Editing Essentials | The "All Inclusive" Crash Course For Video Editing | Mateo Allen | Skillshare

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Editing Essentials | The "All Inclusive" Crash Course For Video Editing

teacher avatar Mateo Allen, Videographer | Business Owner

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (1h 59m)
    • 1. Editing Essentials | Intro

    • 2. Editing Essentials | Software

    • 3. Editing Essentials | Organisation & Workflow

    • 4. Editing Essentials | Tools & Commands

    • 5. Editing Essentials | Audio Treatment

    • 6. Editing Essentials | Cuts

    • 7. Editing Essentials | Multicams

    • 8. Editing Essentials | Animations & Titles

    • 9. Editing Essentials | Effects

    • 10. Editing Essentials | Colour

    • 11. Editing Essentials | Exporting

    • 12. Editing Essentials | Story & Creative

    • 13. Editing Essentials | Outro

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About This Class

In this course you will learn all the essentials you need to know about editing professional videos.  The focus of this course is to teach you core skills, knowledge, and workflow to shape you into a talented and efficient editor.


  • Session 1:  Intro
  • Session 2:  Software
  • Session 3:  Organisation & Workflow
  • Session 4:  Tools & Commands
  • Session 5:  Audio Treatment
  • Session 6:  Cuts
  • Session 7:  Multicams
  • Session 8:  Animations & Titles
  • Session 9:  Effects
  • Session 10:  Colour
  • Session 11:  Exporting
  • Session 12:  Story & Creative
  • Session 13:  Outro

Best suited for Adobe Premier, but applicable to any editing software inclding Final Cut and DaVinci Resolve.

Premier | After Affects | Media Encoder

Meet Your Teacher

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Mateo Allen

Videographer | Business Owner


Mateo Allen is videographer from Vancouver, BC.  He is established in the world of corporate and non-profit video marketing and the owner of Mateo Allen Studios.

