Make BAD FOOTAGE Look GREAT with These 7 Editing Fixes in PREMIERE PRO: MAKE VIDEOS BETTER | Alli Saunders | Skillshare

Make BAD FOOTAGE Look GREAT with These 7 Editing Fixes in PREMIERE PRO: MAKE VIDEOS BETTER

Alli Saunders, Filmmaker. Youtuber. Business Owner

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18 Lessons (1h 13m)
    • 1. Introduction to Instructor and This Class

      2:39
    • 2. How to Quickly Fix the Horizon Line

      2:18
    • 3. Quickly Fix Footage Shot in the Wrong Color Temperature

      0:53
    • 4. How to Fix and Enhance Shaky Footage and When to Leave it be

      3:02
    • 5. The Easiest Way to Remove Dust Spots

      3:00
    • 6. How to Give Your Clip Better Composition

      3:16
    • 7. Add a Smooth Camera Move to Your Clip

      1:09
    • 8. How to Remove a Logo

      3:51
    • 9. BONUS 4 Secret Premiere Pro Hacks

      2:55
    • 10. BONUS Best Way to Sharpen Footage

      5:48
    • 11. BONUS How to Motion Track and Blur a Face

      2:44
    • 12. BONUS How to Put Footage Inside Text in Premiere Pro

      3:24
    • 13. BONUS How to Reduce Moire in Premiere Pro

      3:07
    • 14. BONUS Mistakes New Editors Make and How to Fix Them

      8:17
    • 15. BONUS Premiere Pro Basic Tips

      8:35
    • 16. BONUS Premiere Pro How to Relink Offline Media FAST

      2:28
    • 17. Bonus Premiere Pro Production Panel for Solo Editors

      6:53
    • 18. BONUS How to Use Photoshop Files in Premiere Pro

      8:52

About This Class

Hi everyone and welcome to this class on How to Fix Filming Mistakes that New Filmmakers Make in Premiere Pro!

In this class you will learn:

  • How to fix crooked footage
  • How to Customize The Free Motion Graphics in Premiere Pro
  • How to add movement to your footage to make it look more engaging
  • How to adjust your color temperature
  • How to make your clip have better composition
  • How to remove dust spots from your footage
  • How to make shaky footage look good and how to change the settings to work best with your footage
  • And More!

