink rectangle I'm calling it, and it's placed right above the video track. Now, as we watch it, we see that it starts with nothing, and then it comes in and then it expands over the whole screen. So the way that's done is we use key frames, and the key frames are used with a filter called crop, and you can find that filter. If you go to effects, look in the transform folder and then just drag crop over the rectangle. Now what we do for this is we actually crop out the top and bottom, and then we assign a key frame at a particular point in the video. So I've added the key frames here in the video, and I tell it when I want that to crop it out or expand it. So at this point in the video, it's cropped out at zero because the entire rectangle is now a square, and at this point in the video, it's at 33% and at this point it's 50% on the bottom. Now for the titles I choose when they come on the screen and then I'm using position and scale under effect controls. Here's the individual title for unlimited data and you can talk about the background so you can see it. And then here's the individual title for four lines, and you can see that there if you toggle out the backgrounds. All right, so if we used the slider tool in the right of their sequence timeline, we can expand up and see our pieces here now for this rectangle. What they did was they used the opacity handle so we can see through it. You can do that here by grabbing the opacity handle, and you can bring it down or bring it up all right, and then, looking at this unlimited data title, we have key frames here. It scales out to 1 13 and then ends up right at 53. And those two key frames identify those two points where it starts and ends. The same thing happens for four lines, and we have our X Y coordinates that can position the title up or down or right to left. And so we see how both of them come in there now for T mobile titles. It starts off much larger with scaling at 161 here, and it'll place that key frame for you when you decide where it should be. And then you have your X Y coordinates that move it up or down. All right, so that's the gist of it, and you can see it's not too hard. But there are a lot of details for each individual piece 13. GRAPHICS: YouTube Overlays: all right, so the way this starts off is there's a white background, and then we have a green circle that makes a jump cut, and then we have five day plan, which are all individual titles. Then we scale it back with rotation and then move it to the left, rotated again. And we have three individual lines that pop out with three individual titles, and when we're done, we scale it up. So let's create this again right next to it in the timeline, and the first thing we'll do is go to file new Legacy title and type in white B G to and let's grab this square and hold left button down on the mouse and roll it over, and then we'll select White because it's off a little bit now when you x out, it will save it for you and it's in your project. Been notice already, have the original there and bring it over next to this project. Now what I did here is I cut this apart to four times and I added scale to each. So for this, I'm going to click on the circle. And if I select this T up here. I can duplicate this title and rename it so we'll call this circle, too. Now, if you wanted to make the circle again, you could grab the circle on. If you hold down shift, it keeps the perspective for you, no matter how large or small. So if you don't hold shift down, then you be trying to spend some time trying to make it a perfect circle. So if you hold shift, that will do it now for this. I want to go ahead and make it a different color just so I can see something different and not get the mixed up. So I'm gonna make it pink, and I'm gonna grab circle to over to the video track to right above the white background. Now we need to create some jump cuts and let's roll over the top. So it starts with white and will trim off a little bit of the edge. Now use the razor blade tool. Now what I want to do is I want to cut it into four sections and I'm going to command each one with a scale attribute. So let's click on the 1st 1 and under effect controls in the scale. I'm in a type in 20 right over the 100. For the 2nd 1 I want to type in 40 and for the 3rd 1 all type in 60 and notice we won't be able to see unless we roll that marker over the video. That part and for the fourth part will make it 80. And the existing part, which is part number five, will end up a 100. All right, the original size. So now we have 2040 60 8100 and we see it jump. 14. MASKING: ESPN MLB: All right. So for this one, there's a folder and it's trout MLB. So if you just grab that folder and bring it into the project, been, you can open it up. And there's yellow Arrows and Mike Trout Air and Mike trout air riel. So the air is just thesaurus clip unaltered and Mike trout air riel. It's just a reference clip so you can see what we're going to do. So we added some black and white over the color. Ah added some effects. Did some masking and some stars that are animated. We change the color to red. We cut out some frames. We used transform and crop to place images over one another. We did a speed with going forward and reverse, and we used color correction to change the brightness and contrast. So we'll do some of those things here with this new clip. So what you want to do is grab the entire clip and you have an option to bring in the video or the audio, or both. Just bring in the video for this. We're not going to do any audio at first, and the first thing we want to do is we wanna take a still frame out of the video, so there's a camera icon that will allow you to do that. So find a spot in the video and it'll just copy the name of Thievy dok lip unless you want to change it. And then if you hit that camera icon, it'll save it, and then you can go find it where you placed it and bring it back into the project. Been so we have a new file that we are bringing in now go ahead and place it right where that marker is, and then cut the video and move the video out. And now we've got video and then it cuts to a still frame, and then it goes back to video. And in case you missed it, let's do it one more time. I'm going to take this shot of him facing forward. It's asking me to overwrite because I did this already. So, um, that's for something else. Just hit. Yes, and so we bring it in and then drag it over to the timeline where the marker is, and I'm gonna roll over the edge to make it the same length as Thea other first image, and I'm gonna place it on top real quick just to make sure that the same, bring it down and used the razor blade tool and cut it right at the marker and then move the video. So we've got video. Still frame video still frame video. 15. MASKING: ESPN NFL: way. All right, So go ahead and make a new project, and you can total this one ESPN hit, okay. And for this, you can bring in the folder ESPN, and you'll find the highlight clip of Odell Beckham, and you can click on that. And I'm just gonna pull a piece of that video out where he made that catch. And then we'll be able to create a mask and take out the background. All right, so right here. When he makes that catch, the first thing we're gonna do is we're going to make a still frame. So pick the most clear spot in the video and then select that camera icon and you can keep that title or select a new one and look at the path where it's going to be, and then go find that image. Were you saved it. And now just bring it into your project. Been so that's a quick way to take a still frame out of the video. Now what I want to do is I want to take the first couple seconds that lead up to this, so I'm gonna have my marker outpoint and then my marker in point. So I want to just take a couple seconds of the video before we go to that still frame, and I'm gonna bring that into the sequence timeline. All right, so it's about two seconds, and then it's going to cut to the actual still frame, which is the catch, so everything will freeze, and I'm gonna trim off a little bit of that image. Now, I'm gonna go back to the video, and I'm gonna select the marker in point, an out point for the second half, and I'm gonna place that behind. So we're gonna go video still frame and then video. Now, what I want to do is I want to see if I can take out the background. So click on the picture of the catch and go to effect Controls. And under opacity is this marker mask tool. So I'm gonna click on that. I'm just going to click the mouse around the outside of him all the way around. Now for this, I'm not going to get real close. I just want to go around the outside and then I'll be able to make some adjustments to take off the additional layer in between the line and his body and occasionally want to give you this other option, which allows you to rotate. Try to stay away from that. And when you get back to the very end, select that and now the background is gone. And if you wanted to get real specific, you could zoom in here. I have 150% and you could add a few more dots and bring it in a little bit closer so it allows you to modify it once you've selected it. All right, so let's go back to fit. If we click out of it, then the lines will disappear and we can see our work. Now if we bring in the football field image and place it behind, then we can see what the mask did for us. And what we'll do is we're going to move the background slightly, so I'm gonna lock in a key frame at 75. So it starts at 75 then a couple seconds later, at the end of the video, I'm gonna scale it to 71 so it's going to start at 74.9 and end up at 71. All right, now, towards the end of that clip, I want it to fly off screen. So I'm gonna lock the position down right there and then move forward. So I'm gonna position it off. Now, let's raise the image up one because I want to place a title in between the football field and Odell Beckham. So I'm gonna goto file new legacy title. And since I only have one title here, I'm just gonna click, OK and click the tea and I'm just gonna type in the catch and I'm gonna select black so I can see it. And I'm gonna expanded a little bit of 1 65 and position it up at the top. Now I'm gonna go back to the T and type in the rest of it. I'm gonna highlight that and scale it down to 1091 10 right in there. 1 11 and 347 yards and three TDs. Now the titles in your project been and drag it over in between the catching the football field and now we get another pretty cool effect there. I'm gonna roll over the end to make it the same length as the other two files. And what I want to do is I want to fly this title in. So I'm gonna lock the position down and then go to the beginning of the video and pull it off the screen. And I wanted to come in a little quicker, so I'm gonna move the second key frame closer to the beginning. All right, so it makes the catch title flies in. I want to see if I could make some adjustments on him. I could move him over if I want to, by using the position tool. But for this, I want him to be in the same position when we cut to the final video because I wanted to be seamless, so I'm only going to adjust the scale. All right, so I'm only going to work with scale, so I'm gonna lock the beginning down, and then I'm gonna scale him up to about 1 16 and then bring him back down. So he's at the same position for the final video that Segways into All right, so he gets closer, and then he goes back to his original spot close now for the title. So we can see that I'm gonna scale that down and position that over to the left and up. So I'm at 5 14 to 81 roughly. And so the title comes in and I don't like that effect. So I'm gonna remove that middle key frame, and now it just comes on the screen. And the last piece, If you want to make some adjustments around the perimeter of his body, you can do that. Highlight that image, the catch. And if you come over to mask expansion, you could bring it out more if you wanted to. I think for this I like it a little bit closer so I can actually go into the negative here and get a little bit closer to his body. And then you could even fade it out a little bit. Take the opacity down. That's an interesting effect. I actually like to see all of him, so I'm gonna bring it all the way up. But I'm gonna use mask Feather. Now, this is a pretty cool effect because it takes out the edges and it's a little bit cleaner and more interesting. So that's the one I'm going to stay with is feathering it out to about 20%. All right, so I hope that was helpful. Shouldn't take you too long, and it's a great effect that you can use for a lot of your videos. 