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1. Editing Essentials | Intro: everyone welcome to them. Te'o, Alan Studios Editing essentials Course in this course, my goals to teach you everything that you need to know about the editing process from start to finish. I've designed this course in a way that will be effective for people from all different skill levels. This for people that are working in industry or wanting to get involved in the industry. We're looking toe level up their skills, whether that be with quality or a speed. This is also for owners or marketing directors of businesses and organizations that are looking to produce video content. But maybe they don't have the budget to be ableto employ someone to do this for them or a contract that work out. This course will allow you to take your vision or concept for a project and give you the practical skills knowledge that you need to turn that into something tangible on something that you can actually view on a screen. As I mentioned before, I'm gonna be walking through the entire process from start to finish. This includes what software you should be using, how toe properly organize and manage your workflow to even have a craft and create a narrative for your project is these videos cover a wide range of topics and skill levels of attached a table of contents along with the time codes, so that if you would like you conscripted the videos and find exactly what you're looking for. Thanks for choosing to be a part of this course. I'm excited to help you learn and grow and develop throughout. 2. Editing Essentials | Software: welcome to the very first session of the Matteo Alan Studios. Editing. Essential scores in this session will be talking about editing software, the price ranges of the programs that are available and what option is best for you. The first option that I want to talk about is Divinci, resolved by Black Magic. There's a version of the software that is completely free. And don't let that fool you. I know so many professionals that are using this software day in and day out for their work and absolutely loving every second of it. The second option is available only for Mac users. So if you're a Windows user, unfortunately, this is not gonna work for you. But if you are on Apple, then I would highly recommend the software. It's called Final Cut Pro, and it's about $400 on the Apple store. In my experience so far in the industry, I would say that this is probably the second most common program that you'll find. The third option has widely been the industry standard for the last number of years, and it's called Adobe Premiere. In my opinion, one of the strongest things going for Adobe is the fact that it has so many different programs that you can use, and they all speak to each other and communicate with each other. You might have heard a photo shop or light room. Maybe you've heard aftereffects before. These are all adobe products that I'll speak to each other and work together seamlessly, which is amazing. So when I do video, it is very helpful because after effects that I sometimes do animation and can be brought into premiere and just works really well together. So this is the option that I have chosen to go with nothing against any of the other software out there. It just is my personal preference and what I would personally recommend to you. And it will also be the program that I'll be teaching all these sessions on here. We are on adobe dot com. Now Adobe uses a platform called Creative Cloud, which is basically software that you can use to manage all of the different applications that they provide on their site. We can see a few different pricing options for their different applications, so photo shop is the different price from light room compared to premier so If you want to just use Adobe Premiere, you can buy for $20 U S a month and basically subscribe to using this application. They also have an option to subscribe to all of their different applications, and you can do this for just over $50 a month. I personally think this is great value. It's a great option to go with because it gives you access to the entire adobe sweet for just over the price of two applications. You can use that a premier after effects light room, photo shop, adobe addition, all of their applications. You have access to you and can use. Now keep in mind this is just the individuals pricing, which means that just as a person, you can have access to this pricing. There's another option that is for business. So for a single app, it will cost you just over $30 us and to get access to all of their applications, it will cost you around $80 us every single month. If you are a student or a teacher, they also have pricing for that. So for all applications here, this you can get it for $20 a month. That is a steel that was incredible. So if you're a student or a teacher, I highly recommend that you you get on this deal. They also have unique pricing for schools and universities. So for single app, it's around $15 a month. For all of the apse, it's about $35 a month, and then they have this other option. That's if you have a shared device than it's around $330 a year, so you can learn more about that on their website. If you'll be following. Along with the score is using the Dhobi Sweet the top three applications that I would suggest to be Adobe Premiere. That's where we'll be doing primarily all of the editing Adobe after effects, which should be any compositing motion graphics. Basically, any animation work will be handling and after effects. The third will be Adobe Media Encoder. This is where we'll be it dealing with anything encoding wise. So exporting, converting proxies. If you don't know what that means, that's OK. We'll cover that in the course. But just know that having this application will be important just really quickly. I'm gonna walk you through these three different applications just so you can visually see the layout and what it looks like and how it operates and just understand the basics of how this software functions. So I'm going to go ahead and open up Adobe Premiere Once it's finished opening. This is the window that you'll see so you'll have a couple options. You'll of new project. You'll have open project and also your recent projects down here. If you haven't started a project, you don't see anything there because you don't have any project so far. I'm going to go ahead and click New project. I'm going to call it Matteo Alan Studios underscore editing essentials, and I'm going to go ahead and click Browse to pick a location. I'm just gonna, for the sake of it, happen in my documents folder and click. OK, all right, so here we are, inside of Premiere, you'll notice that there's all these panels around the screen now. Yours might look a little bit different than mine. Have a bit of a different arrangement. That's okay. I have mine customized to fit my workflow and you'll notice as you work in Premiere, a little bit that you'll find probably arrangement that works for you best. And that's okay. Roll with that. Just find something that works well for you to find all the different windows available. Simply goto window and you'll see it. All these different names will have audio clip mixture, audio meters. There's all these different panels that you can range inside of premiere. So if you find during this course that there's a panel that is not on your screen, that I'm referring to, simply go upto window here and just find the one that I'm talking about and just click on it and it will pop up. There's a few key panels or windows, however, you want to refer to it that you'll need to know going into this course. The first is the project window. This is where you're gonna organize all your files, your audio, your graphics and just keep it in one place. Make sure you keep it organized, and you can actually add bins and organize things that way. You see if I actually dragging a clip here, they're Ugo. It imports into your project window, and from there you can drag it onto your timeline. Now we can actually see what we're working with. We have the image here and then we have the video file the audio. You can actually see the wave form. Another important window is the fax controls panel. Now, if you click on your video, you'll see all this information pops up. You've got motion. You've got your capacity, you've got different effects. This is where you can adjust different things like scale of your video. You can adjust the position. You can also bring the opacity down, change the blending mode, all sorts of stuff like that. Don't worry. I'll cover that more in depth later on. You'll also need to know the effects panel similar to the effects control. This is actually where you find the effects that you might apply to your clip. So if I go on here and I surge flip or Izon tal, I can drag this on to the effects controls, and now you can see it supplied the fact right here. You see, it's flipped horizontally. Premier comes loaded with a ton of these different effects. You confined in this panel and we'll go into a lot of them later on coming back to her projects Window here. You'll see that when we dragged her clip on the timeline, it actually created this other item in the project window. Now this is what's called a sequence. Simply put, a sequence is the file that represents your timeline. So we'll see here that this sequence is entitled. The same is what our timeline is called right here. If we change the name to editing essentials, you'll see that now our timeline as changes name is, well, the editing. A Central's sequences are actually very useful and very important. And we'll talk about that later on. Of course. Let's go ahead and open up Adobe after effects, and we'll take a look at what that interface looks like. When you open it up, you'll notice that it's very similar to premiere. We have option to start a new project, open an old project. We have a recent projects down here that we can open very easily, so we're gonna go ahead and click new project. Once we've done that, you'll notice that we have a prompt to start a new composition. So let's do that. Let's click new composition and we'll name it editing essentials. Let's take a look at some of the settings here, so we'll make sure it's 1920 by 10 80. Perfect. That's very standard. Video size will keep it like that. You have the option to lock that ratio if you would like. We want square pixels Perfect, and we want our frame rate to be 23.976 which it is. So we're gonna go ahead and click OK right away. You'll notice that it's created our composition in the project window, and it's also out of that composition to the timeline window below. From here, we can go ahead and add different elements. So, for example, if we click the text tool to create text and let's call it Matteo Alan Studios Perfect. So what is done is it's created layer for that text down in the timeline. Now, as you create different objects and layers and titles, these will all show up in the timeline. Here there's a few different panels that I want you to pay attention to on the side. We've got our effects in presets. This is where you gonna find any effects or also self explanatory. Any presets that you create or download. We also have the Aligned Tool. So what this does is any elements that we've created such this taxed, we can actually align this in different ways. Weaken, center it vertically and horizontally. We also can't align it to the bottom line top. We can align it laughter we can align it right. All this does is it aligns actual object that placement on the screen. This is a very useful tool, particularly when you're creating titles because you can left and right, align it little perfectly center the text. Another panel to pay attention to is our character panel. This is where if you have tax, you can adjust your font your thoughts size. You can adjust the Kern ing all these different settings. This is where you're going to find those. Our paragraph panels simply allows us to adjust our text. These they're just your basic formatting options. This is very helpful when you create animations and if you want the text to be centered and then you go and replace that text, it'll be centered when you replace it up in the top corner. I've also added are a central graphics panel I won't go too far into depth of that right now. But just know that when we're creating animations and we want to go and use those in Premiere, and if we want to adjust specific settings on that animation once it's been completed, this is the place that we make that possible. This is where I don't know if coding is the right word, but we basically add different adjustable characteristics about the animation that we can then adjust in Premiere Later on, I'm gonna go ahead and open up the media encoder, and I'll show you what that looks like. There are four main panels and media encoder that I want to go over. The first is media browser. This is where you can find different files, and you can take those files and transfer them over, insure Q and then encode them from there in your Q. You can either add files like we just said from the media browser, or what you can do is you can drag and drop files from Finder. I'm gonna add a video file right now we can see that it's shown up in the Q right here. Now what we can do is we can click under the open file section, and we can select where this file is going to save, too. I'm going to save it under documents and click OK, now, if we click the play button, you'll see that below under it, then coding section. It started the process. We have a progress bar as well as the time remaining, and we'll also see the thumbnail of where it is and then coating process. You'll see that we also have our preset browser panel. So what this is is when you have a file that's already cued up, you can apply a preset to it. These could be presets that have already been included with median coder, or you can create your own user presets and I'll show you how to do that in a later that you. So that is a very simplified and dumbed down version of these programs. We're gonna go farm or into depth of these in later videos, but I just want to get you used to the format, the layout, what it looks like. You just get you comfortable with these programs. So congratulations, you made it through part one of the editing essentials Course. Next time we're gonna look at organization and workflow, I want to get you started with some strong organizational habits to make sure that you're editing process goes as smoothly and as quickly as possible down the road. Thanks for watching. We'll see you in the next video. 3. Editing Essentials | Organisation & Workflow: Welcome back to the editing essentials course. Today we're gonna be looking at organization and workflow. I remember when I first started getting into editing, I had no clue what I was doing. I didn't organize anything. I didn't really know how to name files had organized files. I didn't even know that you could organize your files inside of Premiere. So I want to start you guys off on the right foot so that you don't make the same mistakes that I made and you start off on the right foot. I'm going to start us off and find her. So the first thing you're going to dio whenever you're starting any project is you're gonna create a full therefore, that project. What I like to do is I like to put the date on them so I can keep track of all the projects and when they happen so I'm gonna put 2020 0108 That is today's date. When this was filmed after the date, I'm gonna add some separation with an underscore, and then I'm gonna write the project that it's for. So in this case, it's material in studios. Next part is I'm gonna add a dash and then the project that is actually four. So in this case, it's gonna be editing essentials. Go ahead. Bruce entered a lock in your name. Every single project that I work on now has the exact same five folder structure, and I number all of them so that they stand order. The first folder is footage in that folder like to label by camera. So if I have the GH five, maybe I had and Alexa maybe I had a drone, so I had the maverick to I just like to label all of my cameras and make sure that I know exactly where it's coming from. Beyond that point, if the GH five had multiple cars that we used throughout the day, the now a title them card one car two and so forth after footage is audio. And that's number two under that folder. I like to label exactly the same as footage. So per device. So maybe I was recording with the d R 40 and then under the d r 40 I put all the files that were recorded by that device after audio. I like to put graphics this is any graphics that used throughout the project? Maybe it's a Brandon guide that you need. Maybe it's a logo. Maybe it's whatever branding that you need and graphics that you need for that project should go in this folder. Typically, there aren't too many graphics that you're working with with a project, so I don't really use sub folders. I just kind of drop everything and the graphics folder, and it tends to be okay. Number five is gonna be our edits again. I don't need any sub. Folders usually don't have 12 at its that you're doing. It's usually one edit file for premier. Sometimes I'll have another edit file that is for after effects and has motion graphics or something like that within it. Last but not least, is the exports folder is where the finished product goes. Once you've completed the project, you've checked it over and you export it. This is where those exports go and you just keep track of them. I like to actually put into the one V two V three before whatever it takes, the amount of revisions that you have. I like to keep track of it and just know exactly what revision I'm on next. Let's go ahead and jump into premiere and I'll