Transcripts

1. Introduction to Instructor and This Class: Hey, everyone, what's going on? I'm Alan Saunders. I on a video production company in Toronto, Canada, with my fiancee will where we mainly shoot, produce and edit corporate videos and commercials. But we also do a ton of online courses and YouTube videos. I've been both shooting video and editing for years and years, and over the past five years I really loved Skreamer Pro, and that's the editing software we're gonna be using in this class. So with the aria Skreamer Pro awesome, and if you don't download yourself a free Trussell, you can follow along with this. It is extremely valuable. Is a filmmaker as a video person to not only shoot your own videos but edit them as well? Because when you go out, you film a bunch of stuff and then you hop into the editing suite. Mr Editing it. You can see where you could improve his filmmaker. You can have a better understanding of what kind of shots you need to tell your story and editing, and you get a well rounded idea what it's like to create eight videos from beginning. Although there's a general rule that you never want to say when you're out filming all just fix this imposed in this particular foster, I'm gonna teach you how to fix those. Filming fails will call them that you captured when you're out filming when you get back and start looking your footage and editing rumor. So if you're new to filmmaking, if you're new to video and you want your footage toe look more pro more high end than this class for you in this class, I'm gonna show you seven of the most common filming mistakes I see new filmmakers or new video people make and how to fix them in Premiere Pro so that you take your videos to the next level. I provided a downloadable file toe all of the video clips that I'm working with so that you can follow along. And I really do encourage you to follow along, because that way you're not only seeing how to do something, you're actually getting hands on and doing it, and that's gonna help you remember how to use the tools I'm gonna teach you in different methods and tricks for future videos. They work also. I absolutely love skill share, and I'm creating new courses on skill share almost weekly about how to use Premiere Pro how to edit How to Be a better filmmaker, basically the classes like radar, all about filmmaking, taking your videos and your edits to the next level. So if you'd like to get notified as the whenever I am putting a new course, feel free to follow me here on still share and check out the other courses that I have are YouTube channel. Allen Will is full of filming tips and everything tips as well. So it definitely recommend that if you are filmmaker, if your editor, if you're interested in video, then check other. OK, so if you're ready to take your video games, the next level, not a video game like the kind you play, you know what I mean. Your video like a game to the next level, Then I will see you in the next lesson. 2. How to Quickly Fix the Horizon Line: right. Oh, so I'm in Premiere Pro in. The first help that someone's new to video is this. Do you see it? The crooked horizon line. When you're filming and you're trying to capture something, it's really easy to overlook making sure your horizon line is level. So if you film something that's obviously crooked when you get into the editing room, here's how to fix it to make your footage look better. And one thing I like to do before I adjust my horizon line is turning my safe margins on my program window. If you don't see this icon, go over to the right of your program window. Here, click on the button editor. It's this plus simple. Find the safe Marchionne's icon. Drag it onto the program window like, so I'm going to click on it to activate its um, Blue. That's taken, tells activated, and there we go. Now we have our safe margins up that we can use as a reference. Next, I'm gonna go up to the effect controls window and scale this footage up just a little bit to 110. I'm going to go to the rotate option and move it to the left just a little bit. And as I'm rotating this clip, I'm lining up the bridge line. So that's parallel to the safe margins. Straight line, OK, minus five. Looks nice and straight. Now I'm going to adjust the position to bring this clip lower just a little bit. And there we go by zooming into your footage just a little bit. So you're aren't seeing quality loss in your footage. And by rotating our image, we can quickly fix the crooked horizon line. I'm just gonna duplicate this clip. Dragged the copy up once the V to track on their timeline, reset the position and rotation on this duplicate clip and turn the eyeball on and off of this track to show you the before and after. Cool. Now, that was a pretty easy fix. And I recommend any time you notice your horizon line in your footage looking a little crooked, you simply just scale in a bit and you rotate that footage so it looks straight because, honestly, that's like a dead instant giveaway as to whether or not someone's a pro filmmaker or they're just getting started in video. And some of these tips are gonna be really easy and quick to apply to your footage. Others are going to take a little bit more time and be a little bit more advanced. But I promise you, when you start working with these editing tips, your videos are gonna look more pro there and impress people, and with that, let's get into the next lesson. 3. Quickly Fix Footage Shot in the Wrong Color Temperature: Okay, so let's say maybe you were filming indoors with tungsten light and you say you're white balance to an indoor lighting setting around 3200 Calvin's. Then you went outside and you forgot to change the white balance to daylight or 5600 Calvin's. So you have the shot. You really like it, but it looks super blue because you shot it in the wrong color temperature. Well, to fix this, we need to use Lumet Tree color correction. So let's go WTO window and click on loom ITRI color. And there we go. There is our loom ITRI color window. Now we could use this eyedropper tool here and try and select an area of our footage that's white like this area here. But this doesn't always work well, so instead, let's go to our temperature slider and drank it all the way to the right toe. Add orange into our footage. Awesome. There you go. Correcting your color temperature is that simple? 