16. MATTE LAYERS: Using Matte Layers: So if you've ever heard the term Matt before m a t t e. These are some video files that I created, and they're just black and white images and mostly squares and they animate from left to right are come onto the screen and disappear. And what you do is you place it over the video and then you key out the white really quickly, and you can change the color if you want to. It's just a quick way to add in effect or a transition to your video to just bring it to life. This is a real basic Matt. I'm just giving you this as an idea. So you know what they are. So to make this real quick, I'm going to grab some video footage here and scale it up, and I'm gonna grab one of these mats. This one here is just a set of rectangles that go from left to right. So if I drag it over the video clip, then what I can do is I'll take out the white and you can trim off the bottom of the video so it matches and then click on the mat and go to effect controls and right under here under the opacity. If you just select multiply, it automatically takes out the white for you. And now, as you roll from left to right, you can see that it adds a pretty cool effect. So I'm gonna grab this compilation here of a lot of different squares. Then what I can do is if I place it over the video, maybe it's taking a little bit too long so I can increase the speed on it and use the bottom video to match the same length. Now what I wanted to do is start from black, and then the video will appear on the screen. So once I get the right speed, then I can go to effect controls and apply that filter. Multiply, and now we see it come onto the screen or come off the screen so you can reverse it if you want it reversed or leave it the way it is, and it will do what it's doing Now. Let's say you don't like that black color in the background, so what you can do is grab color, replace and select your target color and your replace color and for this all. Add the pink and then select solid colors in that box. Now we've added some color over the video and then also in between each square. So it's an interesting transition. And then, if you wanted to scale that Matt up, you could by just going to scale and bringing it all the way up in off the screen. So if you want to change to blue, you can just go back and select the replace color. And now it's blue. Now let's look at the other clip where we have two videos. We have one in the bottom and one on the top, and I just used the cropping effect to take off the top and bottom. So once we have those videos cropped halfway, we can place that map right above it and gives us that in and out effect for each. Now I use something similar, and I added pink to it for her YouTube channel, and what I did was it goes from left to right, and I add the pink where I replaced the black. Now there is a little bit of a texture on there, so the pink doesn't come out all the way completely. But if you were going to create your own Matt than you'd be able to take out the solid colors. But still, it's a pretty interesting way to Segway from one scene to the next. And then I have a title that follows the map. So these are some pretty cool mats that I've included in the class, and you can grab them as videophiles, drag him over your video and just take out the white with that multiply effect. 17. MOTION GRAPHICS: Backgrounds: So these are some motion backgrounds that I created and you are free to use them. I think there maybe 15 and all. And they're cool for, you know, having some background images fly across as you add a title or you can use them as a transition. This one comes in and comes out, so most are just for the background, and there's a couple there that you can use for some transitions and things, so I'll show you how to make thes, and you can even modify them to add different colors and things like that. 18. MOTION GRAPHICS: Drag and Drop: so I want to be able to show you how you can use thes motion graphics. Now this is like a neon sign. It just comes with the title. But some of these are free, and what's great about these is they just drag right into your video. You don't need to do anything else. They have these Alpha channels, so there's no programming. Just drag and drop, and then you're done. And you know there's some transitions. There's some backgrounds, and there's some, like title cards and lower thirds, and you can just type a title right over these. And if you use affect controls, you can use emotion for your titles to kind of match what's there. But some of the other motion graphics that I've seen are just super difficult and require after effects are like these complicated templates. But these air already video files, and they just drop right into the timeline for premier. So they're pretty cool. And if you want to see these, you could just goto premier drops dot com. And like I said, there's some free ones there that you can just download or if you want to buy something like a dollar dollar anyways, just another cool effect for a video editor. If you want to dress up your videos, there's some crazy backgrounds. They're just different. And you also have some these letters that you can just grab. And if you know how to use effect controls, you can just use motion. Teoh animate them. But this'll is a cool way. Teoh. Add these graphics into your videos without having to do a lot of work on. Then you can just type right over him and that kind of thing. So hopefully this will help you. And, um, again you goto premier drops, uh dot com They have a lot of these things for free, too. 19. MOVIES: Movie Trailer Edits: So when you're making a movie trailer, I figured it would be best to analyze the best picture this year, which is a two minute and 32nd movie trailer. And I have a few questions here just to pique your interest before we get started. So how many cuts are in the two minute and 32nd shape of water trailer? Is it 31 53 84 or 107? And the next question is how Maney fades from black are there in the movie trailer is a 37 10 or too many, and the last question is how many title cards appear in the two minutes and 30 seconds? Is it three, 9 19 or 67? If I told you about her princess without voice, what would I say? Way she Def music? She can hear you. You clean that lab to get out. This may very well be the most sensitive asset ever to be housed in this facility. You may think that thing looks human, stands on two legs, right, but were created in the Lord. You don't think that's what the Lord looks like? This'll Creature is intelligent, capable of language, of understanding, emotions. When he looks at me, he doesn't know how I am incomplete. He sees me as I Anybody with natives in the Amazon worshipped God. Get him out What you're talking about, You need to take it apart. Learn out I don't want an intricate, beautiful thing destroyed. We could do nothing. I'm sorry. Don't do this. Alaska. What? You don't do this, Not even human. If I told you about, what would I say? I wonder. 20. MOVIES: Ocean's 8 Movie Trailer FX: all right, so the new movie, Ocean's Eight is coming out, and there's a trailer where Sandra Bullock is talking and the right and left sides shrink. And so I want to just show you real quick how to do that and then place video in the background. So what I'm going to do is I'm just going to take out the first section, and I can use that since its unaltered. And then we'll apply that effect to this so I can show you how to do it. So what you'll do is go over to effects and go down to the Transform folder and grab crop and just drag it over to that section of the video. Then what we want to do is take out the left and right side, so I have it at about 25% for both, so you can type in 25% for left and right, and that's our destination point. So we'll add two key frames there at that point in the video. So about halfway in the video, it will stop there, not the beginning of the video. That cropping effect will be at zero. So those two key frames identify the points where that crop will take place. Now, if you wanted it to go a little slower than you would have that 25% those two key frames further into the video and if you wanted it to go quicker than you would just spring that 25% maybe halfway in the video. Now let's see if we can take another section of the video, and I'm just going to place that behind this video track. I'm gonna raise the Sandra Bullock footage up to video track, too, and placed the movie trailer footage on video Track one and a roll over the end a little bit and take up the first part of the video. Want to find a spot where I can see what's going on in the back, and then I'm going to add this colorizing effect so we can see it a little bit better. Wasn't exactly how it was in the trailer, but they do have a lot of red in there. So if I go over to Channel and I grab arithmetic and I dragged that over to the bottom layer video and select and and then I can increased the red value to 2 55 and now I'm able to see Red in the background. So that's a pretty cool effect. And the next thing they did is they had a little bit of a border around the two images. So if I go to file new legacy title, I can create a border that will go at the edge, and I'll just dragged that rectangle tool and create a small border and change the color to black and then x out. And if I go to the project, I can drag it over. Now the trick is to animate that line at the same speed. So what I have to do is find that point where it stops now to get a little better adjustment. I'm going to go ahead and move the title bar over the Sandra Bullock video, and I'll start there with my main position and then all drag it off the screen at the very beginning. So at the beginning of the video, it starts off the screen, and at the end of that movement it stays right where that square ends and let me trim off that title a little bit just to make it clean in the sequence. And then I will duplicate this line and drag that over to that part in the square where it ends and bring that into the sequence timeline. And now I've got my second line and I'll do the same thing. So where it stops, I'll have my position key frame added there and then all dragged that rectangle off the screen. So let me add the position. And then at the beginning of the video, I want it off the screen, so I'm just going to drag it off. And then now when I roll over the whole video, you can see that it follows the same path. 21. PREMIERE TEMPLATES: Make a YouTube Opener: all right, So the first thing you want to do is come over here to window and select essential graphics if it's not already checked, and then the panel will open up on the right side and you have my templates, which come inside Adobe Premiere. And then you have Adobe stock, which is their stock site, but it is embedded into premiere, and if you select the free box, they offer some things that you buy there. But if you select free, you can see some graphics there that they offer. And I picked visual trends down here. And once you pick one that you like, hit the download button and it will give you that blue check mark, and then you can drag it over into your timeline. But it will give you, Ah, a circle crossed out saying that it won't come over. What you'll need to do is create a new sequence. You can do that by dragging a video over, or you could go to file new and hit sequence, and then your sequence timeline will appear after you select the settings. Now you can drag that template in and go ahead and change the sequence settings to match. Whatever the template is, I think this one is 10 80 p, and I'll use the slider to make my window a little bit bigger. And I'm just going toe. Make my sequence timeline a little bit longer. Not that it's needed, but I just like it like that. Okay, all right. Now, what you could do is double click on this and you have your text box that you can highlight , and you can change the text inside of it. So for this, I'll just type in YouTube channel lower case. And if you wanted those letters, too, get bigger. You can use the slider or grab this number over here in scroll Writer left, and it will take the graphic with you. And you can also do that for the graphic. Now, what