show you how organized things in the project window. Here we are in premiere. I'm going to show you what it looks like and walk you through the process of organizing and labelling folders and files inside of Premiere. The system that I use in premiere is actually very similar to the one that I use and finders just tweaked a little bit differently. So the first thing that I have is footage again. I number everything to keep it in order. Number two is audio number three is graphics. So see, till this point, it's exactly the same as it wasn't Finder. And then after that, number four is sequences. No, since we're in the edit, we don't actually need a been for our edits that's taken care of. Forests and Finder were inside of at it now and then. Instead of an exports folder, we have a sequences folder because these sequences air eventually gonna become exports. Another helpful trick is if I have everything organized under footage, audio and graphics, and all the content that I need is already under those folders you can actually just select those three folders, drag and drop them into premiere. And it's all organized for you. And all you have to do is at the sequences folder and organization is basically done. So if I was to add files inside of this project is what it would look like. So I have my footage added. I have my audio. Let's go ahead and at my logo to the graphics and then we go. This would be a very simple project. There's not a lot going on here. We don't have sub folders for the footage. We don't have different cameras that were using. We just have to different files. We have an audio file. We have a graphic that will be using That's all that you need to know about the project window and how to organize things within that. It's pretty simple. Just down top of things keep organized. Make sure that you label things so that you can find it later. The next section I want to talk about is right about the top. You'll see that we have these workspace options. We have learning assembly editing, color effects, audio graphics, libraries, etcetera. I've treated my own workspace that's called Emma, asked for Matteo on studios, and there's just a custom layout that I've found works for me, and I just do everything in one workspace. But what you can actually dio is there's different work spaces that you can use. You can have your assembly, and that will be a different workspace look like editing. That will be a different workspace color that will be a different workspace. The reason for that is it just gives you a better layout, better workspace for the task you're doing. So if you're doing color grading, it's gonna have your color panel, the different effects you'll add while color grading. And it just maximizes the screen real estate that you have. What you can do is if you start rearranging things and finding a certain layout where it's better for you, you can go up to the top, and with these three little lines, this little menu button you can click that, and you can either save the changes to that workspaces that you made some adjustments with the editing workspace, and you like the way that it looks now. Four. Specifically editing, click save changes to this workspace, and that will be your new editing workspace. Another thing that you can do is you can create a custom ones. You can save that as a new workspace, and you can do what I didn't create. Like I did a Matteo Alan Studios workspace that now I can refer back Teoh. If you don't like the changes that you made and you want to go back and undo everything that you just did, I'm just click reset to save layout. Don't worry, you haven't destroyed anything, and we'll just revert back to the safely out. Next. Let's go a little bit more into depth about sequences and the power of thumb and just how useful they really are. Incredible thing about sequences is that inside of a single project, you have multiple timelines that you're working on. One of the most common ways to use this is toe have different stages of an edit, so you would have your assembly, which is where you put all your footage and lay it out, and you see what you have to work with. The next stage would be a rough cut where you start putting some of the main building blocks together and you start creating a story and crafting a narrative that you're gonna work with. The last phase will be your final cut, which is where you put all the finishing touches on it at your B roll. Make sure the timing's perfect in the flow works well, that's the sequence that you're gonna end up exporting. Another great way to you sequences is when you want to create multiple videos within the same project. If I want to create a video and have a two minute at it, 62nd at it and a 32nd at it, the way that I would do that is to have separate sequences for each of those videos. For Assad. Create the two minute video that I'm simply duplicated, edited down to 60 seconds. Duplicate that video and then edit that down to 30 seconds. Through that process, you've saved yourself a ton of time and his major life a lot easier. When you add a sequence your project, you want to make sure that all the settings are proper. Click the icon for new item and click sequence under the settings. Make sure you select DSLR. It's like 23.96 Make your frame size 1920 by 10 80. Or, if you're shooting in four K 38 40 by 2160 make sure you select square pixels, no fields, progressive scan and the name your sequence. Once you've clicked, okay, you'll have a new sequence that's ready to go when you import footage into this sequence. If the settings aren't exactly what you have in your sequence settings, it will ask you if you want to change these settings, simply click. Keeps things another way to create a sequences by dragon footage directly into the timeline . By doing this, premiere will automatically adjust to the settings of your footage. This is very quick and easy way to get the proper settings in your sequence. If you choose to use this method, just make sure that the settings on the clip they're using are the proper settings. Make sure that is 24 frames a second. Make sure is the correct resolution that you're wanting to use. Another helpful tool that you can utilize in Premiere is what's called proxies. A proxy is simply a video file at a lower resolution that you can use to add it a lot easier way through computer isn't going to slow down as fast. Then you can revert back to the original video file when you go to export with Premier. Creating a proxy files is actually very, very easy. Let me show you how all you need to do is click on the video file that you wish to convert to a proxy, go down the menu to proxy and then create proxies. The box will come up that will give you some options to select under format. You're going to select quick time under preset, you're going to select the 7 20 version of Apple Pro rest for 22 If you're getting into editing, you'll learn very soon that Apple Perez is your best friend. It's a file type that is compressed heavily yet still retains a lot of detail winter editing. It allows you to work at a much faster pace because your computer doesn't have to do with as much data. Go ahead and click, OK, and then it will open up in Adobe Media Encoder. This will automatically start encoding process. You don't even have to touch anything. It will just start encoding the files that you've selected to be proxy. Once the file is finished, Encoding had back into premiere. In your program window, there will be a plus icon that's labeled button editor to see a variety of different icons . One of them will say, Taco proxies drag that into your program panel. Now, if you select tackle, proxies will highlight blue, and this means that your proxies now enabled. So when you scrub through your footage, you have no issues. You should be able to play it back and have no issues with playback at all. In comparison, when talk approx is often, you try to play your footage. It's just gonna be leggy and glitch, and it's not gonna be very easy at it. But once you turned toggle proxies on, you'll have no issues with playback, and editing will be a breeze. Next, let's talk about keyboard shortcuts. This is, without a doubt, probably the biggest area. When it comes to speed and productivity. Click on Premiere Pro and hit keyboard shortcuts. You'll see a keyboard that indicates what short gets. You currently have to change a shortcut, simply scroll down or use the search bar to find the commander looking for. Once you found the command, simply click the shortcut area and type in what you would like the command to be. Simply, click OK, and that shortcut will be assigned to that command. As you assign these commands, make sure that you're signing commands that use very often and also make sure that they're in a similar area of the keyboard so that they're easy to access. I'll go more into depth about the specific commands that you can use in the tool section of this course. Using higher frame rates are a great way to achieve buttery, smooth, slow motion footage. Now, when you goto added that footage, there's a couple ways you can slow that down in my project. Here, you can see that I have this clip selected from Bali. I'm gonna go ahead and drag this into my timeline. I mean, it's like keep existing settings. As you can see, the frame rate on this footage is 60 frames per 2nd 59.94 We need to my timeline. There's actually a very easy way that I can slow this footage down. If I just right click on the footage that select dispute in duration since its 60 frames per second. To bring that to normal time, I need to bring the speed down to about 40%. Now that will be playing back around 24 frames per second. So when you play back, you can see that it's fully insulin motion. Although this way does work, there is a better way to do this, simply right. Click on the footage in your project window, click modify, interpret footage and then select assumed this frame right and simply type in the frame rate that you want to use. In this case, it's 24.976 I'm gonna click, OK? And now that footage is gonna be at 24 frames per second. When I drag that into our timeline, it's automatically going to be slowed down for us. One of the great futures in Premiere is that you can organize your effects and presets. Independents. This is helpful because you can create a been with the presets that you use the most and be able to access them very easily. For myself. I've created a Matteo Alan Studios effects been. This includes a slow zoom, Denoix Zer, low pass filter, multi band compressor and EQ You. These are some of my most commonly used effects, so having them all in one place that I could just open that folder and be able to easily drag and drop them over saves me a lot of time in the fact controls penalty, you'll notice up at the top. There's two tabs you can select. You have your master, and then you have your individual clip file. This allows you to apply effects in two different ways when you're applying it individually on the clip, that means that only the clip that's in the timeline will have that effect When you apply it on the master. That means the clip that's in your bin. The overall master file will be affected. So never use any clip from that video or audio file. It will have those effects apply on it. Under timeline, you'll notice that a budget eclipse will be ah, green, yellow or red bar. This indicates the status of the clip or clips below and whether or not they need to be rendered. If the status under eclipse is yellow or red, it's gonna be incredibly hard to play these clips back real time. You'll find that playback is very glitchy, and it's gonna be really frustrating for you. So save yourself the pain and render through your footage to do this, go up to sequence and then select, rendered into out. Depending on how long your footage is and the size of it and the kind of footers that it is . This may take a few seconds Teoh several minutes to several hours, depending on how much you have to work with. Although the six time and is really boring and feels like it just cuts into the time of your editing process, you'll actually thank me in the long run. It's a lot easier to add it through footage that plays back smoothly than it is constantly be working with footage that is glitchy. Thanks for watching this session on organization and workflow. I truly believe that this is one of the most important parts of editing. If you don't get this right, you're never going to get up to speed and you're not gonna be very efficient. Therefore, you're not gonna be able to charge as much for your editing or just gonna be wasting your own time. Go back and try all the techniques that I taught. Find shortcuts that air fast and efficient for you to use and practice thumb again, again and again. Just get better and better and better at using the shortcuts quickly. I promise you, they will save you so much time. Thanks for watching through this session of editing essentials. Next time we'll be looking at commands and tools that you can use in Premiere, it's 4. Editing Essentials | Tools & Commands: The first tool that I want to talk about is the selection tool that allows you to select various clips on the timeline either individually or you can drag and select multiple clips at a time. You can also select multiple clips at a time by selecting one holding shift and selecting whichever other clips you'd like to select. Next is the razor tool. This is pretty self explanatory. Basically, you can use this tool. Teoh. Cut a clip wherever you would like. You simply have toe drag your cursor over where he would like to cut and just click, and it will cut the clip for you. The ad at a command can use by simply hovering your play head over where you would like to cut and hitting a shortcut. For me, that shortcut is just the letter C. But for some people, it is shift sea or whatever short, good they have assigned to that command. If you want to add a cut and delete everything before that, cut and move all the previous footage over unused ripple delete. You can use this command through a shortcut, or you can right click. The foot is you want to delete and click Ripple Delete. The Ribble added tool allows you to trim a clip while making the Jason clip. Follow the cup point when you add a clipped your timeline. That is the higher or lower resolution than your sequence settings. You'll notice that either the image will not feel the full frame or the image will be cropped in. The quickest way to solve this is to right click on your footage and scale the frame size. If you'd like to make for their adjustments, simply go in your effects control panel. Scale the image, your taste. If you're working on a project and there's a specific clip that you would like to disable without, totally toggle ing off an entire track, simply right, click on the footage and uncheck enable. If you would like to link To clip, simply select both of the clips. Right click and hit link in the top left of your timeline Rabin icon entitled Link Selection. Toggle this on and off the link at unlinked. Your selection when a clip is dragged into your timeline will automatically be linked with audio. If at any point you make mistakes at it, don't panic. Don't worry, it's fine. You haven't messed anything up. All you have to do is hit Command Z to undo or go at it. Undo. There's a few other shortcuts that are very helpful in your use in every single edit. I'll just talk through them briefly. The first is the space bar. It'll play or positive footage. The second is the JK and Al Buns. What this does is basically, act says you're rewind, pause and fast forward buttons. So as you're going through an ad, it you can have your hands on these three keys and you can play your footage pressing l And then every time you press L again, it will make your footage go faster and faster and faster in reverse. When you hit J, it will play through your footage backwards, and if you press it again and again and again, it'll go faster and faster and faster. The K button will simply stop her footage when it's playing forwards or backwards. Thanks for watching through this session maddening essentials where we looked at the commands and tools that you can use in Adobe Premiere. Next time, we're going to be looking at audio treatment and the double Premier. What effects can you use? What's the best way to handle audio and how to sound effects work? When should you use them? When shouldn't you used them? We're gonna cover all of that next section. 