4. How to Fix and Enhance Shaky Footage and When to Leave it be: Okay, So this next filming fix I'm gonna show you is something that you may already know about. But I'm bringing it up and I'm gonna be really nitpicky about it because I see people use this effect on shaky footage, but they don't use the effect correctly or they use it when they really shouldn't. If you're footage is really shaking, you just throw warp stabilizer on it. It might make your footage worse. It might make your footage look really warped and just bad, so bad that it actually be better to not use the warp stabilizer affected all and bringing this up because I've seen a lot of new filmmakers obviously use warp stabilizer on their footage. And I don't know if someone told them to just put it on shaky footage. And that's it. If your footage is just too shaky, if it's too far gone and you at warp stabilizer on it, it's gonna make it look way worse. Not better. Also, if you have shaky footage and you put warp stabilizer on it, in some cases the default settings might work fine. But in a lot of cases, you're gonna have to adjust your warp stabilizer settings. Toe work best with the specific clip that you're putting warp stabilizer on. So first I'm going to show you a clip that's just too far gone. Warp stabilizer is not going to save it. It's just gonna make it worse off. And then it will show you another clip. That's handheld, a little shaky, but could be smoothed out really nicely with warp stabilizer used correctly. Okay, so first I want to show you a clip that's too shaky for the warp stabilizer effect. Check this out. It was shot handheld. It's bouncy. It's just not good. Let's add warp stabilizer onto it. And as you can see, warp stabilizer just made this clip look even worse. In case I absolutely had to use this clip. I wouldn't add warp stabilizer on it because it just it makes it look worse. Okay, let's look at another clip that was shot handheld. It's just a little bit shaky by adding the warp stabilizer effect on this particular clip. Likely we're gonna be able to make this clip look better and less shaky, so I'll put warp stabilizer on this clip and by default, Smooth motion, substance warp stabilizer cropping auto skill are on, and the smoothest is set to 50. Now, in most cases, when you use warp stabilizer, you'll have to adjust the setting slightly. Usually all bring the smoothness down to around 30 or so. With this particular clip, I'm gonna change. The result tapped no motion, and I'm gonna change method to perspective. And with this particular clip and those adjustments made to the warp stabilizer effect, the shot now looks very stable. Whenever you have shaky footage that you want to make less shaky, it's really important to know that in some cases the clip will honestly just be better off with at warp stabilizer on it. Looking shaky the way it was shot, it's better to have shaky footage than super warped weird footage. And there you go. Now, remember, when you're using warp stabilizer, you want to adjust the setting specifically for the clip that you're trying to stabilize, and it can make a big difference with your shaky footage. 5. The Easiest Way to Remove Dust Spots: okay. Next, we got to talk about something that it's even hard to spot in the moment when you're a pro filmmaker, especially if you're on the go and you're filming your outdoors and you're changing lenses quickly so you can get that perfect shot. And that is a dirty sensor or dirty lens. Yes, on occasion, even if you quickly check out your lens in your sensor, it looks good. It is, unfortunately, super easy for a little fluff of dust to sneak in onto your sensor onto your lens. And when you're filming and you're just looking at the little camera screen, you're probably not going to see them footage. When you get back to the editing room, however, and you're checking out what you shot on a bigger monitor. Ah, that's when you see it, and it's so frustrating it really is. But if that happens, there is a way to remove that speck of dust or whatever is on your lens or sensor in the editing room. So let's hop into and I'll show you how. Okay, so check this clip out. Do you see it? I'm in a changed view of this clip from bit to 200%. So were nice and zoomed in and can see this dust back better. Just scroll over and up on her program window. And there's that That spot D C it. I'm just gonna scrub through this footage. See, it just sits in the exact same part of the frame, and it's a little bit darker than the rest of the sky. Okay, we'll go back to fit so we can see the entire frame. I'm gonna head down to my timeline and click on this clip, hold down alter option on the keyboard and drag it up so I can create a duplicate layer on the feet to track. Next, I'm gonna go up to the effects window and type in dust, and there we go under noise and green. We have to dust and scratches effect, so we'll drag that on to my duplicate clip. And the reason I made a duplicate is because I want to show you the before and after. All right now in the program window, I'm going to zoom into 200% again so I can get a really good look at this despot. And now what? I'm gonna do is under affects control and the dust and scratches effect. Click on the pen tool and when you use the pencil to draw around this despot like so and I'll make sure that the shape that I'm creating around this despot is connected by clicking around. And lastly, on the first point I made cool. Okay, back under the dust and scratches drop down menu where it's as mask feather will highlight that and change theme. Ask father to 35 next will change radius to 50. And because this is a heavier effect, even though my computers pretty fast, it's still going to take a few seconds for the effect to actually take effect. Cool. Okay, look, that spot is gone. The dust and scratches effect has done an awesome job. Okay? And I would know put an in at the beginning of this clip and and out at the end of this club go up to sequins, render into out. And I'm gonna render this effect so that when we watch it back, it plays nice and smoothly and doesn't have any leg. Awesome. And there you go. As you can see, that dust speck is no longer showing up 6. How to Give Your Clip Better Composition: All right, moving on. Now we're gonna talk a little bit about composition, and that's a whole can of worms all on its own. When you're starting off as a filmmaker or video person, generally you want to use the rule of thirds to compose your footage. The rule of thirds looks like and X's knows grid. And basically what you want to do is have your subject or your focal point your image fall on one of the four quadrants or on one of the lines of the rule of thirds script. When you're doing creative stuff like video, you don't necessarily have toe. Always follow the creative rules, like the rule of thirds to compose your shots. But it's better to know this rule. Know how to use it. Learn how to compose your shots based on the rule of thirds, because this is sort of the most popular composition rule when it comes to video and then when you're comfortable with it. Cool. Okay, go ahead and break it. But since this video is for people who are new to filmmaking, new to video for now, let's stick with the rule of thirds as a general guideline when it comes to composing your shots. Now, in the clip of about to show you of will doing a film move with the movie, I intentionally didn't compose this shop perfectly. So when we happened supreme or pro, we're going to fix that. So the first thing that we're going to do is import a 1920 by 10. 