you can do is you can change the colors. You have color one and color to for these circles, and those two circles overlap, so it gives you 1/3 color. But you can play around with this and pick the colors that you want, and then when you roll through it, you can see there's your graphic and you can change the title bar and you can see him making this look worse as I keep adding colors to it. I don't know what to pick now. My background color. I can change the background, and I can also remove the background in place of video behind it. So there's another box down here. It says background on or off. So uncheck that and I'm gonna grab my video and place it underneath. I'll raise it up to track two and place the video on track one. And now I have my graphic over the video. All right, so that's a simple way to create a YouTube opener and shouldn't take too long to do it. 22. PREMIERE TEMPLATES: YouTube Color Graphic Swipes: All right, So Adobe has some pretty cool transitions. They have their basic ones that are on the left side where the filters are. But there's another set of transitions that are a little more updated that are sort of hidden because they're not on the default editing layout. So you have to go up here at a window and check essential graphics. And I've worked on premier for a long time and never even saw these who? They didn't click the window. But so you have two options, my templates and adobe stock. So I found these visual trends, they call it, And if you select this download cloud, it'll highlight that blue check mark. And once that happens, you can drag it into the timeline. Now, it won't show up if you don't have your sequence timeline ready. So just drag a couple of videos in there, and then it will easily land top of the other videos that you have. So what you can do is you see where these two videos come together. You have your cut, their all you do is place it so it's over both videos. So you want that transition to line up evenly right in the middle. So let me move my sequence. Timeline over just a bit to give me some more room, and you can zoom in closer to get a little more control. But basically what you want to do is if you go to the middle, you see all of the graphics should be covering both videos, and that's where the transition takes place. So you want your cut from video. One video to you wanted to happen, right? When all of those graphics on the screen now, the next thing you can do is if you roll over toe edit on the right side, you'll be able to change the colors so you have three basic colors there, and you can pick whatever color you want. And if you just roll over it, you can use that same transition with a lot of different colors, and it will easily dress up your video, and it's a little more creative and more updated to go along with what's trending right now . You also have some other transitions. This one is visual trends. Silence and solitude is what it's called, and it gives you the option to make a title and make some adjustments and change the background and that kind of thing. So again I'll remove the other one. And if I just place it over the two videos, so you want those graphics to be on the screen? Ah, and no video to be shown when they're fully on there and just place it, you know. So it's half on 1/2 on the other, and that's another cool little transition that happens quickly. If you go over here to the text box, you could just highlight that and change it. That's not a spell balloon, but I wasn't paying attention. So Ah, and then I'll just type in escape here. So hot air ballon and escape. And then you consume inner out. Ah, you can change the position of it and whether it's vertical or horizontal, and you could change the thickness on the misspelled type that I have there now, something else that's pretty cool is you can take this transition and get several different looks with it by changing the colors. So let me put all of it on the screen here so I can see it now. If you go to texture color to pick something darker and see It really brings that contrast out in the background. And I'll pick a different orange gold uneven purple violet and really changes the look so you can play around with it and check the different colors, and it's a nice transition that brings your video toe life. 23. RETAIL STORE SCREENS: Old Navy Store Promo: all right, So if you've ever been to an old Navy store, it's like a skate. Ah, surf store. And they have screens and their monitors that will be showing videos. So looking at these clips over here, you've got 45 main images, and then I have, ah, this texture file. If you ever type in ah, texture on like a royalty free site, you'll get some really cool images. So there's either pictures of textures or there might be some video clips of different textures. So I have one here and then I also have these dots. Ah, that also you. You can add a texture to your video clip. So you see here there's sort of this layer of haze, like looks like, you know, eight pieces that make a checkerboard. Then what I did was I exported that video and added a couple more effects. Then I use the old Navy logo and keyed out the white and place that over the video. So looking at the different layers here, the top layers remember the cameras, always looking from the top layer down, so whatever's on the top will block whatever's underneath it. So if I toggle that I will take all of those off. And now you're looking at my main footage of my guy here in the red hat. And then I added this texture, which is a bunch of dots, and then I can scale it inner out, change the colors on it, uh, and key out the white. And that's what I did here. So I added a color key to this top layer. First, let me show you what it is. So if I scale it up, you can see that it's just a bunch of dots and you can add, you know, that scaling effect to make the dots bigger. I liked it smaller, so I replicated this eight times. But you can see even if you just do like 1/2 screen, it's something that's pretty cool. And I didn't make this up. I just copied it from somebody else is doing it, and it's, ah, way to dress up your video and do something that maybe other people don't know how to do. So under keying in these effect filters, I just grab that color key filter and dragged it over to that layer, and then I used the eyedropper and I took out the white and it allowed me to see through it . And if you take that color tolerance all the way up to 2 55 it'll take the white out and let me blow it up here so you can see what I did. So if I just used that eyedropper hit the white and add that effect I had it toggled off. You can see that it will take out the white so you can see through it and then you can scale it down or scale it up. Now, I did this to each individual layer. I used the scaling and motion and I just copied it and pasted it and moved it over to make a checker board effect with all eight layers and I rotated a couple, so the pattern had a variation. But you can scale inner out in this uniforms scale button. If you wanted to stretch it without it being a square, you'd have individual controls over the width and height. And so if you uncheck that box, you can stretch it. I kept the proportion the same, but that's what that does. And then the very top layer is the old Navy logo, and I added a color key effect there. Same filter of the color key filter, and I just used that eyedropper tool and put it over the white and took out the color tolerance to take out the white. And so we're able to see through that. And if you wanted to take out the blue, then you would use the eyedropper to select the blue. Take out the color tolerance for blue, and you could invert it like that if you like that now, zooming in a little bit closer if you take that slider and zoom in. What I did was I added a lot of jump cuts, so it's not continuous. I took out pieces of footage, so there's this jump. So it's not one continuous video. So you see how those videos are cut Ah, into smaller pieces. It adds a little bit of, ah, jumpy effect to it. Then another filter, I added, was the brightness and contrast. I pushed the contrast up, and then I also added this arithmetic filter. It's one of my favorite filters, so if you've watched any of the other classes, you see that I'm using it quite a bit. It's just a quick way to add some color without using, like the color wheels and the Dmitri effects. You can get a little more flavour quickly. So you see, here I have this, you know, green and orange and pink. Look with this. XO are operator. It's called. So the operation is XO are there are other effects on their like and you can add Ah, you know, the red value, green value and blue value to it. But as you move those values up or down, you can play around with it to get funky look. And I just, you know, use those and made you know that. Look there. So the other thing you can do is you can actually change the color while the video is playing. If you add key frames. So you know, about one second in I have you know, those values for red, green and blue. But then I want to change them a second later, and when it the video goes back to play, it will make the colors appear the way I program them at that point in time so you can have the colors changing. So I basically do this effect all the way through, so I have my jump cuts. The other thing I'll do is I'll take one individual section and all just use scaling and scale it up. So not only is it jumping because it's missing pieces of video in between, but it's also blowing it up for just a second. And it's just one more creative way to take existing video and get a little bit more out of it. The last thing I did was I wanted more control, and you can compress the video and flatten it as one final piece and bring it back into your projects that you Congar to file export media and then just have that box check so it'll bring it into your project been. And then this second clip here in the timeline, I just grab it with all of those effects, and it also when your computer starts to bog down. Sometimes if you know you're finished, you could just compress that video file with all of the effects in there already and then start again. And it's a lot easier now. What I did was I brought this paint grunge red motion I. It's a texture file that I downloaded from a royalty free site, and I can bring that in over the video and bring the opacity handle down about halfway. And so now you have this motion and it's jumping around over the effects that I've already added. So the other thing you can do is bring it down or up and then use that XLR filter to change its a purple or blue or, you know, whatever color you like. And then when you watch the final video, you can see all of the effects there. So basically there's a handful of effects. I use the razor blade to jump cut. I used the x o R, which was theorist Mitic Filter. And then I added that dot layer and added some scaling, and that's pretty much it 24. SOUND: Justin Timberlake Audio Interview Techniques: So go ahead and grab this interview clip and bring it in. There are a lot of us or some stuttering and thoughts and things like that. And so you can do this with any audio clip, um, to remove the ums and UHS and things like that. So that's really the purpose here. So as we listen to this, I want to identify what those are here. We are in the jungle in New York City, a legendary spot. Alicia Keys. This was beats real estate and business and creativity will come together. They're just amazing. This too. And I love the space You spent time in here. You did? Well, you worked with J on Magna Carta. And here Yeah, we I was Ah. So the 1st 1 I come to is right here at about 17 seconds in, and I just want to clean up his audio a little bit, so I want to cut that out. Now, when I remove the video and audio with it, I can right click and then hit rippled elite. But what it does is it creates a jump cut. So we're going to cover these cuts up with another image Let's see if we can find the next one here. Say album, Uh, said I Karatz in some some tunes on that Ah um, all right. Now this section there's a little unclear is to what he's saying, And you also have to think about Is this information relevant or not? And I think we can do without it, and it makes him sound a little more professional. And so we cut that out and then we'll right click on that space and report elite, and we can even go