5. Editing Essentials | Audio Treatment: everyone. Welcome back to the Matteo Alan Studios editing essential scores in this session. We're gonna be talking about audio. What effects to use on it. What order of the process. Audio should come in your workflow and how to get your raw audio files to sound professional. So here we are in premiere. You can see that I already have a clip in the timeline from the intro of this video courses while is the audio for it. For right now, I'm just gonna disable the scratch audio track from the camera. We're not going to be touching that at all. We wanna work with nice, clean audio. Personally, I like to handle all of my audio processing before I even start editing my project as soon as my clips were imported in the timeline and any footage is think that needs to be audio is the first thing that I handle. The reason for this is it saves you the step of having to go and paste your audio effects later on. If you just handle all your audio front than any clips that you splice and move around or already gonna have the audio treatment done on them. So let's take a listen to the audio that I have here. Premier bear in mind that this is not edited. It has all my bloopers, all my mess ups, everything like that, innit? So have some grace. Be gentle with my feelings. Let's go ahead and take a listen. This course is for anyone working this course for anyone currently working in the industry that's looking toe level up there editing skills, whether it be with speed or quality. And the first thing I want you to pay attention to you is as we're playing that clip you'll see on the side. Here we have this little meter for our audio and we can tell what our levels are at. If I play this back on working course, you can see that we're peaking around. Negative 18. Now that's okay. The last thing we want is for audio clip. That means for it. Toe reach zero and we'll get some red little martyrs up of the top. That's the last thing that we want. We don't want our audio to peak because then starts distort. It doesn't sound goto over your speakers. There are three main audio plug ins that are used for essentially every audio track that I touched. We'll go ahead and show you what those are right now. You can search for these under the effects panel. I have them under a preset been so I can access them very easily at the first thing that I'm gonna drink over is the Parametric EQ. You and e que essentially allows you to edit specific frequencies in your audio file so you can adjust the highs and the lows in the mid range frequencies. You can pull out certain frequencies like weird rings that you might have in your audiophile. Or maybe there's certain frequency is that have a lot of reverb to them? You just want to bring that room sound out a little bit all that you can adjust within your cue band. I'm gonna click at it so that I can just the settings. So what I'm going to do is I'm gonna start playing back this audio file. I'm going to start tweaking some of these frequencies this course for anyone working gonna add a high pass filter. All that does is it takes away some of that low end that we don't need. The human voice does not take up that much base so we can cut out a lot. I'm gonna cut it around. Horses 100 currently working in this. I'm gonna add a low pass filter as well. Voice is not at supersonic bridge. So we're gonna cut out a few of these high frequencies this course this courses for anyone or anyone that wants to be working in the field. This course is now I'm going to do is start scrubbing through some of these other frequencies in the mid range. And I'm just going to be listening for frequencies that are Unpleased into the ear and I'm gonna be pulling those down. It's always better to you subtracted VQ to play your eq you down than it is to add frequencies in. I've designed this course toe. I've designed this course to meet all kinds of levels of skill. I've designed this course toe. I've designed this course to be able to be effective for a I've designed this course in a way that is hopeful. I've designed this course in a way that would be helpful for people of all skill levels. I've designed this course in a way that would be effective for people from all different skill levels. This will be a so you can see I'm just adding subtle cue changes here, just bringing down some of the frequencies that are Unpleased into the here and just making the audio file a little bit easier to listen to you. Last thing I'm going to do with the e que is I'm gonna pull the master gay enough since our audio file is still pretty quiet going to try to have a speaking around negative nine. This is also for this is also for business owners that maybe can't afford toe hire their own person toe produce. Okay, that's not too bad gonna exit that for now. I'm gonna add what's called a multi band compressor if you don't know what a compressor is . Essentially, what it's doing is it's bringing down the loudest parts for your audio and bringing up the quietest parts. So it just flattening things out a little bit, so you don't have super quiet parts and super loud parts. Everything is relatively in the same range. I'm gonna go ahead and open up the compressor. You can see there's different frequencies that we can adjust. We have our low frequencies are to mid frequencies and are high frequency. We also have an option to set her output gain will adjust this last. I'm going to keep this simple today. So all I'm going to do is be adjusting the thresholds of this multi band compressor. The threshold is the point at which the compressor starts becoming active if you have the threshold set at negative 24th and that means that anything above negative for D B is going to start being brought down in volume. We're gonna play through our audio and started just in these different thresholds on working this course for anyone currently working in the industry that's looking toe level up there editing skills, whether it be with speed, find the most common level that audio is hitting for each bad. This course is for anyone who currently is or is wanting to work in the film industry and is looking toe either level up their skills with quality or with speed. If I talk about the compress, your on and off, you'll hear the difference. This course is for anyone that are making this course for anyone currently working in the industry that's looking toe level up there, editing skills with the review with speed or quality and discourses also for anyone. So the main thing you'll hear one it's reduced in volume, and that's okay. We'll bring that volume back. But if you listen even closer, the reason why it's gone down in volume is because those loudest parts of the audio clip have been brought down in volume. So I'm going to go ahead and play back this audio. Just make sure that we make up some of the game that we've lost this course for anyone working this course for anyone currently working in the industry that's looking toe my audio to set around negative six feet or quality and discourses also for anyone. This horse is for anyone currently working in this. This course is for anyone. Okay, I'm happy with that work in industry. The reason I wanted peaking and sitting around negative six so that we have a little more headroom when we add effects. But we're still a capitalizing on the room that we have. The last effect I'm gonna add is a D noise er the name is pretty self explanatory. Essentially, what this effect does is it takes away any, maybe room noise that you had or maybe the micro recording with had a little bit of hiss and were able to remove a decent amount of that with this effect. So I'm gonna open up the d noise er and again, I'm just gonna play through my audio. I'm going to set a threshold where I'm so preserving a decent amount of the audio. If you add too much of this effect, you get this weird war, Billy sound on your vocals and it doesn't sound too appealing. We don't want to go that far. So we want to still preserve the key sound of our audio, but at the same time, take away some of those constant hisses that or throughout our audio, this course for anyone currently working in the industry that's looking toe level up there . You can see if I turn it to high speed or quality courses. Also get this weird horribly. It cuts off your syllables a little bit. This horse is for anyone currently working in this. If we bring it down, this course will get a little bit of noise in there wanting toe working. But let's take that away and still try to retain as much details we can with our audio. The scores, this courses for anyone or anyone that wants to be working in the film industry go. I find anywhere between 5 to 10% is typically plenty. That's all you need. If you recorded your audio well and were careful with it intelligent to make sure you don't have a lot of background noise, this should be okay. You shouldn't have to go beyond five or 10%. Sometimes if you really butchered your audio, you do have to go above that. But you're not going to be getting the best quality audio at that point or just kind of taking away. So I would suggest to get it right initially with the way that you record it, make sure that you eliminate as much noise as possible, and then in post you can take away a little bit. Just add those finishing touches, but you shouldn't be trying to fix mistakes with it. The last couple effects. I'm going to talk through our reverb and delay these air very commonly used effects in the music industry. Almost every vocal has reverb and delay on them. Now, when it comes to film, we don't use them quite as much. But they are useful tools. If you haven't interview, chances are you're not gonna be putting reverb or delay on these vocals. You just don't need it. You're not trying to get an ambient kind of focal that sits well in the mix. You're just trying to have a clear, easy to hear voice, however, when you're dealing with sound effects, sometimes it can be helpful to add a little bit of delay or reverb use to accentuate the fact that you're going for so show you what those effects do and what they look like. If you type in your effects panel reverb, we're gonna go ahead and add the studio reverb. Play through my audio only is or is wanting to open the river bop and start addressing. Some of you said, level up their skills with quality or with speed. I can already hear that it sounds like we're in a larger room. That's what reverb does. This courses these courses for anyone that's currently work these courses for anyone that's working in the industry or is wanting toward reverb simply emulates different reflections and sounds that you would hear if you're in different kinds of spaces. So maybe you have a river that sounds like you're in a giant hall or a church building or a small room, and you'll get these different sounds and kinds of reflections that you would here. So I'm going to select some of these different presets and see if you can hear the difference. First, I'm going to select Great Hall. Sure, that sounds like this courses for anyone that's currently working in the industry result. I've designed this course toe. As you can hear it sounds like we're in a huge space. It sounds like we're in a big hall was Try another one. Let's try it. Outside club. You can see what that did and made it sound like were on the outside of a club like weaken faintly. Hear the audio in the background, but it's not right in front of our face. Next, let's talk about DeLay. Let's search into our effects panel delay. All right, let's click on analog away. In its simplest form, all delay is is it just takes your way form and delays it by a few milliseconds or a few seconds, or whatever you want it to dio, go ahead and click at it and will search through some of the presets. Here it's Click on a crazy train and hear what that sounds like. Discourse, discourse, anyone. Anyone currently working. So you can see it's a pretty quick delay, and it's a little bit distorted. Let's search through and see what else we can find. Let's click on hot fusion and see what this does in a level up there so you can see this is a bit of a shorter delay, but every single delay it gets a little bit more distorted and a little bit louder until it just becomes a world of craziness. Delay is a very, very cool effect that has so many different layers that you can adjust to make sure that you take some time to learn it, play around with it and get creative. The last thing that I want to talk about when it comes to audio is sound effects. Now. Sound effects are such an incredibly important part of film, and they just bring your videos to life. So I want to talk about this because there's so many people that don't even incorporate this into their videos. And I think it's out there loss, therefore different categories of sound in my mind, when it comes to working with audio, the first is dialogue. This could be an interview that you have. Maybe it's a voiceover. Maybe it's dialogue between two different characters on screen. Whatever application are using it in. This is always words that are being spoken and usually is helping the narrative move word. The second is what I would refer to as atmosphere. This is what sounds were going on in the environment around these characters. Maybe you're in a jungle and you hear these birds going by. You hear the branch break in the middle of the jungle. Maybe you're buying ocean and you hear the waves in the background Here. Some see calls in the background. Those were atmospheric noises. That's these are things that are kind of in the background, and you would naturally here in that environment, the next category is referred to as fully. This is basically any sound effects that are dictated by what's happening on screen. These air sound effects that are added in post that would be expected to be there in real life. The last category is what I would refer to as just overall sound effects. Maybe it's something as simple as a cinematic hit or a single note on a piano, something that would not regularly be there in real life. But it just adds to the feeling of the film. Let's take a look at a sequence that have created that incorporates each of these four categories. We do not remember days. We remember moments. What moments will you remember? You can see all these sound effects are working off of each other. They're working together. To tell the story now is isolate just the dialogue and see what that sounds like. We do not remember days. We remember moments. What moments will you remember? Now let's hear what it sounds like with just the atmospheric elements you. Let's take another listen, this time with only the fully Finally, let's take a listen with just the additional sound effects that I've added. There's one more element that I haven't talked about yet, and that is music music plays a huge role when it comes to sound in film is one of the main things that communicates emotion. The music selection that you have control magically change the impact your film has. Let's play back this sequence and add music that communicates a very emotional and dramatic feel way. Do not remember days. Remember moments? What moments will you remember Now? Let's say that same sequence and use music to communicate adventure and inspiration. We do not remember days. Remember moments? What moments will you remember? You can hear how music dramatically changes the feel of the video that we've made. So be careful. Make sure that you take your time with song selection and choose your music carefully. Now that you've got all these different audio elements in your project, you want to make sure that it all fits and balances together. The order that I found that works when you're mixing audio is having any dialogue that you have sit at the top than under. That would be your music, then under that would be any special sound effects that you have. Then you would have your fully and then you would have your atmospheric elements. Take another, listen to the sequence and see how very intentionally balanced these elements in that order . We do not remember days. Remember moments? What moments will you remember? Now take another listen and see what happens when I put these elements out of order Now just struggles for you to make sense of what's going on. You may notice that is kind of uncomfortable to listen to. You can't quite hear the dialogue properly. Maybe the music's a little overpowering, and you just can't quite make sense of what's going on. And that's why it's so important to have the right order and make sure that you have a list of priorities of the things that you want the listener to be able to hear. That concludes our session on audio. In our next session, we're gonna be talking about the different cuts that you can make and why, and where you would make them 6. Editing Essentials | Cuts: everyone welcome again to the Matteo Alan Studios editing essential scores. In this session, we're gonna be talking about the different kinds of cuts that you should be making in your films and why and how to use them. So if you're looking Premiere, here's a couple clips that I have from the video I did on tools that you can use in Premiere. I'm going to use these clips to illustrate a couple of different cuts you can make. The first is the standard. This is simply where your audio and video cut it. The exact same time is probably the most common cut and the one that you probably use the most often. So this is what it looks like and selecting whichever other clips you'd like to select. Next is the razor tool. This is pretty self. You can see the audio and video change at the exact same time. The standard is one of the most common cuts that you'll ever make. It's also one of the easiest cuts to not mess up. Next is the Alcott. This is where your video cuts it before your audio. This gives your viewers a visual indication of what's coming next and premier, all I'm gonna do is I'm going to drag this cut point over and we'll play that back ever. Other clips you'd like to select next is the razor tools. As you can see, it shows us visually that a shift is coming up. The J cut is the same as that I'll cut but in reverse. So that just means that the video is gonna cut after the audio. Sen. Premier. We're just gonna sly that cut point over until after the audio shifts, and then we'll go back and play that over whichever other clips you'd like to select next is the razor tool. This is pretty self explaining. This is one of the most common cut steel seeing movies is used all the time with dialogue. Scenes will have the audio of the next person that's talking. Start first, and then it will cut to the shot of thumb. Another helpful tip is to cut on action. That means that when there's a hand moving or ahead moving, or there's something in your frame that has movement cut. When it's in the middle of that movement, it makes your cuts like a lot smoother and your eye contract with it a lot easier with these two clips. I haven't premier. There's a moment in the second clip before I start talking that I turn my head towards the camera. We're going to use that as a cup points. We're gonna cut on that movement. Let's drag that