80 rule of thirds PNG file. They're gonna put over this footage as a reference, and they've also provided this rule of thirds template as a downloadable link. So be sure to download it. You can use it for whatever you want. It does come in handy when you're editing. Okay, so I've imported that and I'm gonna put it on the V to track on my timeline. There would go and I wont will eye ball to sit on the top left squadron on the rule of thirds. Great here. So the first thing that I'm going to do is adjust the positioning in my effect controls panel on the X axis here. I will move the y access down a little bit, and the next thing I'm gonna do is scale into the footage by bringing the scale to 120. We'll adjust the position a little bit. Morse that Will's I sits nicely on that top left quadrant. Now, personally, with footage I film. I don't like to scale into it too much, because if you scale in too much, you start to notice quality loss in your footage. I won't skill in more than 2 125 And if I'm Skilling into my footage, I'll watch it on a bigger screen to make sure it's still looking good. Okay, so we'll just scale on a little bit more because for this particular clip, the clip is moving, and I'd like the composition of the end of the camera move toe look good. So I'm OK with it being a little off and not really being lined up perfectly with the rule of thirds Great at the beginning. But I do want the shot to end with that nice composition, so that's a creative decision you can make and check out your camera to see if you can actually bring up a rule thirds grid on it so you can use as a reference point when you are shooting footage because a lot of DSLR cameras do come with a grid that you can check up on your screen and uses that reference point to make sure that you are composing your shots nicely. Cool. Okay, so I'm going to turn the eyeball off on the V to track so I no longer see that grid awesome . And there you go by Skilling in your footage a little bit and adjusting the position accordingly, using the rule of thirds grid as a reference that shots now composed a lot better. 7. Add a Smooth Camera Move to Your Clip: Okay. Next, we're in a look at how to add movement to a static shot to make it look a little more high end. So let's get into Premiere Pro and take a look at how to add nice natural looking movement to your already filmed clip. Cool. Okay, so now we have a shot by filmed, and I wanted to have a little more movement. I wanted to look as though I did a slider move when I was filming Will. But we can do is go back up to the Effect Controls panel, and with this particular clip, I'm going to scale into 1 10 We'll move the position X access to the right. And on the timeline, we're gonna make sure that our cursors at the very beginning of the clip next will press this toggle down. That's to the left of position, and that's great, That key frame. You can see that here now in a press, the down here on my keyboard that my cursor jumps to the end of this clip and then on my keyboard, I'll press the left arrow in once. Great, and I'll drag the position X axis over to the left, and that's created another key frame. So now check this out. As you can see now you're footage has some nice movement to it, and it looks like you actually filmed a slider shop. So there you go. That's a really quick and easy way to make your footage look higher end and adds movement to your shop. 8. How to Remove a Logo: So I will admit when it comes to filming on the go, especially when I'm doing YouTube videos, thistles, one of the things I usually overlook in the moment and that is covering up logos. So in this next filming fail fix that was hurt to say, I'm gonna show you how to hide a logo. And this is something that has saved me more times than I'd like to admit. Let's get into Premiere Pro and take a look. Okay, lets say you film something, like in this case, you filmed someone's hands typing on a keyboard and you didn't notice that logo in the background that you really shouldn't have on your footage. But you can't go back and re film it. You gotta work with the footage you've got. While what we're gonna do now is hide that logo and we're gonna use the black part of this clip. That's to the left of the logo itself to do just that. So first things first, I'm gonna go down to my timeline, hold alter option on my keyboard, click on the clip that's currently on the B one track and drag it up. And I've created a duplicate of that clip now will select the clip that on the V to track angle up to the Effect Controls panel and where it's as opacity. Let's select the pen tool, bring it over to the program window, and we're gonna draw a rectangle around this local like So next we're gonna check Mark inverted and you can't see this yet. But what we've just done is created a cut out, a rectangle cut out of that clip. Cool. Okay, now let's go back down to the timeline and select the clip that's on the V one track by clicking on it will go back up to effect controls. We want to move the position of this first clip that's underneath the second clip around until we no longer see that logo. But instead we just see that black screen and while in some cases it can work really well for you to use part of the clip to mask out another part of the clip, but we're having some trouble here. See, I really want to use the black part of the screen from the clip on video truck one. But the sizing of its currently just not working for me. So another trick you can do is go back up to effect controls and uncheck uniforms. Scale. Now this is going to give you the option to scale just the height of the clip or just the width of the clip. OK, so we'll scale the with 2170 will leave the height at 100 will move our position around a little bit more and check that we've dragged the width off the clip on the V one. Track out so that we're still using the Blackshear color of the screen. But we're no longer seeing that logo and in the effect controls window under a pastie and the mask drop down menu where it's as mask feather will bring that to about 40. Just so the edges of this clip feathers, so clip one and clipped to blend nicely together. And I'll scrub through the timeline to play that back. Beautiful. There we go. We have masked that local out, and now it doesn't look like it was ever there at all. Awesome. Congratulations. Now you know how to fix seven of the most common filming mistakes in primer pro, and by applying these tips and these tools to your videos, you're gonna really take them to the next level. And remember, I'm creating new classes here on skill share, almost weekly about editing, filmmaking and everything to do with video. I create short classes like this one, as well as really in depth classes on Have Use. Bremer Pro had to use video scribe and how to use other video editing Softwares. So check out the class already have and follow me so that you're notified. Whenever I do put out a new class. If you want to check out the weekly adventures that my fiancee, I hate the word feeling sorry, it sounds like to black my almost husband and I are taking. Then check out her YouTube channel, where we create logs, reviews. How choose when it comes to everything to do with videos Well, and I look forward to seeing you there and seeing you and more classes here on skill share . Thanks so much for taking this class and all the very best to you and you're filming and editing