back a little bit further. So I'm gonna cut that section out and move that back and then right click and repeatedly to take up the seam and then eventually will cover that up with another image. Now, to get even more specific, I want to zoom in on the timeline, and we're really looking for these gaps. So I want to cut that gap out there and then, all right, click and hit rippled elite. Well, you worked with J on Magna Carta and here there's a lot that's happened in this studio man , the Beyonce album. I mean, did you really have to stop with that straight up with J on Magna Carta. And here Yeah, we I was Ah, there's a lot that's happened in the studio, man. Um, the Beyonce album, uh, said I Karatz in some some tunes on that, uh uhm I mean, did you really have to stop with that straight up? Well, you worked with J on Magna Carta, and here there's a lot that's happened in this studio man, The Beyonce album. I mean, did you really have to stop with that straight now, since I don't have any images to grab to bring in, I'm just going to show you a trick that you can use with the existing footage. Somebody used my marker in and marker out point to just grab a section from the video, and I'm going to cover up those cuts notice. I'm only bringing in the video track, so it gives me that option. Aiken Select video or audio with those two icons. We don't want another audio track. Now I will go to effect controls, and I'm just going to zoom in and get a shot of either the interviewer or Justin Timberlake . Now, if I go over to effects in the folder image control. I can grab the black and white filter. And, you know, some might argue that I don't want to have a shot of Justin sitting there while he's talking. But every once in a while we see something creative like that, all right, but the main thing is, I'm covering the jump cut. So as you're cleaning up your audio, it's looking at something else, and it also detracts the audience from listening to the audio track. But this happens all the time. People don't speak clearly all the way through seamlessly. Now the style of the interview was a little bit different, where it was a little more raw, but if you wanted to clean it up and shorten it, that would be the way you would do it. So what I'm looking for, you can see in the audio away form in the in the audio track. You can already see the gaps there without even hearing it. And so just taking up a lot of those gaps. Um, as long as you cover up your cut in the video, it works. Now, he says the same thing twice. J came in to do a feature on J came in to do, um, to do a feature on, so I want to see if I can blend those two words together and often times you can get away with it. So first will use Ripple delete to get rid of that extra space and then to bridge that gap . What I'm going to do is I'm gonna lift that video up one track and bring the audio down one track. And if you use the marker, you can bring that video back just so it overlaps a couple frames on that way, it's not so abrasive. And as you roll over it, you can blend the two words together. He came in to do a feature on J. Came in to do a feature on J. Came in to do, um to do a feature on. So when we play it back, it plays a lot cleaner. And it's a little more interesting as it cuts away to other parts that help tell the story . 25. SOUND: Sound Editing The Bachelor : So this is a clip of the reality show the Bachelor, and you basically have three audio tracks. So what I've done here is I've named each one, so you have your main footage. That's your audio track one. And then you have the interview footage, which comes in often on. And then you have audio track three, which is the music track. So of the three tracks, I use this red circle just to let you know which one is the loudest and the other to come in and go out simultaneously. So let's watch this and I'll identify what's happening. And then when you watch it back, you can hopefully pay attention to the different audio layers and how many there are and what's coming in as the loudest and quietest Kalen. And I just have this really good chemistry. And I have this energy and this excitement that I can't contain. Jennifer Lopez, what we've built today. I hope that we can carry it over into tonight. I'm looking forward to it, and I think it's gonna be an amazing evening. Get ready for a day. She's so pretty I can imagine her being more glam. I E. Graham. I'm going to be like, I'll go home now. So the main track that you're hearing right now is the interview track, and you still have the main footage track and the music track. So now the main footage is taking presidents, but then it cuts back into the interview. So as you're listening to these audio tracks and if you were editing this, you would be going back and forth and using key frames to fade them up or out. Now, just the music track is playing. So the audio track one has the main footage, and that is playing while you're looking at something else. Now, within this main footage, you have the girls talking, and there may be different audio layers just in that footage. But for this, I'm just going to identify it as one track. I can't even walk. She's okay, guys. It's like a ridiculous amount of eggs. I have never seen so many shopping bags in my life like I don't even get that many presents like on Christmas. Oh my God, she's there with the bags and glowing like she can't even stop laughing like she's just, like, so happy and Wrolich. Yeah. Wonderful. You know, I've like, I just still not feel real way Have a guy like pick us up in the Bentley and we went to this Singapore and designer. He was like, whatever you wants on me called You picked these out himself, which, like, shoes Theo. Now the interview track comes in, but we still don't see the interview. Now we see the interview, and the main foot is shack is gone. But now the main footage track comes back in and the interview track is gone. Right now, there's two tracks on the main footage. Just not on anymore. See someone that I'm dating now, doing that. Someone else look fine. Just what? But I love I am. So I am so happy for healing. And then the music track will come in and interview track slowly fades out. All right, so now I want to show you how you can build this real quick with the three pieces that were mentioned before. So you've got your main footage, and then you have an interview track, and then you also have a music track. So I grabbed a piece from the bachelor show which is one of the pieces that we were looking at, and this didn't have any music on it. So it was just the girls and they were talking and it didn't have a new interview track either. First thing you want to do is if you come over here to the key frames, you can take the audio down on this. So it's just the way you want to be able to hear the noise of the girls talking. But you won't be able to make out what they're saying. So if you grab the key frame handle, you can add that key frame for the second position. You can also see the decibel level. So the next thing I did is I grabbed this interview from the Bachelor and he's talking to other girls and he's outside, and what I'm going to do is I'm going to unlinked the video and audio, so if I right click, then I can unlinked hit, and that will allow me to cut out sections of the video. But keep that interview intact, so I'm gonna cut out two sections, and if I just use the razor blade and then take that section out, get ready for a day or forget. No, love is a two way street. So I'm hoping, you know, we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family that you feel confident on where we're at. And then the last thing I'll do is I'll describe some dramatic music that I have, and I'll add that into the third layer. So you see my three audio layers there get ready to love is a two way street. So I'm hoping, you know, we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family that you feel confident where we're at and you can make some fine adjustments with the audio. And here's the final clip. Love is a two way street. So I'm hoping, you know, we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family that you feel confident we're 26. TITLE FX: Neon Sign Title: So today we're going to take a regular font and turned it into a neon sign looking font that blinks and has a glowing color effect attitude. The letters. So what I've done here is I've created its with three different layers. You have the same layer duplicated a couple times. All right, so I'm gonna move the marker over, and I'm just going to create this again right next to it. All right, So the first thing I want to do is I'm gonna goto file new legacy title, and then I'm gonna type in open to since I already have the original open in my project been now click the tea and type and open and click in there and come over here on the right side and look for Ariel rounded Mt. Bold, and I'll give you that look that is similar to a neon sign. You see that lives filaments are rounded at the edges. Then come up here to the t and crank it up to about 3 73 or so. So what I have it at and then select the color which is going to be, ah, to 55 0 to a one on the RGB, which is that bright pink and hit OK, Once you do that, it will save it into your project. Been and you can click over here and just rag it right into video Track one and a quick effect to copy. This is if you hold all down and then the left button down on the mouse and just drag it up once and then drag it up again. It will create a new additional copy for you, so I have three copies now under effects. If you grab the caution blur filter, you can grab it by typing in G A us, or come over here to the blur and sharpened folder and you'll see it there. All right, so looking at my top layer, let's see what I did here. I have my opacity at 100 I'm gonna crank the blurriness up to maybe 1 17 or so and later to ah, little bit different. I have the opacity at 30% now. That's really important that you place it at 30% on that middle layer so you can click there and type in 30. And for the blurriness for the first round will put it at 100. All right, and you can play around with that number to see how much glow you want. Now, for the last part, you have the original layer that we placed him. We had it in hot pink. Go back and change that color to a lighter color. And the reason we didn't do it to begin with is because we copy this layer a couple times, so this is actually a shorter way to do it and make it a little bit lighter. Grabbed the white annual, see the difference between that pink and white. And that really is the key into giving you that neon look. Aside from the glow, you can also adjust the blurriness on layer to bring it up to something over 200 layer three. Maybe bring that blurriness down to about 64 that will give you a little bit more of a contrast between that pink and white. All right, now, something else you could do If you want to place a layer of color behind this is you could hold the left button down in the mountains, highlight all three layers and dragged them up one and then go to file new in color mats and select okay, and then pick the color that you want for this. I'll just pick a teal blue and leave. That title is color, Matt, and it will drop it into the project been, and then you can drag it over underneath. And if you don't like that color, double click on it and you can select something else for this all picked green. And now we see a little bit more of a contrast between that neon title and the background. Now I'm gonna show you how to get that flicker effect. So I'm gonna line up these videos here and zoom in, grabbed the razor blade tool and just select at the marker and then move forward with this step forward. One frame button. Click that, and it will go one frame forward, putting the marker there and used the razor blade to cut again and zoom in a little bit more and you can see that we're just gonna take out one frame. If you take out one frame, it will just flicker very quickly and we'll do it one more time and move a couple frames down and click that button and then use the selection tool to just grab that section and then hit delete on the keyboard. And now we have removed two frames and we can do one more and use the selection tool to take that out. And now I've got this flicker effect and it really has to happen that quickly. You don't want it, Teoh. Stay on the screen too