cop point and watch and see where it is that I turned my head. So we're gonna Where do I start right about there. That's when I start turning my head. So we're gonna cop there and let's play back and see what that looks like. Like select. Next is the razor tool it's going to see. It's a lot smoother when you're cutting on the action, said just going from a static for him to another static frame. Sometimes it's nice to be able to have a little bit of movement, and it makes that cut look a little more seamless. Jump cuts an interesting technique because often is filmmakers. We want to stay away from having a jump cut. Often it looks a little bit raw and unprofessional, so we tend to stay away from them. If I was to use the same sequence we've been working on. Instead of having two different camera angles, I was just a cup between the same angle. Here's what it looks like. Whichever other clips you like select. Next is the razor tool you can see it's a little bit jarring, and it just isn't the most natural of a cut. Your eyes kind of have to adjust to it for a second, and so typically, we stay away from jump cuts. However, there are certain applications for jump cuts. Make sense. One is the passing of time. When you have a scene with one frame on, the subject is bouncing around different spots. The frame have you've seen that before? And it shows there one time reading a newspaper another time there on the couch. They're having a cup of tea the next moment, and it shows the passing of time. If you're something that's on or washes a lot of YouTube, you'll see that a lot of YouTube creators actually use jump cuts, and it's just something that gives it a bit more of a raw and organic vibe to the video, and that's okay on YouTube. We've actually learned t be okay with that But if you're making professional content, if you're making as your wedding video, wherever that may be, I tend to stay away from jump cuts. A match cut is very similar to a jump cut, except instead of using the exact same shot, you're trying to match a different shot to your first shot. So, for example, if you have shot A, which is of a doughnut and then shot B is of a manhole cover and they're both circular shapes, they both have similar elements to them. So you frame that circle in the exact same place under screen, and then maybe you're doing a pan out and halfway through when the shots match up, you cut. The point of a match cut is to draw similarities from two different things. So maybe that's two different scenes. You want to draw similarity. Maybe it's two different characters. Maybe it's two different items that you want us to pay attention, Teoh. But the point is to draw a parallel between those two different shots. The last kind of cut that I think is really important to know as a filmmaker is the montage montage is used. Either communicate the passing of time or to communicate a narrative. Visually, you'll typically have a series of shots that are all connected and tell a story without it back to back in succession. Using a montage could be really helpful in your films and a great tool in your tool kit. However, I also think that montages are a great way to sharpen yourself as an editor, even if you don't have a project that you need to use a montage on. Just get into the habit of making montages either on your own or with your own videos, because this will make you better at telling a story in a few shots. If you can tell a story in 10 shots, you're on the right track. If you can tell a story in five, you're getting pretty good as an editor. If you could tell a story in three shots, you're an expert. Make sure you spend some time in Premiere and going over all these different cuts. Training yourself, memorize what they are and how to use them. These will be very helpful when you're in your next at it. Thanks for watching this session on the different kinds of cuts that you can make join us. Next time it will be talking about multi cam sequences, what those are and how to use it's. 7. Editing Essentials | Multicams: everyone welcome back to editing essentials This week, we're going to be looking at how to create and what is a multi cam sequence. A multi cam is a sequence in which you have multiple camera angles and audiophiles sync up so that you can add it between them. This is particularly helpful for reading a video of a keynote speaker or an interview with multiple camera angles or maybe a lab performance. Let's go ahead and jump into premiere. As you can see, I have these two videophiles, these air, both different camera angles of actually the intro for this course because I'm very original and we also have the audio file for it. So what we're gonna do is going to drag these clips in tow the timeline, and we're gonna drag our sequence down two sequences its name it Multi cam session. It's also dragged our audio file in there. Now there are a few ways to sink this foot a job. Once it's in premiere, I'm going to show you the easiest way. It's with a paid plug in called plural eyes. It's by a red Giant, and it's a fantastic plug in that will save you hours upon hours of time, so I highly recommend purchasing it. There is a way to sink your footage simply using Premiere, and you're free to do that. I'll teach you how to do that later on. In this video, however, this this way is not as efficient, and it is not as accurate. I find often times that it either can't sink the footage or it's not sink correctly, So I found it a lot more worthwhile to simply use plural eyes. All you have to do is visit Red Giants website online by purchase, paralyzed, downloaded follow instructions that it gives you and then inside of premiere, simply goto window extensions and plural eyes. Once you open this panel, you'll notice a gear icon up in your top left. Click the drop down menu and you'll see a few different options that we can select. We have color on synchronized clips, move un synchronized clips to the end and create a sequence with audio replaced. I like to track the 1st 2 options because this enables me to see exactly what clips have not been sink to properly and move them to the end of the sequence. for me as well as make them different colors so that I can visually see that those clips haven't sent as well the last option. I'd like to leave unchecked because I like to actually see all of my audio options. Still, after the footage is saying that, like to still have access to the on board camera audio and not just simply have that replaced from here, simply select your footage and hit synchronize. Depending on the size and length of your footage, it may take several minutes for paralyzed single of your footage. The amazing thing about floor allies is that you can have as many audio tracks as you want , as many video tracks is you want, it'll sink everything for you may take a bit longer, but if you're shooting a wedding and you have a bunch of different audio recordings and you have several different camera angles, all of that could be sync with in floor allies. You can go grab a cup of tea, come back and all your footage will be laid out for you. Now you can see in our project window that another sequence has been created, called multi Cam ST and you'll see in our timeline that all their footage is laid out. Perfectly aligned first thing I'm gonna do is delete our last sequence and renamed the current one. Next. I like to trim all the files that we have, that everything is matched up, and I'll knew all the footage of the beginning of the timeline. Next, I'm gonna highlight on my video clips and the audio files attached to them. Right click hit nest. I'm gonna entitle my nest sequence multi cam and hit. OK, what this has done is it's taking those two video files and put them in what's called a nest. It's basically container for your footage and number. You haven't lost that footage. You can still edit it, but you'll edit that footage in a new sequence. You'll see that our new sequence has popped up and we have both the video files that we have just nested. If we change anything in the multi camp sequence, it will also affect our nest that we have in our multi cam session. Next, in our multi jam session, I'll delete the audio from the two video files. We don't need the on board camera audio and I'm gonna link are good audio and our nest from here, right click the nest and select multi camera and enable it will automatically show you the second camera angle, and that's because you're no longer seeing the track that is above the other. But you're actually seeing your first camera track, which is below the powerful part about multi camps is now. When you make it cut, you can switch the angle of which reviewing another way to cut between these angles is if you go to your program window, click the plus icon. You can drag on the toggle multi camera view option. By tackling on this option, you'll be able to view both of your camera angles at the same time you actually play through your footage and real time. Select which camera angle you want to use. Bear in mind. This is going to take more power from your computer than simply playing one clip at a time . So often, What I will do is all proxy off the files that I'm gonna use in my multi cam, especially if you're footage is four K. Depending on your machine, it will probably have a hard time playing back for the sake of time have already converted these fouls to proxies. So I have to do is talk along the proxy button, so we'll see if I try to play this footage back regularly. It is very glitchy, will freeze. It will be very hard to cut around, but the second I toggle on proxies, the playback becomes a lot smoother, and I can actually click and select which camera angle I want to switch between the two. I mentioned earlier that there's a way to sync up your footage within Premiere without having to pay for play relies. Here's all you have to do. Select all the footers that you want to sink and your audio files, right, click and select. Create multi camera source sequence for your synchronized point, Select audio and hit. OK, Premier is going to start processing and comparing all these different audio points and try to sync up your footage for you. So this might take a while Once premier is done sinking all your clips and noticed that in your project window there's a been that's been added with all your process clips. And there's a new sequence that's been added. Drink that sequence on your timeline, and it will have all your audio files laid out as well as it will have a multi cam already created for you. From here, you can start editing your multi cam and just cutting between your different angles this way is quite easy. Quite simple. It's very intuitive, but I've just found that sometimes it struggles, especially when you have multiple, different audio sources and camera angles. Sometimes it struggles a little bit. There's the central is that you need to know about multi cam sequences. It's very helpful, very powerful tool, and I am confident that it is going to make your life a lot easier during the editing process. Next session, we're gonna be talking about animations and titles we're going to dive into after effects. I'm gonna teach you how to make your own animations and make your own motion Graphic presets. How to make those fully customizable in premiere Thanks for watching. For more resources, visit matteo alan dot com 8. Editing Essentials | Animations & Titles: Welcome back to the editing Essentials course. In this session, we would be talking about animations and titles. Let's start off back and premier. The first thing that we're going to do is grab the type Tool was write some text and call it Matteo Alan Studios. Now what we can do is go into our effects controls. Let's make sure that our type is selected on the change the font. I'm gonna go with Gotham. You go Got some bold. I'm going to go Gotham Black because that is our Matteo Alan Studios. Brandon, Come on. Next I'm going to send her our text and then I'm going to go under the Central Graphics panel and you can adjust all these things under the central graphics panels. Well, but we do have some additional controls, which is great, but we can do is we get a horizontal and vertical align our text so you can get it perfectly centered in our screen. Premier is ableto do some very basic text editing and that's great for very simple titles. This will work perfectly so I still do a lot of titles in Premier. Where the real magic happens is after effects. So once we're in after effects for an open, a new composition, we're gonna call it Matteo Allen's studios when you click. OK, now I'm gonna add some text, and again, I'm gonna call it Matteo around studios. Now, the issue with this text is it's pretty small, so we're gonna make this a bit bigger, wouldn't make it 100 points, and I want to send her this text. So what we're gonna do is we're going to go to a line and we're gonna century it both vertically and horizontally. Let's go back to her character panel and let's select our Gotham Font. Let's go, Gotham Black Aftereffects is very complicated, so we're not gonna go too far into depth with it. But I assure you the basics of what you can do with creating titles and animations. You can see your layer is now down in the timeline. If we click the drop down arrow, there's two different options we ever text and we have our transform options were going to spend most of our time in our transform options. The whole way that aftereffects works is based off of key framing, so creating a start point and an end point for your object. And then your animation will occur throughout that. So what if we want just a simple fade in? Well, that's easy. All we have to do is create a couple key frames. The first key frame we're gonna make is when the animation will be at full opacity. So at 100% and the second key friend we're gonna make is gonna be at 0%. And now, over time, you'll see that the animation just fades onto the screen. So hopefully that's pretty simple. You just create a start point and an end point for basically any action and after effects will animate that evolution. Let's go ahead and delete those points because we're gonna do something a little bit different. What we're gonna do is we're gonna animate the position. We're gonna have the text come up from the bottom of the screen and then exit at the top of the screen. Its key friend, the two points of our position of where we want the animation end up. There we go. So nothing's changed because this is where we want the animation to rest for a while. So have animated the points at which our text will be at rest. Now let's go to the start of our timeline on Let's drag our position down so that we cannot see the text anymore. Now let's go to our four second point and we'll animator text to be at the top of the screen to the point that we cannot see it anymore. So now if we play back from the beginning, you'll see that it comes onto the screen and it exits screen. So how do we take this a step further and level this animation up? Because right now it looks pretty robotic, and it doesn't have a natural flow to it. With the motion, let's highlight the key frames that we've created, right click on one of them, go down to Key Frame Assistant and Eazy E's. Now what this does is it creates ramps that we can adjust so we can have it very fast at one point and very slow it another point. So instead of just having a static motion the entire time, we could have something that is very fast and then slows down. There is very slow and speeds up so How do we do that? Well, there's a little icon that says Graph, editor. If you click on that, you'll see that if we click these little points that we've adjusted, these represent our key frames. Now, if we click these bars and drag them over, you'll see that the draft changes. And this is changing the velocity at which the object travels where we're gonna news, we're gonna pull one side all the way over, and then one side we're gonna bring to about the halfway point with second animation we've created, we're going to do the reverse. Let's make sure the animations are relatively even, and I will go back and will play through for animation. Now it looks a little bit more natural, like it's actually following the laws of physics. Like we would regularly see things move in the real world. But we can go a step further when we see things in the real world. We actually see them with a little bit of motion blur. If I move my hand, you're not seeing very clear frames. When I move it, you just see kind of static for a second until I stop moving my hand. So for animating things, they should react the same way. When things were in motion, they should have blur. So how do we do that in after effects? Well, there's a little icon up of the top beside the graph editor that enables motion blur. So if we click that, that is step one. Step two is to enable motion blur on our layer. If you don't see that option for motion blur, all you have to do is right. Click this panel up to the top, go to columns and then enable switches. Now you should be able to see this icon for motion blur. Make sure that's ticked on your layer below, and now motion blur will be enabled. If we scrub through our footage, you can see that when the object is moving fast, it has more blur when it starts to slow down and has less blur. This is accurate to how things would act in real life. So now when we play it back, it appears a lot more natural. Let's try something a little bit different. Let's delete the key frames that we have, and this time we're gonna keep for him our scale. So we're going to create a market where we want our text end up, and then we're going to create a marker at the beginning and scale this 20 I noticed that when this is scaled down, it doesn't scale to the center, which is not what I want. So what I'm gonna do