journey bye for now, 9. BONUS 4 Secret Premiere Pro Hacks: In this perimeter Pro video tutorial, I'm going to share four Premier Pro secrets you gotta know. Let's start with a new Premier Pro feature that helps a ton with organization and that is changing your marker colors. To do this on your timeline, place your play head in the area you'd like your marker. Press M on your keyboard to create a marker, bears the marker, double-click on it, and let's select the color red. And you can also see we have lots of other marker color options. I'll name this marker Vancouver. Okay, great. To extend the length of this marker in case you don't know, hold down the altar Option key on your keyboard, click the marker and now you can drag on either side of it to better see it on your timeline. Cool. Okay, so next, when you've got lots of clips with effects on them, on your timeline, they may be slowing down your playback and you may want to easily turn them off while you continue editing. To do this, go up to your program window and click on this little plus symbol on the right, which is the button. Edgar grabbed the global effects mute button, drag it to where the other tools are in your program monitor, OK. And click on it to activate it, which is indicated by it turning blue with the global effects mute button turned on. All of your effects will remain on all of your clips. They just won't show or use processing power, which will make editing more efficient. Just to remember to turn global effects mu off when you're ready to export your final video, when you've got your project picture locked and pretty much ready to export if you have tons of footage in your project panel like I do, that, it didn't end up using and you want to get rid of all those unused clips. There's a quick and easy way to do so. We can go up to Edit and select, Remove on used. And now all of the clips that weren't used in my edit are gone. They're out of this Premier Pro project. And here's the fourth Premier Pro secret. You know, when you're ready to export your project while you probably press the home key on your keyboard to go to the beginning of it. Press i to create an important man. You probably press enter on your keyboard toward the end of your video, press o to create note point. And doing this gives you this extra empty frame here at the very end of your video project. Which means if you export like this, that last frame in your video is going to be a black screen. But guess what? There's a quick way to solve this. So I'll just undo that. And instead, you one select your entire video edit and press the forward slash key on your keyboard, which will place that in point at the beginning of your selection. And you're out point right at the end of your selection where you want it, excluding that last empty frame. So your video will end on the last frame of your last clip, like it should instead. And there you go. Those are my four Premier Pro secrets you can start using right now to make your editing life easier and just better. 10. BONUS Best Way to Sharpen Footage: In this tutorial, we're going to take an image of me where I missed the focus mark on my eyes while I was filming. And we're going to sharpen my eyes in the best way possible, imprimatur pro. So let's hop in there. Okay, so we're in Premier Pro and I'll zoom into this clip of me and yep, my eyes or I defocus. So we need to sharpen them. You may think, well does use the sharpen effect, but that is not the best effect to use when you're working with a clip of a person. And here's why the sharpen effect will sharpen the entire clip. Not only increasing details in the eyes, but also increasing details in my skin, my hair, the background, plus the more sharpness you add with this effect, the more noise is introduced to the clip. So we're not gonna use sharpen and don't worry because there's a better way. Instead, let's go back over to the effects panel and in the search bar, start to type in on sharp. And in the video effects blur and sharpen folder, you'll find the unsharp mask effect. This effect is called unsharp mask because the areas of your footage other smoother with less detail like my skin in this case, will ideally be masked out or unaffected. This effect is awesome. If you're looking to subtly sharpen areas of your footage. The have a lot of detail like in this case my eyes. So let's drag this effect onto her clip and go over to the effect controls panel. This effect includes three parameters. Let's go over what each of them does as we sharpen my eyes. Amount will increase the intensity of this effect. So the farther we push amount, let's push it all the way to 500, the sharper it will make the details in your frame pushing it too far like this adds more contrast, which gives a more sharpened looked to the eyes, but also introduces noise onto our clip and sharpens other areas of our image. The goal is to find a nice balance between sharpening the details in your clip like in this case, my eyes without making those details look on realistic. So let's bring amount to 150. That's looking better because minimal noise was added to the rest of the clip and our eyes are looking sharper. Next, let's check out the radius parameter. Radius allows us to control the distance of the effect from the detailed edges. By default, the radius is set to one, which affects one pixel on either side of the edges that were sharpening. I'll push radius a little too far to show you how it can affect an image. So I'll bring it to five. And doing this extends the distance of the effect too much by making areas around the eyes and other parts of this clip to detailed. It also introduces more noise all over clip which we don't want. I usually keep radius between one to two so that it's very subtle. So let's try 1.5 to just slightly increase the radius around the eyelashes. Increasing threshold will reduce sharpening in areas that don't have a ton of contrast or detail, we can keep threshold of 0 or adjusted to one. So let's check out what one does to our clip. As you can see, this blurs or smooth skin, but also blurs the eyes which we don't want. So we'll bring threshold back to 0. But you know what threshold can do if you need it. So this may be tough to see on your screen, but in using the unsharp mask to sharpen the details in my eyes, I've also sharpen some other more detailed areas of my clip like my hair. It's very subtle. But if you happen to be working with a clip that has a lot more details in it. And you really only want this effect applied to a specific detailed area of your clip. Like in my case, my eyes, I'll show you one more thing that I like to do and that is add a mask around just my eyes. Doing this will isolate the unsharp mask effect so that it's only applied to the area that we create this mask around. So back under effect controls under unsharp mask, Click on the ellipse shape and doing this creates an ellipse over our clip. When you hover your mouse over the ellipse on the program monitor, a hands icon appears, which allows you to hold down on your mouse and move the ellipse mask wherever you'd like on this