long now. Ah, if I just wanted it over black, I can remove my color mats and there's my effect. Now. The next thing I can do is if I wanted it over video. I'm just going to bring in a video here real quick and drag that underneath and not about my sign over video and might need to make some adjustments on the video so I could see it. So I'm gonna grab that opacity handle. Just bring it down so it's a little bit darker, and now you get a really nice contrast between the neon sign and the video. Something else you can do if you zoom in all the way. Let's say you've added those razor blade effects, but you don't want to keep doing it all the way through. If you wanted your signed Teoh flicker all the way through, what you can do is highlight those effects. Select video Track four and three and uncheck video Track one, those blue boxes on the left and I'm just rolling over this by holding the left button down on the mouse and then I'm moving the marker over and I'm hitting command CDA, copy it in command V to paste it. Now you've pasted all of these effects over and over again, so you don't have to spend a lot of time cutting out each frame. This may not be in effect you want, but you might use it somewhere down the line and other videos. Or maybe you want it to flicker on and off the whole way. This would be the way to do that. All right. Now, something else I didn't do is I didn't have this magnet checked over here, which is now two edges. So if I want all of my video layers tow line up appropriately, then I would just select that magnet. And now when I roll over things, it helps you and it sort of cuts a groove out in the sequence timeline and lines up with the other videos. So make sure that magnet is checked and it will help you, uh, find those notches to make your editing go a little bit quicker. Now, my computer's running a little bit slower, so also I have this resolution window selected to full, but I'm going to select my in pointing out point just so I can see my effects while I'm working on it. Now, you don't have to render things if you're just done with it and you want to export the final clip. But for this I'm going to select the in and out and then go up here and render this and I'll speeded up really quickly. And this will just help me show you what effects I've placed already. And now when I roll over it, it turns to green and those effects have been rendered. Now, I can also come over here to half resolution, which takes a little bit less memory for my computer. And so when you're editing, you might think about coming down the half. I usually keep mine it full. I just like to see the full resolution while I'm working out okay with it being a little bit slower on the final output. All right, so those are a couple extension activities that you can do with this, But for the most part, there's your open neon title and hope that works. 27. TITLE FX: Placing Text Behind a Subject: So today we're going to place the text behind a subject. And I will also give you this video clip of me standing in the park. If you want to cut me out on and use it, for example, you could find this pile labelled as tree park in the resource is tab. All right, so I want to show you this text effect where you can place text behind an object. Basically, I opened up this sequence time Mind down here to show you that there are three layers and the first layer I just cut myself out. So picture like two pieces of paper that are the exact same image and you're just going to stack them on top of each other and cut out the subject in the top piece of paper. And then everything on the remaining paper, which is a duplicate image, would show like a sandwich, and then you've got the text in between. So that's basically how it is. It's hard to think, like, you know, regular picture or pieces of paper when you're thinking of video. All right, so let's start from scratch so I can show you how to do this So basically, I just have an iPhone on a mini tripod sitting on a park bench, and I'm standing in the middle of the park, and these people are walking around, probably wondering what the heck I'm doing. And I stood in front of a tree because if you have like a hard object in the back, the contrast is going to be greater, so you'll be able to mask it out easier. And also, if you're subject isn't moving, that's going to help you a lot. It's gonna make it a little bit easier. So what you can do is bring that video file in and then just duplicate that by holding alter command down and dragging it up to track layers. All right, so if I drag it up to video Track three and make a sandwich basically and then I'm going to put the behind body text, which is a title that already created that you could just create a new title. Now I go to effect controls, make sure selecting the video track three the top layer and go to this free draw Wazir pencil and then click on mask and then you can start drawing around the outside of the subject, which is going to cut me out, and it will make that effect as soon as you get to the last dot and then now you can see behind body text, so if you select each track layer here, you can kind of see what's happening. So if I remove the bottom layer, you can see that it's just cutting that out. Now, as I move this mask around, all it's doing is just taking that shape and cutting out the top duplicate layer. So that's all that's happening again. Imagine two pieces of paper and you're just cutting out the top piece of paper, and it's still showing the exact image behind. It's giving you a gap so you can place that text in there now to get real precise. Noticed that it doesn't look really efficient here, so if you zoom in to 100% you can start moving this mask layer, and you can create as many dots as you want to get really precise, and you really only need to focus on where your text is, so you don't even need to focus on the whole cut out of the body or subject. Just, you know more precisely where the edges are. Something else you can look at his mask feathering. You can take that down to zero. So it's a hard edge. Now I'm gonna add motion to the background title, so I'm just gonna add a couple key frames for beginning and end. And I'm still zoomed in on this thing just so I can see now when I zoom out Looks pretty good on the left side. But there's still a gap between me and the B over here on the text. So I'm gonna bring that in, and I can probably add a couple more dots to be a little more precise. And now I go back to fit and I can see my final in the timeline. I noticed that map. Now, notice the mask layer is moving a bit because I have three different key frames. So I'm just going to select the one that is the best that matches all the way through and delete the others. But that just gives you an idea. Like you have something moving like if I'm walking across the park, you would you know, you would use key frames and motion to follow me to keep that outer layer you know, stuck to me as I'm walking. I want to show you something else you can do with the text in the background to go over here to video effects. You can go to perspective and grabbed the filter Basic three D. If you can't find it, you can type in the search basic three D and you could just drag that over onto the title. And once you have that, just go to the swivel, and it's like on an axis and you can just move it left or right. And you can add a couple key frames if you wanted to start skewed and then go from left to right on that three d access. So my starting point is gonna be a negative 50 or so and then uh, gonna bring it up to, like, 27 by the time it ends. And so now it's kind of following the lake in the background, so something unique and different. But you see this quite often on TV knowns on commercials and things like that. And if you really want to get specific, if you got broadcast quality stuff and has to be perfect. Then you could come back and keep doing. You know, the precision points there with that cut out mask and something else. When I first was doing this, I was losing the mask because I wasn't clicked on it, so it will disappear. If you don't want to see it, you can just click on anything else under effect controls like capacity or rotation or whatever, and then the mask will disappear. And if you want to see it again, then just make sure you select that mask layer. So I think when you're first starting out, sometimes you know you don't know what's happening and can't find it. It's certainly it happened to me. So, um, but if it does happen, just select mask and it will come back. 28. TITLE FX: Replace Font With Video : All right, so let's take a look at this. You'll be able to make a title and then take out the background for each individual letter with four video clips. So the first thing we'll do is let's go ahead and make this title play. So go to file new legacy title and type in play. And for this I used aerial. So select aerial, black and all caps and well, scale it up and position in the centre. And then the next thing I want to do is grab the square tool and just make a background and will make it black. And then we'll right click and arrange it and send it to the back. All right, so we'll x out on that and I have my title play, so I will just drag it right into the original project file that I created in the same sequence. All right, so now we have playing, and then you should have been able to download some New York City stock footage clips, so I will just grab a few here, and they won't be exactly the same as my original. Make this one a little bit different, so I have my marker in and marker out tool, and then I'll just grab it. Now if I select my play title, I can go over here to the opacity under effect, controls and select multiply, and now we can see through it. It will take that white out for us. Now. If I grab this open mazir, I'm going to create a small mask. And so if I hold the button down four times and go around the why, what it does is it clips out that area, and that's how we make that letter. So let me grab one more video on. I'll bring that right in and extend it. And if I highlight that on going to effect controls again, grab the open mazir and let me mask that out just around the. And if I click out now, we've clipped that, and we've got our video on Lee showing for that section because we highlighted that section . Now let's grab our third video clip and bring that in. Extend it. If I highlight it again, go to effect controls, grabbed the Opens ear and click once, twice, three times who are 567 connected and then click out. It's only selecting that part and allowing the video to show through that So and also like my fourth piece and describe the video only highlight it. Go to effect controls. Grab the open mazir 12 345 and connect and then click out. Now it only selected that part in that clip to show through. All right. For Part two, I want to add some color to each letter. So what I want to do is if I go under effects under the Channel folder, I can drag the arithmetic filter over to this part of the video under effects. I can control the RGB values. So for this I have X. O. R is the setting, which is sort of a funky blend. Um, if you don't want it to be as funky, you would select and But as I play around with these values, then I can change the color and we'll do the same thing again for P. Grab the arithmetic filter and play with the values. Now, if I wanted to compress this file, I could do a few more things with it, so I will go to file export media and I'm going to check this box up here toe. Just match the source sequence settings just to give me the highest resolution. Make sure it's 1920 by 10 80 and I'll export it. And then once I have that file exported Weaken, do a couple more things. All right, now that I have exported this file, I will drag it into my project been and bring it into my sequence timeline. And now it's a compressed movie clip. So if I go to effect controls now, Aiken scale it as one entire piece. So I consume all the way in or zoom all the way out or move it left or right as one title. And let me add some key frames here for scaling as I scale it in and I can have it come off the screen. Something else I can do is grab the color key filter and toggle out the black with the eyedropper and then dragon some footage underneath. And now we've got this title over the New York City Bridge and something else I can do. Now that I have that black area keyed out, I can create a white background if I go to file new legacy title and just create a square. And I could bring that square in the background, and that gives us one more option. All right, so those are some quick effects that you can add to a title that looks a little bit different. 