is I'm gonna go to that last key frame, and what we need to do is change what's called our anchor point. This is represented by this little red X. Whatever you wanna call it a target. If you move that target, that is where your object will scale up to or down to. If you click. Why on your keyboard? Now you'll be able to reposition this target where you want, so we're gonna put it right in the center of the text. Now you'll see that our objects scales down in the center. Next. What I want to achieve with this animation is I want the text to bounce in. So I don't want to just scale up in that said I wanted to scale and settle. How I'm gonna achieve this is I'm gonna add another key frame after our 2nd 1 Then we'll go back to our second key frame, and instead of leaving it out of 100 I'm going to scale it up to 105 Now, when I playback, you'll see that it scales up and then scales down. Now, right now, it doesn't look very natural. That kind of scales in and then scales down, but it doesn't look like it's bouncing, but we can fix that like we did with our last animation, through changing the velocity. Let's highlight or key frames, right Click, a key frame assistant and Eazy E's Let's Go to the Graph editor. And now let's start tweaking these points. We're gonna make it so that our object speeds up over time. Then we'll do the reverse with the bounce. Let's play that back and see what it looks like. I think this object needs to speed in a little bit faster than it is. There we go. That's looking a lot more natural Now. If we play it back, we can see it zooms in. It builds velocity as it goes, and then it has a bounce. At the end of it. There's so many effects that you can achieve using after effects. This is just the tip of the iceberg. There's so, so much more so I would encourage you to learn after effects. But it does take a lot of time. It's a very complicated program, but because of that is very powerful. When it comes to titles and animations, there's one more section that I really want to show you in after effects. And that is the central graphics panel. If you don't see the Central Graphics panel, just simply go upto window and select a central graphics from here. Select your composition. We're going to select our Matteo on studios composition and we're gonna name it. Titles and animations select the solo supported Properties button now down below. In our timeline, it's expanded all the settings that we can use to drag into our essential graphics panel. For now, it's grab source text and drag that in. Now you'll see that we have our source text and our text is actually edible. So if you highlight Motown studios and put a central graphics now, our text will change to a central graphics. So why is this helpful? Isn't that just another way? Teoh, adjust your text in aftereffects. Know what you can do is you can export what's called emotion graphics template. And you can use this in premiere and edit that taxed when you're in premiere so you can create a title animation template and then go and adjust that tax team premier for various different projects. Let's go ahead and click Export motion graphics template. It's gonna ask you if you would like to save Click Save Selector, you would like to save the project. I'm gonna name the Project Teoh Alan Studios test, and I'm gonna hit Save. Now this dialog box is gonna come up. It's gonna ask you what destination you would like to save it. You can put in your local templates folder on your local drive, or, if you have a creative cloud library, you can add it to one of those as well. I'm going to select local templates folder and click OK, now, if I go into premier, I can go to our essential graphics panel. Click Browse Select Local Templates folder, and now you'll see a bunch of different motion graphics that actually come with premier but eventually will scroll down and you'll find the animation that we've created. So here I found it under the bottom, and I'm just gonna drag that into our timeline. It'll take a second a load, and now we have our animation in Premiere. And now if we go to the Central Graphics panel under edit, you'll see that our source text is here saying Matteo Alan Studios and right inside of Premiere here we can change that title. We can call it editing essentials. Now we can see that that animation has changed. Now our text says, editing essentials. There you go. Now you know how to make animations and after effects and then be able to use them in premiere and change the text after the fact. Creating animations could be a lot of work, and they can be very time consuming, and sometimes it takes a lot of skill to actually know what you're doing as well. So at Mattel Studios, we've actually created our own motion graphic templates that you can purchase and use in Premiere. They come in various different styles and include a transition, a title as well as a lower thirds. You could buy them individually. You can also buy them in a bundle for a discount rate, and I believe it's a great deal. That's why I'm selling them. I think it's awesome value for the money, and I think it's a great way that can help you out if you don't want to put in the time to make your own animations. That concludes our session on titles and animations, both in Premiere and in After effects. Next session, we're gonna be talking about some of the effects that you can use in Premiere. 9. Editing Essentials | Effects: welcome to them to Alice Studios editing essential scores in this session. We're talking about effects. We're gonna look at some very common effects that you can use in pretty mayor. The first effect that I'm going to teach you is speed ramping. This is a very commonly used effect to communicate energy and momentum and movement. It basically allows you to its slow down a section under footage while speeding it up in another section. The simplest way to do that is to simply make a cup point in your footage to right click, click speed and duration and change the speed what you would like. So in this case, if I want to speed it up, I can type in 500. You can see there's a nice little speed ramp there, but this is not the most effective way to do this in Premiere. It's probably the simplest and the easiest, but I'm gonna teach you the best way to do it. So first I'm going to drag my track up a little bit. Just I can see it a little bit better. And then I'm going to click this effects icon in the top left of your clip, Go down to time, remapping and select speed. Next, select your pen tool. You can either do this by selecting it in the toolbar. Or you can press P on your keyboard something in select right about here on our footage. But press view on my keyboard and go back to my selection tool. Now what I can do is that can select this line on my footage and drag it up. And that indicates the speed of the footage, and you can see there's a little number percentage beside it that selects how much times faster the footage will be now, typically the increments I go by our 2 50 or 500. So let's speed this up, Teoh. 500 times now you can do is if you select this little anchor points, you can drag the last point out, and this will create a ramp in your footage. So what that means is it's not gonna just suddenly go from one speed, suddenly go into the next beat. It's actually gonna flow and ramp into that experience. So if it's regular time and then double time, it's gonna be regular time and then ramp up into double time. If I want to make this flow a little bit more naturally, I can grab these little anchor points and Aiken twist um, so that it becomes more of a natural curve. If you want to change where footage speed rams, all you do is hover over your footage until you see this little double arrows. Just drag that ramp wherever you would like, and I'll play back and you can see that it's a much more gradual transition. You can use speed, ramps and all sorts of ways. One of the most common ways that I like to do it is all have a speed ramp at the end of one clip in a speed ramp at the beginning of another clip, and it flows nicely into the next clip. This effect works really well when you already have slo mo footage to work with your speeding up footage that is regular time. It looks a bit strange. Typically, it's best staff. What is that's in 60 frames or 120 frames, slow that footage down and then you speed ramps to bring that footage back up to 24 frames per second the way to do that. If you're footages 60 frames per second, if it's 250 times faster, that will bring it to 24 frames a second. If you're footage is 120 frames per second and you've slowed that footage down, if you bring it up to 500 times that speed, then you're footers will be playing back in 24 frames per second. The next effect that I'm going to talk about is blur. Sometimes I use this when I have titles all blur the background or the image behind the taxed, and then the text pops and stands out a little bit more. I'll show you an example of what that looks like. If I take this footage here and I go into my effects panel and type in Blur, I'm going to select Ghazi and Blair. If I go into my effects control, I could bring that learning this up to as much as I would like. I'm gonna put it around 50. The first thing that you'll notice is because you've learned your image. You're getting simpler from the edges as well. So you have this weird black, blurry border around your footage. The easiest way to solve that is just a zoom in your footage a little bit. So I'm going to scale my footage to 1 10 and that blurriness goes away next time. Then select the text tool and create some text gonna call it Matteo Alan Studios. Let's make that text centered and let's choose a nice font was choose Gotham. She's got from Bold. Now I'm going to go to the Central Graphics panel because it allows me to line my tax both horizontally and vertically. So I'm going to do exactly that. I mean, align horizontally and vertically, and now my text is centered in the screen. There we go. Now that footage stands out way more, I can see it properly. I'm not having an image behind it that's competing for my attention. That much behind it is blurred, so the text really pops out. Next, let's talk a little bit about fades. So this is a very simple, very basic a fact that is used in almost every video that I've ever seen. Sometimes you have a fade to black. Sometimes you have a cross dissolve, but I'm gonna teach you how to do that right now. So simply what you're doing, premier is you hover over the edge of your clip, and if you right click on it, you can select apply default transitions, and that automatically will apply a fade. If you hover between two clips and select applied default transitions, it will automatically create a cross dissolve for you. An easier way to do this is simply to select edge of the clip and hit command D, and that will automatically apply the fade. Same for a cross dissolve. If I select between two clips and press command deep automatically apply across resolve. Exact same thing works for audio. The only difference is if you're using shortcuts, it shift command D rather than just command E. Another helpful tool is flip horizontal or vertical. You accesses the same way. You just go under your effects panel and search in flip. You'll have horizontal flip and vertical flip. The most helpful application I have found for this effect is when I shoot an interview and I want to put lower thirds a name and title on the left hand of the screen. But I shot the subject on the left hand of the screen. Well, I can simply flip that image horizontally. Now. The subject will be on the right hand of the screen, and I can put that text on the left hand as I originally planned, all I need to do is select flip horizontal. That's all I need to do. I've applied the effect and our images flipped horizontally. The last effect I want to talk about is how to reverse your footage and why you would reverse your footage. Sometimes this could just be a cool effect. It looks like time's going backwards and it's just a really cool effect, but you have to be sparing with it. There's certain applications where that just does not work, but a very common application. Where I use this effect is when I have a Siris of shots, maybe have three different shots and each of them are moving either in or out. But I want them all to flow the same direction. I want all the shots to be moving in, maybe have a drone shot and then a dolly shot and then have another shot with a gimbal that I want all of them to be moving forward. But maybe two out of those three shots from moving forward, and one of them is moving backwards. Well, that's easy to change. All after do is reverse that footage of that one clip and now all of them will be moving forward. This effect is very easy to apply. Only need to do is right. Click on your footage, select speeding duration and take the box that says river speed. Click OK, and your footage will be reversed. Those are some very simple and easy to use effects in premier. But Premier is loaded with Aton of different effects are highly encourage you to scroll through all these different effects, apply them your eclipse, see how they work and just learn inside and out what premier has to offer. Hopefully, this session is giving you a base level for just how powerful some of these effects can be . How simple some of them are to use as well. In our next session, we're gonna be talking about another very powerful effect and that is color. We're gonna be walking through colored rating and how I personally color grade my clips and hopefully that is a benefit to you. So we'll see you then. 10. Editing Essentials | Colour: Welcome back to the Matteo Alan Studios Editing Essentials course. In this section, I'm going to be teaching on color grading and how to get the look that you're going for when it comes to color grading their three main steps that I like to follow. The first is color correction. This is we're correcting any colors, the saturation, the contrast in the image to make sure that it's natural. The second is color matching. When you have multiple clips into sequence, sometimes the colors aren't exact. Maybe the exposure is a little bit different. The saturation is a little different, depending on the shot, so you won't be able to match all of those so that they look similar. The final step is color grating. This is the fun part. This is where you get to make her footers looked bright and fun. Maybe you wanted to look dark and eerie. Maybe want to look a little bit vintage? It's up to you, but this is the stage where you get to make that look. You see my premium project. We have three different clips that we're gonna work on today. First we're going to color, correct. Um, then we're gonna match them to each other. And then finally, we're going to create a look and color. Great. The month end. The first thing we're gonna need to do in Premiere is access or limit tree color panel. So if you go to a window and you scroll down and select limit tree color, this panel will appear You have all these different settings with basic correction, creative curves, color wheels and match eight yourself secondary in vignette. I'm gonna go through every section here and show you exactly what's going on. First, we have a second window that will want to use if you go window, scroll down and click on Lumet Tree Scopes. If you right click, you'll have access to a bunch of different scopes, ones that we want to uses vector scope. Why UV and way form RGB. Your way form is going to represent the contrast in your image. Zero is indicating the blacks. Ah, 100 is indicating the whites and you've got a wide range of numbers going down the side here, this way for in the middle represent your exposure levels from left to right on your image . If you look at the vector scope, you'll notice that we have our red, magenta blue, all these different colors air represented. If your vector scope is leaning towards one direction, that means that you have too much red or too much magenta wherever colors leaning towards that means that it's over saturated in that area. Typically, footage that has the proper white balance is going to be nice and centered in your vector scope. Let's go ahead and select our first clip and click on basic Correction. You'll see here we have a few different sliders that we can adjust. We have a temperature. Our tent exposure contrast. Highlight shadows whites, blacks and are saturation. Let's begin by color, correcting this first clip when your color correcting It's important that you don't lose any data on your file. When you push it the whites past 100 you're going to start losing information. Same as when you push the blacks down past zero. You're also gonna lose information. Another helpful tip when your color correcting is that skin tones typically sit around 70. So if you're color correcting your image and the way former skin tones are supposed to be sitting around 90 or around 30. Chances are you've either over or under exposed the image. Let's start using these sliders to properly expose our first clip. First, I can tell that our image is widely over exposed. So I'm gonna bring with exposure down quite a bit. And now I'm going to start using the individual controls for the highlights Shadows, whites and blacks. To get the image a little more contrast ID and bring the whites up to about 90. I'm gonna bring our blacks down quite a bit. Been bring our shadows down a lot as well. One our darkest point to be sitting about 26. I can tell that this image has a bit of a sun flare in it. So I don't want to go to dark because when you got a sun flare, your image tends to be a little bit lighter. So as recover grating, you have to keep these kinds of things in mind. It was their son flares. It's supposed to be bright, is the reason why the images dark. You can't simply