clip. You can also select each point of the ellipse and decrease the size of the ellipse like so. I'll adjust the size so that it goes around both eyes, but so it's not over my entire face. Great. Next we're going to add key frames in a very quick and easy way to follow the position of my eyes on this clip as my head moves around while I'm talking. So bring your playhead to the beginning of the clip because we're going to start there with our key frames and then move right. And next click on the toggle to the left of mask path to add your first keyframe to this clip, which will hold the mask in the current position. Next, let's have firmer pro track this mask as the position of my eyes moves around as I speak by clicking this Play button. Now Premier Pro is doing its best to adjust the position of the mask frame-by-frame to move with my eyes. And as you can see, more key frames have been placed to track the position of this mask as it follows my eyes. Now I'll click on the mask so we can view the blue border of the mask to see how well it did to track my eyes. I'll scrub through this clip and Premier Pro has done a great job of tracking my eyes, using and customizing this effect worked very well. There you go. That's how the sharpen more detailed areas of your footage imprimatur pro, using the unsharp mask. 11. BONUS How to Motion Track and Blur a Face: In this video tutorial, you're going to learn two different ways to blur a face and track it in Premier Pro, knowing how to do this comes in really handy if you need to hide someone's identity in your video and knowing how to motion track and Premier in general is just a great technique to learn. We're in Premier Pro and we have this clip of three people doing yoga. We need to hide the woman on the left space. So let's hop into our effect panel. And the first effect will test out is the mosaic effect in the video effects stylized folder. Drag it onto the clip. Let's go to Effect Controls. And under the mosaic effect, change Horizontal Box to 50 and same goes with vertical blocks. Great. Next click on the ellipse mask. Let's bring our cursor over top of it. And when we do this, a hand icon appears that lets us hold down and drag them ask forever with Lake on our clip will position it over her face and click and drag these points inward to decrease the size of our mask. So that's just a little larger than her head. Let's quit the program monitors drop-down menu and zoom into the shop by 200% to get a closer look at our mask k and when to reposition it slightly. Currently we have a fairly sharp edge or under mass. So what I'm gonna do is increase the feather Turin 70 souls of the masks edge is a little A-sharp, a little less abrupt. We'll go back to fit view. And now we need to track this mask as the woman moves so that it continues to cover her phrase under the mass drop-down menu to the left of mass path, Click on the circular toggle button to place your first keyframe. This is the keyframe here, and it will hold the position of the mask on the area of the frame, the play heads over. Next click on the mask path. Play buttons have Premier Pro track the mask with the movement of the woman's face. It's gonna take a few seconds. Awesome. As you can see, keyframes had been placed following the position of this woman's face over every single frame of the clip that we tracked. And let's check this out. Okay, and it looks like primers on an awesome job of tracking. Now lets, after doing all this work with the mosaic style mask, you decide you prefer a more subtle blur. Go back to the effect controls panel search for Gaussian blur, which is in the video effects blur in sharpen folder, drag it onto our clip, pop back over the effect controls, turned our mosaic effect off by clicking the effects icon. And now under Gaussian blur, let's increase the blurriness to 70. Yeah, that's looking good. Now, under the mosaic effect, Click on the mask dropdown menu, select the mask and press command or control C on your keyboard to copy it, select the Gaussian blur effect, press command or control V to paste. This has allowed us to paste the attributes from the mosaic effect onto our Gaussian blur effect. 12. BONUS How to Put Footage Inside Text in Premiere Pro: Hey, what's happening? I'm Allie, and I want to show you a super quick way to put footage in text. This used to be more time-consuming, but using the essential graphics panel makes it super easy. So first, using our text tool and using caps locks because I find all capital letters looks best for this effect. Let's type a word on her program monitor. Next, let's change that font by selecting the text. And if you don't have your essential graphics panel visible, go up to window and select essential graphics. Here it is, will go into the Edit tab. You can see we have our text selected here. Let's scroll down so we can change our font and you want to use a thicker font so you can see more of the footage within your text. I find BBS a great font to use, and it's free for personal and commercial use, which is awesome. So I'll choose that and we can use the slider to increase the font size. Let's try 400, which is as far as this slider allows you to go. I want this work to be even bigger so we can click on the text size number here, and I'll type Pete 50. Nice. Okay, next, under aligning transform, we can use the vertical and horizontal center tools to center this text. I'm happy with that. Now, let's get some footage in this text To do this, scroll up to the top of the essential graphics panel on the right hand side, click on the New Layer icon and choose from file. Choose the video file you'd like to have showing your text, Press Open to import it. And now that clip shows as a separate layer above our text layer, let's try and get underneath the text layer so we can see our text again. Cool, but how do we get our footage inside the text? Ok, this is how easy it is. Select your text layer and scroll down in the essential graphics panel to the bottom where the appearance tab is and check mark mask with text. And there you go. There are few more things you can do here. I'll just extend the duration of this clip by dragging it out on my timeline. Scrub through the clip to show you how cool this they can serve. Just kidding, that's not me. I'm not that cool. And okay. So we can see more of the surfer scroll up selective video clip because we are going to be changing its position and we can adjust our y-axis by clicking on it and scrolling up or down. And we can do the same with the x axis. We can adjust the scale of the video if we want to know. I don't usually like to increase the size of my clips because doing this reduces the quality of the clip. But I want to show you that it's there as an option. Let's increase the size to 120 and we can rotate or clip if we want to, by clicking on the rotation degree in moving it left or right. Okay, let's check this out. And yep, that looks good, but I just want to do some light color adjustments. So using luminous recolor, I'll add a little more warm-ups to the clip by bringing the temperature to around 25, I'll reduce the Black a bit to make it a little bit lighter. And if you want to change the color or round your text, you can do so by going to your project panel, new item, colormap, okay? And I'll choose white. I'll drag the colorRamp onto my timeline, making sure it's underneath the text layer. And that brightens this up. Awesome. So there you go. That's headed book footage inside your texts. 