29. TITLE FX: Stranger Things Titles Opener: - So now let's look at the first title that comes in here. It's orange and it's getting closer and it starts close to the screen and then gets a little bit smaller. So I call this the a point, and if I double click on that, I can see my original title. And basically what I did is I just created two lines, and in here you can pick the color that you want. So I matched the color by using this eyedropper or cloning tool, and I selected the highlight and shadow color. They're both the same here, and the fill type was bevel for this, and you can adjust the width of the line. I have it at 100. Um, but you could decide what the width would be for that. Okay? And once you've identified that, then what I did was I added an effect. And for this I used Alfa Glow. And then what I was able to do is adjust the glow and the brightness. And I had my start in in color, which was just similar to the color of the original. And so if we put the glow at, say, 22 you can see the difference and the brightness at you know, 55. That's what it looks like without those. And if I go back 2 55 and 100 you can see that it adds that glow all right. And for that texture. I used a black Matt texture, and I use that in photo shop. And basically what I did was I just exported a J peg of black. And then I used the eraser tool to erase parts of it. And then I used the opacity layers to bring the intensity either all the way up or for this about right here, maybe 30% or so. It just gives you a little bit of texture. And like I said before, it's not going to match exactly what they did, because I don't have a flashlight shining through film, and this was the closest I could make this look. All right now, the next thing that you'll do now, the next thing that you'll do to each in tow now the next thing that you'll do teach it, the next thing that you'll do to each individual piece is to enemy it. And so if I go back here. What I did was I matched the original by scaling it on the screen from the starting point, which was at 3 36 So it zoomed. Win. All right. And then my last key frame is at 1 35 All right, And then let's move to the next one. And we have this end, and I could not. I had to create each individual line here. So I've got my line here again, going this way. And you can use the rotation tool to position it where you want it for the other part of the end. I have this line here. And then I had to create the V part. So I called that be top and what I used for this Waas. I actually used the letter V and I just used the scaling inside the Tytler to give me the width that I wanted. So you have some controls inside the Tyler, and then you have other controls using effect controls with scaling in motion. And then for this I used position and scale to control where these go. So as we move along here, you can see that all I did was re create these shapes and move them in the position where they go from, start to finish by using key frames. So let's look at now. Here's the S. I put it in the corner. I wanted to match it the same way it was in the original Siri's. And so I started here, and it gave me a little more flexibility because I could adjust it. First off, I should mention Where did I get this title from? There's one called Castle in Red, and it already has a glow effect, and we're starting to see this title come out now. I think, um, murder on the Orient Express That movie they used a lot of glowing titles that were blue, and now I'm seeing it quite a bit on TV. So it seems to be trending as faras titles go. But if you were to click that adobe cost Lynn Pro Ah, and then semi bold, that's going to give you that glow effect. And then we'll add an additional filter, which would be alphago to give you this outside layer, uh, which adds a little more glow. Now when we get to this part, we've got 1234 letters and then two letters behind So six individual layers here. So you can see I've got the end, the G, the e the bottom I And then I called this teach you and t. And then we've got the Matthew Modine title, which is here looking at that. These two titles in the background I'm using motion and I'm just starting from Let's look at the end here. So I'm starting at 2 23 5 40 on the position. And as it moves across, it ends up at 4 19 5 40 Okay, and then I want it to be faded out a bit. So I used the opacity handles and I just brought the opacity level down here. So it's at 40% so you can see as I hold left button down on the mouse, it gives me that number. So I'm right about 40 and if I wanted it really bright, it would be at 100. And you can see that there. So at 100 it's right there. So I'm gonna take it back down to 40 and then by placing the other layers above they crossover. Remember the cameras always viewing from the top down. So whatever's on the bottom is going to be in the back. All right. And so for this I had my glow. So I've got my Alfa glow. And again it's at 100 the brightness is at 2 55 Now, something else I did which gave me a little control over these is in the title er down here . I've got this shadow and the size of the shadow. I put it 2.6 and the spread was at 12. Now, if you play around with these numbers, it will give you this edge. And it was very sensitive, so I would just move it to, you know, five. And it would make a significant difference. And 25. So, um, when you can see here what it did, uh, again, you can always zoom in on your workspace and I'm gonna go back to fit And what I had to do . Waas I had to used the animation for the motion and used scaling and position to copy the movement in the original source. So what I did to do that is on this video track one I had the original stranger things, and as the I was moving from here to here, I just copied the motion, Uh, and added a key frame for each part. And when I get to the end here, I've got these lines that come in. And so basically, what I did was I just went to the Tytler. So I have lines, right, Lines left. They've got 123 and then you've got the top. So if I double click on that and you can see the lines that I created here and then what I did was I added this effect which is under effects and transform, and I brought in crop so you would just drag it right over into that lines title. And then you go to effect controls. And what I did was to copy what they did is I take out the right and left side of the lines . So at the very beginning, I'm taking out 50% of each side. So 50% of the left and 50% of the right. And so it puts a key frame for taking out both the right and left side. So to see what I'm talking about. If it was at zero, I've got the whole thing on the left side. And if it was at zero of here, I've got the whole thing on the right side. It starts at nothing. And then as I moved through, we can see it grow. 30. TRANSITIONS: YouTube Pattern Transitions: So here's a basic transition using two patterns, and they're two separate images that I add key frames to bring them on the screen and off the screen. So if I highlight one, you can see the key frames that I've added there. Now, if I toggle back and forth, you can see that the key frames are similar for both, meaning they both arrive on the screen at the same time. But they're just going opposite directions. So to see how this is done, let's start again. But this time I'm going to make them go vertically. So I have my green pattern and it's placed over the video. It's not large enough, so I want to scale it up first. Now I want to rotate it so you can type in 90 degrees to rotate it once, or you can scroll over. Once I've done that, I'll try to figure out where the position is on the left side of the screen, and then I'll use the other scaling to bring it down a bit. So that seems like a pretty good spot, so we'll stop there now. Let's bring in the purple polka dot pattern, and I'll do the same thing with that. I'll go to effect controls and I'll rotate it 90 degrees. I'll just type that in and all positioned over on the right side. Now it's still a little small, so I'll have to scale it up a bit and I'll move it over. And if you really wanted to get in the center, you could count. The number of pixels are on the screen, so it would be 12 80 by 1920. So ah, you could divide that into and get the exact X and Y coordinate for this. I'm more concerned about just making it work, so I won't be that precise. So I have my position and then I'll bring it off the screen by used in the Y Coordinate and I'll get my midway point and then I'll bring it off the screen again. Now I can bring all of these key frames to the very beginning of the video, so it happens right when we see the image. Now let's do the same thing for the green texture, and I want to line up the marker so it's the same a key frame on the other side. So they both arrive at the same time. Now the other trick is to position these. So they happen where the transition takes place from one scene to the next. So that's the idea. Here is your cutting from one scene to the next, so they need to happen. When that cut happens on the video, you can toggle out these I icons, and that will give you a chance to look at the video without those being shown. I want them both to be on the screen right when that video makes that cut, so right there and we can see it's going from one scene to the next. And that's the idea, all right, And something else you can do if you're running out of colors or patterns is you could change the look to the patterns that you already have. So if you drag this arithmetic filter, you'll find it under effects and channel, and then you can grab that filter arithmetic. Drag it over and you can talk all these colors in and out to get a different look. And there are two filters at the top that I usually use, and that's and or XO are But there are some other selections that you can use, like subtract or difference. And so if you just play around with those, you can get ah, color that you're looking for. So some might be a little pixelated or saturated, depending on the quality of the images and that, but askew move through. It gives you a little bit of a different look. Now there are some other filters that you can use to make that a little different. This one here, under style eyes, is replicate and just multiplies the image, though just something different. If you go over here under effect, controls Ah, you can pick the number of images that you want to replicate. So it goes all the way up to 16 and you could even add key frames in between. So it goes from 2 to 16 back to two, so you see there really quickly. It starts off large and then get smaller and then duplicates and then comes back to four images, and with that, it needs to be adjusted to come off the screen. So I'll have to adjust these key frames. All right, so just a couple little effects that you can use for those images. So here's something else that you can do with these images. You can fly them in on the screen and then, you know, place a title above and then have them fly off. And then you can also stack them. You know one image behind the other and animate them. The other thing you can do is if you add this filter, it takes out the edges and we'll look at that. But first, let's look at the title that we place over it. And if you haven't made a title, it's just file new Legacy title and I selected one of the default titles down the bottom, and then I just picked that pink color. So if you wanted a different color, you would select that and pick a different color, and you can also toggle out the background if you need to, so I fly it in using motion under effect controls. But the other part here is rough inning the edges so under stylized you'll see this filter rough edges. And if you just drag it onto the video, you can do that. And there are a couple numbers that you can play with here, and I've added these key frames and what it does, is it? It ruffins the edge, and then the other one is the border around the outside. So the top part up there is the motion aspect, which we've already floated in on the screen. So that's the scaling part. But the effect part that gives