go off of the values. They are a helpful tool, but you do have to use your eyes as well you can bring our highlights up. Just a touch. I'm not going to touch the saturation right now. I'm just gonna leave it where it is. You'll notice on the vector scope that the colors are leaning a little bit towards the yellows and reds, and that's okay because it's a sunrise. I know that. I shot this when it was Sunrise is supposed to be a little bit orange, so that's okay. I'll leave that. Let's move on to our second clip. So again, I'm just gonna pull that exposure down. Just a touch. I want to get that information back if we can. In the highlights, I'm gonna leave the blacks where they are. But I'm gonna play shadows down just a little bit and bring our highlights up there. And now we've got a pretty well balanced image. Now I'm gonna move on to our third clip and this is a drone shot that I got. Now the colors on this clip are going to be a little bit different because it was shot in a different color profile. It was shot in law, which means that it's a bit more flat oven image and that's OK again. We're just trying to balance his image properly and make sure that the levels are falling where they should be. I don't think we need to touch the exposure, but I will pull the blacks down quite a bit. Bring the whites up just a little bit as well. I'll bring the shadows down as well. I want to get a little bit more contrast going in this image. I'm actually gonna pull the highlights down just a little bit so we can see a bit more of that sky. That's looking pretty good. So we're gonna move on to color matching this footage. I'm going to use our first clip as a reference. So I'm going to take a look at the saturation, the contrast with the levels, air sitting, and I'm going to try to match everything to that so I can see if that are. Highlights were peeking around 90. I can see that our lowest point is around 10. A lot of the shadows are falling within the 20 to 40 range, and then some of our mid tones and highlights were falling between 40. And it looks like 70 maybe even 80. I'm gonna move on to our second clip and try to match that. Bring our shadows up just a little bit. Maybe bring our highlights up, actually gonna bring our whites down. We noticed that our latest parts, not their image for sitting around 90. So we want to match that. Let's move on to our drone footage. All right, so we can see that we need to bring our highlights up a little bit on regular whites up a little bit. We're gonna bring our highlights up a little bit. Good. Now we're sitting around that 90 marker. You can see there's not quite as much contrast in this particular image. So we're gonna bring our shadows down just a little bit to add a little bit more contrast and bring our blacks down as well. And I think the shadows need a little bit more. It's a B. Let's go back and just see what this is looking like. All right, That's not looking bad. So you can see what I'm doing. All I'm doing is looking at the highlights, The mid tones, the shadows, seeing where they fall on the way form, looking at saturation, seeing where it falls on the vector scope as well as visually just using my eyes to see if it looks the same riff. It looks different, and I'm just tweaking settings until I get the images to match. If you want to use the tool as you're doing this process, there is a future in Premier called comparison view. If you go to the plus icon in the program window, you can add this little icon called comparison view. If you click that on your left hand side, you can scroll through your timeline. Select what clip you want to match your footage, too. So looking here, actually notice that there's a little bit too much blue in my drone footage. So I'm going to bring us a little bit to the warm side, and there we go. That matches a little bit better. Think we have a little bit too much magenta in there as well. Something lean us towards the greens. Perfect. That's looking a lot better. But for a second clip and make sure that that's matching as well, I think our exposure can actually come up a little bit in this clip. Our skin tones are looking a little bit dark, so we're gonna bring that up. I think we can add a little bit more contrast as well, so we'll bring our shadows down. I just touched match. There we go. That's looking quite nice. I think this clip is a little bit too much on the orange side, so I'm gonna bring it towards the blue ever so slightly. I think it needs a little bit more magenta. So I'm going to bring that into our image just a little bit. There we go. I think those match fairly closely. So if we scroll between our different clips, you can see that they all have very similar tonality. Now, I'm gonna exit comparison view, and now we're going to start the fun part of this process, which is color grading first. What I'm gonna do is I'm gonna go to my project window and under at the graphics been I'm gonna add what's called an adjustment layer. It will ask you what sizes you want it to be and what the frame rate needs to be. Just click, OK? It should use the same settings from your timeline. So drink that adjustment layer over and put it above the clips that you're using. So the amazing thing about adjustment layers you can put a fax kaput settings on this address mint layer, and it'll affect all the clips that are below it. So this is great. You could put a color grading effect on this adjustment layer, and it affect all three clips below it. So now we'll go back to limit tree color will exit out of the basic section, and we're gonna pull up the panel that says Curves Herbs is basically a graph that represents the totality of your image from left to right. The bottom left corner is the darkest part of your image, and the top right corner is the brightest part of your image. So if you start dragging, the bride is part of your image down. Exposure of your image goes down. If you start dragging the darkest part of your image up, your exposure goes up this very unique setting because you can adjust very finite points in your image so you can adjust a specific area of your shadows and pull that up or down. You can adjust a very specific point of your highlights and pull that up or down. It's a very powerful tool for the sake of simplicity. In this video, I'm just going to show guys very simple and easy way to get a very good and strong look for your image that's using what's called an s curve. If you drop a point about 1/3 of the way up and appoint another third of the way up, where you can do is you take the highlights of your image and you pull those up slightly and then take the shadows of your image and you pull those down slightly. What we're doing is we're creating contrast within the image without blowing out your shadows or highlights. In fact, what we're gonna do is we're going to take our blacks, and we're gonna pull those up just a little bit so that those aren't blowing out and we're gonna take our whites and we're gonna pull those down slightly so that we are not over exposed at all. If I talk about on and off, you can see the difference that we're making looks much better. We can see a lot more contrast than just pops a little bit more. We're not going to stop there. We're going to keep going. We're gonna go to our creative section, and we're gonna sharpen this image just a little bit. Scharping. You need to be careful. You can go too far, very easily, so I wouldn't go past 20. I like somewhere around 10 maybe 15. It's usually where I like to max out the next two sliders that we're gonna just here are vibrance and saturation. What saturation does is the controls, all of the colors in uniform fashions. When you turn that fader up, all the colors go. When you turn it down, all the colors go down. Vibrance does is adjust all of your colors except for skin tones it a just slightly less so . When you turn your vibrance up, all your colors go up, but your skin tones just slightly go up in reverse. When you turn, all of your color is down, your skin tones just slightly go down, and the reason for this is skin tones are very easy toe mess up. When you do skin tones wrong, you there look like an Oompa Loompa, or you look like you're in the walking dead, and it's very easy to mess this up. Using vibrance could be an easy way to get a little more popular image. Get a little bit more color without completely ruining your skin tones. In fact, what I like to do is I like to pull my saturation down just a little bit, bring it down to about 90 and then I like to bring my vibrance up a little bit more because then we're getting colors that are a little bit more safe to work with. Remembering my colors up to about 30 maybe 35. Let's talk about on and off so as you can see what we've done when you toggle it on, the trees get a lot more saturated and a little bit brighter. When we talk lit off, you can see the orange around. Her hair is a little bit more saturated. The reason for that is oranges. What typically your skin tones are, so this is basically de saturating the skin tones and saturating everything else around it . The next panel that I'm gonna look at his color wheels and match. If you open that up, you'll see three different color wheels that you can adjust Now what you can do is you can add specific colors. Teoh the shadows. The mid tones are the highlights. This is really cool because you can start to get color contrast within your image. If you have blues in the shadows and oranges and the highlights that actually looks really good cause those air opposing colors on the color wheel we're gonna go ahead and do that. We're gonna pull down the shadows, Thio more of a blue go too far with this, it's very easy to get carried away when it comes to color wheels and push wage money colors into places that they shouldn't be in. The image starts to fall apart and just looks unnatural. But we're gonna go ahead and put some orange into the mid tones. Now, I'm not gonna touch the highlights. Getting carried away with your highlights is an easy way to ruin your image because we're used to seeing the color white as white. So when you start changing your highlights to be green or magenta or blue, it just looks strange to the human eye, and our mind tells that it just doesn't look right. So if you use your highlights, use them very sparingly, and sometimes what you can do is you can take your highlights in the same direction as the shadows. That will give a little bit of contrast between the mid tones and the highlights, especially on your face. If you have your mid tones that are showing up a little bit more orange, just having a little bit of blue on the highlights can look very appealing. We're gonna toggle this on and off so we can see what we've done. Look at that. Those colors pop a lot more. We've added a lot of orange to those highlights, and in those deep shadows we have a little bit of blue you can see in her hair. There's some contrast between those bright orange and yellow and mid tones and highlights. And then you have those blue shadows. You can also just the levels on the shadows, mid tones and highlights in the sections. You can bring the shadows down a little bit at a little bit more contrast. Bring them been tones down a little bit to use. We got a nice, dark image. Maybe we'll go for a bit more of an edgy look. Shadows down just a little bit more. Now again, I'm washing those limit tree scopes to make sure that I'm never going below that zero point . The next section that I want to focus on is a trestle secondary. Essentially, what this panel allows you to do is focus on one specific color and lock in the tonality that you won't achieve with it with this specific look that we're going for Since a lot of the shots have this nice green in them, I want to really lock in that green and make sure that it's looking as good as it can with the eyedropper. I'm just gonna just like some of these shadows and then we know, use the eyedropper with the plus icon to add some more tones to its. I'm gonna adds mid range greens. When add some greens more in the highlights, I'll show you what we have done. You see this little tick box that beside it says color slash gray. If you check that box, you'll see that we've actually made the selection off. The specific tones that we've collect on now we can do is we can use these sliders toe expand that range just a little bit that we're getting all the colors that we want in there . We're gonna have some blurs about There aren't these weird glitchy patches of color, but instead it flows together with the entire image. And then I'm gonna add some D noise as well. So now what we can do is unclipped the color slash gray, and now we see the full image again. But now we can start doing is tweaking these green tones. So I'm gonna take my overall exposure level, and I'm going to bring it down just a little bit. One of the best ways to create separation from her subject in your background simply too dark in your background a little bit. You don't always have to make your subject pop. Sometimes it's the correct exposure. It has a good amount of sharpening, good amount of saturation. All you need to do is bring down the other elements. That object will pop a little bit more along those same lines. We're gonna bring down the contrast sharpening and saturation colors the same thing again. We're trying to take a little bit of focus away from the background and add focus to the subject. We're also going to create some color contrast. Right now. The trees are a nice, vibrant green, but we want them to lean a little bit more towards the blue so that we can contrast the highlight with her hair. And we'll just be able to have a little bit more separation from that subject. So what you can see when we talk about this on and off is before it's really great. That has a lot of saturation, has warm tones, nice on its own. That's a very good look, but we've just got in a different direction that we've created a little bit more isolation . That subject is the main focus. We can really see that hairline with the backlight popping out of the frame, and the subject is where our eyes are drawn in. The background isn't really competing for that. The last section that I want to talk about is the vignette. So all this does is it basically darkens the edges ever frame to make sure that any subject that you have in the middle is very visible, pops out of the frame and is not competing for anything that might be going on in the sides of your frame. I'm gonna go ahead and click on Vignette. I'm just gonna dark in that thing. Yeah, just a little bit. I'm gonna bring the midpoint in and the roundness. I want this to be a little more like a struggle unless right at the edges of the screen and I'm gonna bring the feather up as well, so it's a little more subtle if I toggle it on and off, you see what we've done with darken the edges of the frame and her eyes drawn to the center . Now I wouldn't recommend this for every shot is a very specific effect. And it works really well with certain shots, but not with every shot. Should just be careful how you use it. Use it sparingly, but it can be a very helpful and powerful effect. The last thing that we're gonna do is although we've already color corrected and color match the other clips. Sometimes when you apply a look, it just doesn't look quite where you want it to be. So you're gonna go in and just fine tune and dialling that look on each of the clips men started my second clip. I can already tell right now that the clip has become a little bit dark. So I'm gonna brighten that up just a little bit, and then bring that exposure slider up to make sure that those skin tones are sitting in the right place. A b it with the first clip. I think it can come up just a little bit. All right, that's looking a lot better. You can see that matches a whole lot better with the first clip. We're gonna move on to our third clip here, so I can tell right away that this is a little bit bright. So what I'm gonna do is I'm gonna bring down that exposure just a little bit, Riggio. And we're gonna a be this with other clips. And I can see right now that this clip has less saturation than other clips. Just visually, Aiken, see it in the image. So I'm gonna bring that slider up just a little bit and bringing around 1 20 and I'm going to go back to the other clips and compare it. I think this clip actually has a little bit more magenta than other clips. I'm gonna slide that 10 slider a little bit more to the green side. Perfect. So we have now finished the color grading process. We've completed our job. If we were watching moving, we saw these clips back to back. Chances are we couldn't tell that it was filmed with a different Cameron in different location. That's what we want. We have successfully completed our job when you can watch through and everything flows together nicely and your mind isn't distracted thinking. Oh, I think that was from a different camera. Oh, that color profile looked a bit different, but when everything looks similar and flows together, you've done your job and you've been successful. So what do you do if you want to use this color grade on many different videos in the future? Going forward, you want this to be your look or a look that you use? How do you make it so that you can recall this setting? It's actually very simple. All you need to do is click on the adjustment layer to which the effect has been applied. Go up to a limit tree color, and beside it you'll see a little hamburger menu. If you click that menu and go down, you'll see Export dot cube. Let's give that a click. I'm going to call this file mes editing essentials and hit Save. What you can do is you can go under your creative tab, and there's a section that says, Look, if you click that and scroll down, go to browse and find the location where you saved your