13. BONUS How to Reduce Moire in Premiere Pro: In this tutorial, I'm gonna show you how to reduce or remove depending on your footage. The moray effects, those wavy lines that you just don't want to see on your clients are on your own. Closed. Okay. So we're in Premier Pro with a clip that suffering from some major Maury issues that we're going to reduce in just a second. First, it's useful to know that when you're editing, depending on the size you've set the frame in your program monitor or the size of your computer monitor, the moray in footage may show up more or less. So it's important to review your final exported file at different screen sizes if you suspect more marine might show up. This is because different frame sizes will cause the very thin patterns on the shirt to move closer together or farther apart as the pixels in the footage will have more or less compression. Maury typically happens when the camera has sharp focus on tiny thin patterns, where there's repeating pattern of a thin opaque line followed by a transparent gap. Okay, so let's go to our effect window and type in Gaussian blur. There it is in the video effects blur and sharpen folder. We'll drag that onto our clip and go to Effect Controls where we can adjust this effect. Let's try bringing it to eight. Depending on your clip, you may need to increase or decrease the amount of Gaussian blur, okay, and that creates a subtle blur over the entire clip and we can no longer see moray. I'll turn the effect off for a second. And yep, that's definitely made a difference. Turned it back on next. Under the effect, we can click on this pen tool so that we can create a mask around just the clothing. So just the shirt will be affected by this blur effect rather than the entire clip. Now let's bring our cursor to the very beginning of the clip so that we're creating our mask over the first frame. I'm going to track this mosque to follow the movement of the shirt as eclipse place through. And I wanted to extend the math a little bit beyond the frame just to ensure that it does still covered the shirt as it tracks with the movement. Let's zoom out of this clip on the program monitor by clicking this drop-down menu and choosing twenty-five percent so that we can extend our mask beyond the frame itself in case we need to make any adjustments to the mask later. So I'll draw a mask around the shirt. If you needed to adjust the mascot all you could grab any of these points and move them accordingly. Now, under the effect where the mask is, let's click on the toggle to place our first key frame to hold the position of this mask and press this Play button to track the position of the mask as the shirt moves throughout the clip. This will take a few moments. And when it's complete with every frame of this clip, a key frame has been created to hold the position of the mass as it moves over each frame, awesome, will go back to fit view. And as I scrub over this clip, you can see that using Premier is tracking has done a pretty great job of following the shirt. And there you go. That's how to reduce the moray effect in Premier Pro. 14. BONUS Mistakes New Editors Make and How to Fix Them: We're in Premier Pro. And the first thing we're going to look at that a lot of newbie editors make the mistake of doing is not trimming their clips before they add a dissolve. So let's look at what a bad dissolved transition looks like. We have this nice, pretty smooth handheld shot of a sunset. And at the end of the shots, the camera sort of moves abruptly. Next we have a shot of me and my buddy Adam hiking. So we'll bring our playhead in-between these two clips, use the keyboard shortcut Command D or control D to create a dissolve transition in between them. This notification pops up saying insufficient media. This transition will contain repeated frames. Now because we haven't trimmed either of these clips, we'll have any handles to work with. And handles are the few seconds or few frames of your clip before or after the part of the clip that you actually want to use in your edit. Let's press OK and see what happens here. Whenever you see diagonal lines imprimatur Pro on an effect during your footage, that's generally not a good sign. So between this dissolved having to create repeat frames in order to work and not trimming that camera shake at the end of the first clip, this dissolve is not going to look very good. And this shows an example of where London New editors make mistakes. They don't trim their clips to remove bad camera moves or a clip kind of abruptly ending within their dissolved transition. To make this transition look a lot more pro, we'll just delete that first dissolve. You want to make sure that you've trimmed the party, your clip that doesn't look good. So we're going to trim this first clip to remove that abrupt camera move, we're going to trim the beginning of our second clip as well so that we can see Adams left foot just about stepping on the ground. Press Command D or control the on your keyboard to added dissolve. And let's check this out. There you go. That dissolves is looking a lot better because we can no longer see those repeated frames or the abrupt camera shake from the end of the first clip in your transition. Next, let's take a look at this clip. As you can see, the horizon line is a little crooked. Now you may or may not know how to correct that. If you don't know how to correct it, you can go over to effect controls and you can adjust the rotation of your clip. So I'll bring this clip two minus 2.5. Great. In doing that, we have straighten the horizon line, but we can now also see the empty blank space behind our quip to solve that problem will scale into this clip just a little bit. Let's see how 107 looks. Now here's the mistake that new editors make after fixing a crooked horizon line and Schelling into the clip a bit, they don't double-check to make sure that that empty space behind the clip is still showing. If we take a closer look here, you can still see that eclipse hasn't covered the entire frame we're working with. So whenever you are rotating or moving around the position of a clip, it's always good to double check that that clip is completely taking up the space of the frame. A quick and easy way to do that is to create a colormap by going over the project window. New Item, colormap, press okay, for your color, might you want to pick a color that will stand out against the colors? In your clips that we can really quickly spot it. So let's pick red. Okay, we'll raise the clip onto the V2 track and drag this colormap underneath the clip. And now you can see that little bit of red showing behind our clip, which indicates we need to make a few more adjustments, will adjust the