you a little animation on that is the numbers that I'm selecting here. But let's take those out and look at the border. And if you play around with that number, you can get a really interesting look around the outside. You could also animate that by adding in key frames and you could change it. You know, every second or so and add in a new key frame on that key frame will just tell it what command you give it, what number you're going to give it. So then, as I roll through it, it gives it some life. Now, if I don't want to add, you know, 20 or 30 of these over and over again, I could just copy the four that I've done and then, you know, hit command, see to copy it and then hit Command V where the marker is, and then it will place those new key frames in there, so you can just duplicate that now. The other thing I can do is once I have already commanded these key frames. I don't want to keep doing them over and over again, so I can just copy and paste the attributes, and it will allow me to check the boxes that I want to paste. So for this it was, you know, all of the key frames. It was motion and the effects. So let me grab the polka dots in here, and I'll extend it out and then all hit paste attributes, and it will pace those attributes that already exist on the green image. And now it's done that now it's a little bit bigger, because the polka dot image was bigger than the green image, so it would need to be scaled down a little bit if you wanted it to match exactly, just because it's a different size, but the commands are all the same, so you can see as you would build these projects. If you're making ah video on fruit and vegetables or whatever you could just keep commanding these attributes to new images as you go all the way down. So they're not just one off, um, commands. There's something that you can use over and over again on your videos. All right. And then to fly it off the screen, we can make that adjustment. If we wanted to go slower, then we would take that key frame down a little bit further, like a second or two later. It would appear if we wanted it to fly off quickly than we just have that key frame right next to the initial key frame. All right, so hopefully that works for you. And you can use this in your 31. TV: Entertainment Tonight Online Logo Split Screen FX: So this is a clip for entertainment tonight, and it's a split screen, and then you have a vertical graphic down the middle with some animation, and then you have the Entertainment Tonight logo. So I just grabbed some raw footage from another event with Katy Perry. And for this I'll just grab the in point and outpoint and bring her over to the timeline. Now there's a couple different ways you can do this. Ah, the first thing is, I'll just show you how to crop out the writing lab. So if you go over to effects and then in this transform folder you can drag over the crop filter and then you can crop out the writer left, then we'll just position the best of that. Then we'll drag that video over using the X coordinate using motion. Now let's look at Orlando Bloom and I'll just select an out point and in point, try to find the best shot, and I'm just dragging over the video. I don't have any audio with this, and I'll move him over to the right using motion. And so I grabbed that X coordinate and move it over to the right All right. So whichever layers on top that's going to block the other one below it. Now, what I want to do is create that middle graphic. So if you go to file new legacy title, entitle it line center, I'm just gonna grab this rectangle tool and notice thesis points in the Tytler so you can see my images are off a little bit. So now I'll select blue and I can match that color with the eyedropper. Now they have a little greedy int look in there so I can select linear ingredient and select the other color blue to give it a little bit of ah transition from a darker blue to a lighter blue all in the same graphic. And that's pretty close. It looks like they might even have a four color Grady INTs off. I scroll down over here, I can go to four colors and you have four points here where you can change the color. So select the eyedropper in that new window that shows up and hit. OK, if you go to each corner, you can select the blue that you are trying to copy. All right, so that's pretty close So that's down the center. Now. What I want to do is I want to adjust these images, so I'm gonna crop out Orlando Bloom. Now let's grab this E T logo, so usually you have, ah, PNG file, or PSD, which won't have the white background. But in case you don't get that, you can take out the white. But first, let's position it using the X and Y under motion and scale it down to about 71 or so and let me look at the original and see how close it is. It might be a little bit further down, but that's in the general area. So now let's grab the color key. This is under the King folder in effects. And if I grab that eyedropper tool, select the white. And now I need to take out the color tolerance, and you can soften the edge by thinning it. Usually one is good enough, and if you still need a little bit more, you can feather out the edge. All right, so now we've taken out the white and we're pretty close. The next thing that they have here is they have a small E T. logo that's rotated and comes in from the top to the bottom. So I'll just copy that and paste it right next to all of my clips here in the timeline and scale it down using to scale. So I'm at about 19% and then I'll use the rotation tool. And you could just click on that and type in 90 to rotate it 90 and then used the X and Y motion coordinates to put it in the center. And then I'll do the same thing again. So right click copy and then use the marker outside of that area and hit Command V. And now pace another one for me and they'll be on top of each other until I use motion to move it down. Now, if you can't see how close they are, see where it says fit. Come over to this window and you can go up to 200% and then use the slider on the right hand side to go up top, and you can see they're pretty close. If you were really going to get precise, you could go back and forth until, um, you have the right distance and you'd have to use some calculation there between the Y coordinates so you can see that we're at 90 and then 1 22 And if you measure the distance between each one, you could do the calculation. I don't know what that is, but let's say it's 32 for each. Then you would just make sure that each number is 32 apart. Now let's add some motion to this. So we have our start point in our endpoint and were at 1 24 And as we move through, it will end up at about 1 55 or so 1 56 All right, so looking at our original and then looking at our clip that we made its very close. You need a little more time to add in each logo. I'm not going to go and add 10. But if you have that motion for each, you would just replicate that for each one as it's moving down that blue graphic. And if your computer's moving a little bit slow at this time because you have so many different layers, then you would go to sequence and render the effects into out Now notice looking at their logo. It's a different color. You'd want to go into photo shop and change the colors there. But Premier does give you some commands. If you went to the arithmetic filter under channel that folder, you could get some quick color variations. So I have X O. R. And I'm just playing with the red, green and blue values. I'm not going to get that exact color that they had, so I would have to go back in the photo shop and replace the color. Or Premier has a color replace, and you can do that as well. The E and T are pretty small, and so I'd have to do it on a larger logo to get that color to match. Looking down here under the Image Control folder, there'll be a color replace filter, and it has a target color and a replace color. If you use that eyedropper, and then you can roll directly right over that logo and it gives you the yellow and then you could replace it with the color that you wanted to be. And so, for this case, it's black. Now you have this similarity, and if you scroll that up. It will get anything that similar based on the amount of intensity that you want to apply to it. But again, this logo is very small inside do much better if I had a larger piece. All right, so those are the basics and entertainment tonight has a lot of cool effects on their YouTube videos, and so I'll be moving through going through each effect that they use. 32. TV: HBO True Detective Opening Credits FX: So this is the new introduction for true detective, the one that just came out on HBO and I was looking at this and I was noticing the different layers that they have. They have a texture layer. They also have ah title and another layer there with the crow and an image of the actress. So I created something similar and there are 12345 different layers. Here you have the crow, you have the girl in the foreground and a girl in the background. Now, if I open this up, you'll be able to see each layer. And then in my project, been over here you can see all the different files that I used. So the 1st 1 of the top is the title. The 2nd 1 is this grunge film. Look. 3rd 1 down is the crows, And 4th 1 is Thean Midge of the close up of the girl. And the last one is a girl in the dock over the water. So to do this all uncheck the top four layers. Remember the cameras always looking from the top down. If he opacity isn't see through, then it's not going to show the ones underneath. So on my first video clip, what I did was I just added brightness and contrast, which is a filter you confined down below all those filter folders there. And then I changed thes scale a bit. So I added two key frames. One is, you know, it starts off at 100% and then I take it up about nine more. Then I also adjust the brightness and contrast. You can add key frames while you're watching this video, so you can constantly change the color as it's moving. So, for instance, I can grab the brightness and take it all the way up. And then in the same video clip, it comes down so you can play with different effects there. All right, so I'll remove those. You can always hit command Z to go back and take those out Now uncheck ing this I in the second layer. Let's look at the girl here now. I added black and white, so I went over here to image control and I just grabbed that filter. I felt like there was too much color in that. So they have this washed out look and So I added black and white. Now, if I use this slider, I can open it up a little bit more on both the side and down below to lengthen it. And I added these key frames. And so if the key frame is all the way up to the top, then that means the entire video would be shown. And if it's down at the bottom, that means nothing will be shown and looking at the third layer with the crows. Same thing. If the opacity layer is all the way down, then you won't be able to see any of that video. And if it's all the way up, then you would see all of it so you can add those key frames and play with the opacity levels to get the desired Look now for this. This is a texture file, and what I did was I have a stock video clip of a film look, and I just downloaded that from a stock royalty free stock site. Now I can export just one frame because I just want the picture. I don't want it moving, and I've got this texture so I can bring that in as the top player and bring the opacity down about halfway. So I just get, you know, a little bit of that. So they have this glass texture in there clip and I'm using something similar. Then, if you come over here to perspective and add this three D filter, you can turn it sideways, going to scale it up a bit. So that way it doesn't move off the screen and adds some three dimension to the entire sequence, so I can add a key frame at the beginning, and then as I swivel it, I can increase that and at another key frame at the end of the video. So you see it move just slightly. If there's too much texture than you can grab that entire capacity layer handle and bring it down, we haven't added any. I haven't added any key frames yet, but now add a couple and I can increase the one in the middle. So I get a variation of it's on the screen and it's off the screen and I'll lengthen it so it matches Thea other clips and I can adus many key frames as I want and have it go in and out as much as I want to again. The higher the key frame, the more that video would be shown and the lower the key frame, the more it would not be visible. Now. I added some scaling to it, so you see it start and then move forward just a bit. Usually 5%. So if I started 100 I might only take it up to 105. And that would be enough just to show a little bit of movement. Now for this last one. I added this title, and you can also add this three D perspective basic three D filter, and you can add a key frame on that swivel portion and decide how much you want to swivel it so they do it just a little bit, just barely like maybe 10% or less. And it shows just a little bit of movement that's different than just a flat image. Now, something else they did, they added, spacing in between the letters. So what you can do is this font normally didn't have that space, so you can click in between each letter and hit the space bar once The other thing you can do is if you don't like a full letter space, you can highlight the area between the two letters, and you can pick your own space size by just adjusting the font. All right, so that's pretty much the basics, and you can use this layering effect in any of your videos to make it a little more advanced. 