doc. You file. Select your file and click open and you can see just like that are Look has been applied. This is called a lot, and it stands for look up table, and you may have seen people selling lots online. Maybe you've seen that I offer a lot package on. That's great. That's an awesome way to be able to get a fast and easy look. But I just showed you how to create one yourself. It's very simple, very easy, and you can actually create your own color grating presets for yourself or for other people . When you create or download a lot and applied to footage, chances are that it will look something like this. It'll look way over. Contrast it away, oversaturated. It'll just be a weird look and you'll wonder why you ever bought that preset or whatever Preset isn't working. You'll be freaking out. And when you created the lot or the person I traded, the Latin may have been using a different color profile than what you're using the footage on. So if they're shooting in a log profile and editing there based on the long profile, that is a very de saturated and un contrast image. So when they at that lot, they're adding tons of contrast, tons of saturation and the color profile you're using may not actually need that much. So that's OK. You can just bring that intensity slider down toe where it looks natural. If you want. You can tweak it from there and use and personalization through the settings that I showed you earlier and is really dial in that look to what you're looking for. But the time you reach the color rating step in the editing process, chances are your project is complete. It's done, it's ready to go. So next time we will be talking about exporting what settings to use had export multiple projects that wants to save yourself time. All of this, we're gonna cover in the next session 11. Editing Essentials | Exporting: Welcome back to the tail Alan Studios editing Essentials course in this session, we're going to talk about exporting what settings you need to use as well as how to export multiple projects once this will save you a ton of time. So let's get into it here. You can see we have a project from last session where we talk colored rating. Now, my goal in this video is to export out the sequence that we've created. Before you export your footage, make sure that you watch it back. I have made this mistake too many times too many times. I don't want to talk about it. I just want to move on. But I want to make sure that you guys don't make the same mistakes. So watch through your footage, even if it's in double time. Amount of times that I've exported my project. Just tow. Watch back and remember that there is a blank spot at 22 seconds or something like that that I forgot about. Just watch it back. I promise you you'll thank me later. You'll also want to set your in points and outpoints if your project is starting at the very 1st 2nd of your time line. You can just set out point. It's automatically gonna have your in point as the beginning of the timeline. However, if for some reason your project starts a little bit later, make sure that you select in point at which you'd like to start the video as well. You can select your employment by pressing I on your keyboard, and you can also select your outpoint by pressing. Oh, next to make sure that the timeline you want export is selected and click file export media the other way that you can do this is by pressing command M. And it will bring that box up for you as well. The most common file format export in is H 0.264 This is basically an MP four file. So if you scroll down on your menu, select age 40.26 for there are also some presets that you can choose term. You can use these. If you would like, you can select match source high bit rate. This is great for 2 to 5 minute video is it will make sure that you have the best quality that you can to work with. If you're dealing with something a bit longer, that doesn't need quite as much information, such as a keynote speaker or something along those lines, you can pig match source, adaptive, low bit rate. You don't need a high bit rate for that kind of work. It's really easy to always select the highest option, but sometimes you just frankly don't need it. It's really easy to want the best quality possible, and just so like that option, no matter how much food did you have to work with. But sometimes it's just not the best decision, and it's just gonna cost you or your client or organization money that is just unnecessary , and no one's gonna notice in the long run. When you select one of the match source options, all this is going to do is use the same settings that you have in your timeline. Usually, this is the best option because you created those settings for a reason. So when you export, you want to use those same settings. However, there are some other options available, such as different ones for social media. You see, we have one for Facebook. We also have one for a mobile device for Twitter. All these different options we have in you as well, and YouTube so feel free to use those options. If those of the platforms that your exporting to but mad sources typically a good way to go , you'll also have an option that says output name. If you click that, you can decide aware file is going to save two. I'm OK with this location. Some impressed save. You also have an option toe export. Only the audio. You have an option. Export only the video. If you want a fully functioning video that has audio and it makes you that both of those boxes are checked underneath. You have a couple options for fax, video, audio, multiplex or captions and publish. I'm not gonna go too far into depth about any of these, except for video. We're going to talk about a little bit, so you have the option of unchecked these boxes. We see that we have this button that's map source. So all these options are grayed out were not allowed to adjust them as of right now. But if you uncheck these boxes, that means that they're no longer required to be matched to your sequence settings. Maybe you've already exported your project at 1920 by 10. 80 and you want a more cinematic cropped version as well. Well, this is an easy way to do it. All you have to do is uncheck this link button and you can change the dimensions of your exports. Maybe you want 1920 by 9 60 And now you have a little bit more of that cinematic crop and when you play back will have those black bars on the top and bottom. And that's a great way to do that if you just want to do that in your exporting process. But for right now, I'm OK with those match source settings. So I'm going to check that box on. If we scroll down a little bit further, we have an option to render at maximum depth. Now, you won't always need this again. If you have a very long video file where you don't necessarily need the most quality in the world, this is probably not the option you want to use. But if you have a short video of promotional video, something where you really want the quality to be high, then make sure that render and maximum depth is selected Notice if we scroll down even further. We also have a bit rate settings, and what we can do is we can select either one pass or to pass or the options that I would suggest. One past means that it'll do one passive. Your footage export that to pass means that will do two passes through that footage and make sure that hasn't made any mistakes. So if you really want to be confident with your export, that's a great way to do it. But often one passes just fine and it saves you a lot of times I'm going to select that option. Next we get select our target bet Ray for longer videos where I don't need as much quality anywhere between 8 to 12 is where I like to set my target bit rate for higher quality videos where I really want to retain that detail typically said it between 30 and 40. Down in the bottom, you'll see we have an option that says use maximum, render equality again. If you have a video where you don't need as much detail, don't check this box. But if you want a really high quality export, make sure that this box is selected down to the bottom. You'll see we have two options for exporting, one says Q. And one says Export. If you press export than premier, we'll just export your footage on its own. I'm gonna go ahead and press export. It brings up a progress bar, and you can see how far along your export is. If you press the Q button, you'll see that our export is sent over to media Encoder. What you can do is if you have multiple sequences or multiple projects that you want to export, you can just send them all over in the media encoder. And then you can press play and all of them went code for you and you can walk away. Go grab lunch, grab a coffee, whatever it is you want to do, and it will take care of all the exporting for you. Things were watching through the session on the exporting process. Hopefully, you've learned a lot. Hopefully, you know how to save some time now how to maximize both time and quality during that exporting process and be able to give the best quality product to your customer or to your organization as possible. This session completes all the technical training that we're going to do in this course. Our next video and our final video is gonna be talking about story and how to craft the narrative within your projects. This arguably is the most important part of editing. You can't just make a video for the sake of making a video. People need a reason to watch. They need a story. They need something that you give them to be able to retain and keep their attention. Tell them why there why they're giving you their time. So watch the next session to find out how to do this in your projects. 12. Editing Essentials | Story & Creative: everyone welcome again to the Matteo Alan Studios editing Essentials Course. In this session, we're gonna be talking about this story and the feel of your at it The most important thing when going into net it is simply to remember that you are trying to tell a story. I cannot tell you the amount of times that I have made a project for recline. I've been so excited about the color grade that I did of work hours on this, just perfectly crafting the right tones and the right saturation contrast is working it in , and now it looks perfect. I send it off and I get a response from the client and they say, Well, where's the section that we we had about the history of our of our business? Why, when you add that in there? Or maybe it's a wedding there asking why, why isn't the first dance in the compilation that you sent over? The client cares a lot more about these details? These the's narrative details that are important to them and important to the viewer. They don't so much care about the color gray that you have or the effects you add that zoom transition that you put in. That doesn't matter. That is second here, but first and primary is the story. So how do you actually craft and create this narrative arc? Well, go back into English in high school. It's very simple, actually. You just need three sections you need. You're beginning your middle and end now. This could look very different, depending on the kind of work that you're doing as well as even just on a project. A project basis. Your story is probably gonna look a little bit different if you're shooting a promotional corporate film. Chances are that your beginning is gonna be your introductions. Maybe a little bit history of who the company is and what they dio the middle might be what services they offer and how they helped their clients in the past. And then you're ending is going to be your call to action. If you're editing a wedding, maybe your goal is to tell the story chronologically s You're going from the prep and getting ready for the day to Maybe maybe they have a first look to the ceremony to the reception in the speeches, that dance party, closing everything off. Maybe you have the final exit as your last shot. There many different ways to tell your story and so many different creative avenues for you to go down. But the important part is that you do tell the story. Make sure it has a beginning, a middle and an end, and those sections are clear. Pacing and flow are also very important parts of your films. As an editor, you have a lot of power. You have so much control over the story that you're telling you can cut audio and make people say things that maybe they didn't even say you can edit in shots that weren't even captured on the same day. You have access to stock footage. You have almost unlimited options. Thes days as an editor and with great power comes great responsibility. It's not her job, added all of those elements together in a way that actually conveys motion. Video is the best platform other than in person to communicate emotion. That's your job as an editor to tell the story, to create emotion and ultimately toe have your viewers walk away with a feeling. Take a look at this edit that I put together that just has no emotion flow, no pacing, no dynamics to it and see how boring it is. Your business has a story, the journey from where you've come to where you're going. Every venture starts with an idea and is built on perseverance. Every business is built on resilient men and women, dreamers, innovators and risk takers. You learn, adapt and grow all to bring your customers the very best. Your story is powerful. We create engaging marketing through authentic stories. And that's exactly where we start your story. Your business has a story. Let's tell it together you can see that it has absolutely no life to it. So let's try again. This time, I'll show you an edit where I've added some pacing, some flow to it, have dynamics in the music. I've even used different frame rates when it comes to the B roll. So I have some slow motion and some real time mixed that together. The whole goal is just to create movement and flow and pacing an emotion. Take a look. Your business has a story, the journey from where you've come to where you're going. Every venture starts with an idea and is built on perseveres. Every business is built on resilient men and women, dreamers, innovators and risk takers. You learn, adapt and grow all to bring your customers the very best. Your story is powerful way. Create engaging marketing through authentic stories. And that's exactly where we start your story. Your business has a story. Let's tell it together. That is much better now. The video actually hasn't pacing some flow, some real emotion to it. And now I actually start to care about what the videos about. There are three big areas that I think will really help with pacing and flow in your videos . The first is pacing with music. Make sure that you select the right music for your project. If you can find some music where it builds and it grows and it cuts, and as quiet parts of loud parts that can really help you create emotion in your edit as what you're talking about intensifies, you can have the music intensify. If you get to a point where you want to be a little bit more emotional or reflective, you can have the music pull back a swell color. Grading is also a great way to give your video a mood or a feeling. A general rule is, if you use warmer tones in your color grade, it presents itself as more happy, maybe more jovial. Maybe it seems like it's a little bit more warm outside. And if you use cooler tones in your film, comes off is a little bit more cold, a little bit more distant or heavy. Maybe a little bit more emotional. If I'm telling the story of a Children's daycare, I want those colors to be popping. I want them to be bright and vibrant and playful. If I'm making a documentary on the black plague from the 18 hundreds, chances are I don't want that to be happy and jovial. Chances are I want that to be a bit more dark and less contrast. Less saturation. Want those tones to be a little bit darker? I want the color great to reflect the story I'm trying to tell. Lastly, these days a lot of videos incorporate motion graphics into them, so this is another great way that you can communicate Ah, brand or a feeling or an emotion. Hopefully, these tools and suggestions can help you to draw great stories out of your edits. This has been the last official session of our ending essentials. Course. Thank you so much for watching and being a part of this. We hope that these tools and resources really help you become a better editor. 13. Editing Essentials | Outro: everyone. Thank you for being a part of the Matteo Alan Studios editing Essentials course. Our goal throughout this course was to teach you all. The central is that you need to know throughout the entire editing process teaching you things. Like what? Software? Using starting you off with an effective workflow. Teaching had a treater audio how to color grade everything, even upto how to export your project. I'm in Tehran. Studios were passionate about creating effective tools before creatives. This horse is no exception. We fully believe that this course will help you go to the next level in your editing. We don't want this video to be the end of our relationship were invested in you now and we're passionate about helping you grow even more so. Here's my challenge to you. Sit down at your workstation with a client project or a personal project and added it using the skills that you've learned throughout this course. When you finished editing, send your final export to Matteo at matteo alan dot com and some of the top projects we will post on our Matteo Alan Studios Facebook page. If you would like to be resources even further or interest in some of our products that were mentioned throughout the course. Visit matteo alan dot com. I'm excited to see the added that you sent in and what you were able to come up with. We would love to stay connected with you over social media. Follow us on Facebook. We'll see you soon.