33. TV: Layering Deception on ABC : All right, let's take a look at deception. It's a new Siri's out on ABC this week, and you can take the resolution down to half instead of full. If it's already set that way, there are quite a few commands in this project file, so let's take a look at each layer, and basically this has several layers in it and so will toggle out on each one so we can see what's going on here. So the 1st 1 is Sundays at 10 9 Central than the ABC logo than the playing card. The Deception title. We have two layers of smoke than we have our main character, and then we have the white background title, all right, so let's go ahead, and I will recreate this again in the same sequence. Timeline. Normally, you would start a new sequence timeline, but I'm just going to do it right next to the original project. So the 1st 1 is the background, and that is a white B G is what I titled it. And so if you were to recreate that you would grab this square in the Tytler and make that square and then just X out and then drag it over into your project sequence. Timeline. All right, now, the next one is the blue smoke, so you should have been able to download that, and it's just blue smoke. It's a stock clip, and I'll drag that over and cut off the ends. And then what I want to do is take out the background, the black color. So if we go over to effects and then I find the folder under King and then just grab color key, I dragged that filter over and then I go to effect controls. If they use that eyedropper and select that black color, it'll take the color out. Now you can toggle the color tolerance out and then feather out the edge until most of the black is gone. Now the next layer I want to bring in is my main character. Now this is a photo shop file. It already has the background taken out for you, so if you drag that in now, there's nothing behind him already because it was done in a photo shop. All right, now, the next layer is the blue smoke again. But instead of just dragging it over and doing the commands all over again. I'm going to copy what I've already done, and then I will paste it where the marker is. If I select video Track four and uncheck video track one that I can place it there again now what I want to do is I'll just scale it down and bring it down and noticed there are those hard edges there because the smoke runs off the frame. So if you go to uniforms scale and uncheck that box, you can start playing with the perspective. And so what I'll do is I'll widen it a bit and lengthen the top. Try to make it look a little bit different than what's in the back, so you can select what you want that to be. Now, if you stretch it all the way out, you can get rid of those lines. But if you can't, what you can do is if you come over here to the effect controls under the Transform folder , you congrats crop, and if you select the top part, you can come down a bit to get rid of that line, and then if you go toe edge feather, it will allow you to feather out the edge. Now, since the smoke looks exactly like it does in the back because we duplicated it, I'm going to trim off the front part and trim off the back and move it over just because I don't want it to be exactly the same as the back. So you have enough footage there to do that. All right? Now, the next thing I did was I created a title with the Adobe Tytler. I selected the dark metal font that was already in there because it was closely related to the ABC title. It's not exactly the same, but I added that, and it gave me an option for linear ingredient. So for this all choose a different color just so we can see something different. But I selected the linear Grady int, and then I selected white and gray, and it spread the two colors across the title. Now, if I X out, it will change that original title and put it back in the project been and then I can drag it over. All right. The next layer want to add is the playing card. So if you drag that over you can place it on top on the next layer, and that had the background taking out as well in Photoshop. So you don't need to worry about King out anything, and then I'll place the ABC logo on top, and I'll use position to place the logo over in the right hand corner right now under effect controls just to get that out of the way in. My last title is Sundays at 10 9 Central, and that will be my last layer. Remember the cameras always looking from the top down, So Ah, the layer on top is going to be placed over everything underneath it. And if you don't like that title, you can choose a couple others in that title window. So here are the basics for putting it together and on the next lesson will look at how to enemy each Pete. Now let's click on the deception title, and I want to use the X and Y coordinates to bring it onto the screen. So the very beginning I have that key frame where have it off the screen, and then the last part I want is I want it to slow down a little bit. So I have three key frames and I can position them close, are far away from my initial key frame. And that tells me how fast or how slow it will come on the screen. So you can see there as I move that middle key frame back. Do we want it to come on quickly and then slow down? Or do we want it to come on slowly? All right. The next thing I want to do is I want to crop out the letters as they arrive on the screen , so I'm going to add this cropping filter. So if I drag it over onto the title and then go to effect controls and move the play head into about the center, I'm going to toggle that stopwatch at zero for the right. But when it comes in, I wanted to be cropped out all the way, so I'm going to crop it all the way out to 81% or so. And now, as it moves from 81 all the way back to zero, meaning zero is no cropping at all. Now it crops each letter. Now let's go ahead and scale and animate this playing card. So let's scale it down to about 23% or so and at the very beginning will add a key frame there for the position and also the scale. And by the time it gets to about the middle of the video, I wanted to be closer to the foreground, so I'll go ahead and scale it up. And then by the time the video ends, it goes back towards his hand. And if I wanted to stay in the foreground for a little bit longer than I'll hold those positions and extended, so I'll keep the same position in the same scaling. Now for a pretty cool effect. If you go over here under effects into the Distort folder, you can grab corner pin. If you place that filter over the playing card, the next thing you can do is if you go toe upper left, you can adjust the corner pin to go left or right, and what that does is it? Excuse the perspective, which makes it more three dimensional. So now we see it bend a little bit, and as we make our adjustment for each, it will add the key frame for us. Or we can make our own key frames by toddling in that key frame point, all right, And for the next one, what I want to do is I want my actor to just fade away in the background a little bit, so I'll start him at a higher scale and then scale him down just a little bit. And I'll put that key frame at the end of the video, so he is constantly moving the entire time. We don't want to move it too much. We just want a slow, steady pace. And if you wanted to add one more piece of animation there, you could do it to the ABC logo. And what you would do is just lock in the scale and position where it is right now and also the rotation key frame. Now, if I drag it off the screen by placing a key frame towards the beginning of the video, I'm going to use the rotation tool to just rotate it around a couple times, so I'll use the rotation number and I'll keep it at zero. But then, at the very beginning, all rotated around twice and it puts the key frame in there for me. But now, as it comes into the screen, it rolls. And now, as we watch it again, we can see it has each animation layer programmed. And there we have it. And I hope you were able to learn from this, and I'll see you on the next one. 34. TV: Making a Wild West Opener: - so I wanted to be able to show you how I put this introduction together and I'm not going to go step by step all the way from the very beginning. This is a summary of what's already been completed. So you have all of these video clips here, and you've got a couple that have fire, which burns paper and then underneath the video appears. And then you also have some of these burned film images, and I just spring the video opacity handled down so we can see through it. So now if I just toggle that video out where I have those a pass ity handles and look at the very simple clips I have This one clip, which is the paper burns in the middle and underneath of it, the windmill shows through. So as you get these video clips, they've already been recorded where the Alfa Channel is there and it will allow for another video to show underneath. So if you go to this gloomy tree preset folder, I grab this, which is the Sinise based 100 fated film. I just drag that over and it gives me that vintage look and I added a map in for another layer, and what I did there is I just again brought the opacity handle down so I can see through it so you can add those key frames in there and bring that down. And then I throw in that film effect as I moved down a little bit further. We have the other paper that's on fire, and the Alfa Channel is embedded into that video, and I have the title that shows underneath. And there's one more video in there, which is this crinkling paper. So I've got the title over the crinkling paper Now there's so many commands in this introduction that what I did was I compressed the file before he added the titles because I add some key frames in animation in some blur effects to the titles. So what I did was I just compressed my video and brought it back into the project, and now I'm adding these titles now for the titles. I added this effect, which is just Goshen Blur. You can find that in the effects section with the blur and sharpened folder, and then just drag Goshen blur over, and you can bring it up or bring it down. And you see all of these key frames each time, I've, you know, made it blurry or not blurry. It adds a key frame. And then I changed the position on it left, and right now, the other thing you can do is once you have those commands set up in your title. I just duplicated that title and put it into the sequence timeline one more time. So it gives it another effect where we're seeing one title in the front and the other one behind. So this is just a quick summary. If you decide that you want to build it out. I have the video clips with the fire and also the film stock, and what you can do is place them in the sequence timeline and just play around with the opacity handles. That's most of what this project entails. If you haven't done anything in this course, I would do this lesson a little bit later because I go into more details on some of the other courses, and by the time you get to this one, you won't need all of the step by step procedures to finish it. All right. So that's Ah, quick rundown on how to produce an intro for something like Netflix or one of your YouTube Siri's.