position of our clip and skill into 100 so that that red color mat underneath her clip is no longer visible. Okay, so the next video editing mistake we're gonna take a look at I was definitely guilty of when I was starting out as an editor. And that is pushing the parameters of your color correction to far SOS that grain is introduced onto your clip. Okay, now let's take a look at this clip. Let's go up to Window and click on luminary color to open it up and start doing some color correcting will bring the exposure to two, will decrease the shadows by bringing the slider to around 57. We'll bring the highlights down to around minus 49 and push the saturation as far as we can to 200. Let's just go up to the program window. I'll press the tilda key on my keyboard to watch this back in a larger screen. And as you can see, the darker areas of this clip as well as the jacket. There's a lot of brain that we introduced onto this clip because we push the parameters of recolor correction to far, depending on the camera that was used to record your footage in the settings that we're used to record your footage, you may be able to push your color correction farther than I did in the example here, or not evenness far, generally when I'm color correcting clips that aren't taught in log, I won't push any of the parameters more than by plus 25 or minus 25. And I definitely don't push the exposure too far because that's our really quick way to introduce grain onto your clip. What you want to take away from this is that you want to review your color correction, zoom in on your program window and make sure that you haven't introduced grain onto your finish by pushing the colors too far. Back when I was in film school and I was getting super into video editing. I read a book called In the blink of an eye by Walter merge. He edited Apocalypse. Now he worked on The Godfather. He's just a genius editor. Well, I really loved the book. The one thing that stood out to me the most was the rule that you never want to cut on a blink. So let's take a look at a talking head clip with a B-roll clip and what cutting on a blink looks like and why you shouldn't do it. Alright, so we have two clips on their timeline. We have a talking head clip, and we also have a B-roll clip. First, I'm gonna show you what it looks like when you cut on a blink. Okay, we've got a blink right there. I'll drag my B-roll to where the playhead is. And let's watch this back. Ok. And although this is more subtle, when you cut on a blink, when the B-roll clip shows up, it's a little jarring and it kinda take C out of the video for a second. Let's find the point they're talking head clip where I am looking at camera. And we'll move our B-roll clip to that point in our timeline. Let's check out how this is looking. And there you go, that feels better. It's more engaging because it feels like the person cameras talking to you as the viewer and remaining engaged with you as the B-roll clip shows. Ok, so the last thing that we're gonna talk about is a bit confusing. Bear with me. I'm gonna do my best to explain it for beginners perspective. And that is talking about working with slow mo, for the case of keeping this simple, let's assume that you're going to be editing in a 24 frames per second sequence. If you're working with a clip that was shot at 24 frames per second on a 24 FBS timeline. You don't want to try and slow mo that clip because the end result will look choppy. Your footage needs to be shot at a higher frame rate. If you want to slow, the frame rate, each used to shoot in will determine whether or not you're capturing Slow mo footage. If you shoot in 60 frames per second or higher, camera will capture that footage and play it back as slow mo, you won't have to adjust the speed of it when you go to edit it because of what already played back in slow motion, if your camera has the option to shoot in 60, that footage will also play back at 60 frames per second. So it won't look Shlomo unless you interpret your footage and work with it in a 24 frames per second sequence. Ok, so now let's take a look at this clip that was shot at 16. I have it on my 24 frames per second timeline. And when we play this back, it plays back at regular speeds. So it currently looks like it was shot at 24 frames per second. That's because Premier Pro is dropping frames from it so that it plays back and irregular speed. The thing I really like about working with 60 footage, we can still slow mode by going up to the project window, right-clicking on the footage, clicking on modify, interpret footage, and changing the assumed this frame rate from one to 24. Okay, and let's drag this interpreted footage onto our timeline and play it back. And as you can see, it now place back in slow mo. 15. BONUS Premiere Pro Basic Tips: Okay. So when you're imprimatur pro with some footage and ready to edit before you create a sequence to edit on, you may want to look at your clips in an easier way. Let's do this by in the project panel clicking on the icon view with full show thumbnails, I'll click on my footage folder, drag this footage folder been bigger. And now you can see the actual footage in each of these clips, which makes it very easy to find specific clips. You can also use this slider to increase the size of these clips. To get an even closer look, we can use the slider on the side of our bin, drag it up. And now I can see this clip of horses and we'll use this clip to create a sequence. To do this, right-click on the clip and select new sequence from clip. The great thing about doing this is that the sequence will be created using the same settings as your clip. We now have our sequence in our timeline here with our clip on it. Let's close this footage bin by clicking on the X and check this out on her timeline by dragging our cursor from left to right to scrub through the clip to adjust the sizing of any of your panels. Hover your cursor over the edge of the panel, click on it and drag it to where you're happy with it. You'll notice this flips upside down. Let's go to our Effect Controls panel where it says rotation, click on the 0 and type in 180 so that your clip rotates 180 degrees and now it's upright. We could also hover cursor over this number and drag this number to the right or to the left to rotate or clip however we'd like, I'll press Command Z on my keyboard to undo that great in R Effect Controls panel. We can also scale into this clip by clicking on 100 worth is scale and increasing that number. I don't like to push this number too high because the more you zoom into a clip, the more you're degrading the quality of it. But for the purpose of showing you this, let's zoom into 130. You can also adjust the position of your clip by using the x-axis and scrolling the clip to the right or left, and using the y-axis to change the position of the height of the clip as you edit improvement, borrow more and more. At some point you're likely going to work on a project where you need to use a color mat to create a color map in your project panel. Click on the new item icon, choose color mat, press OK, and a color picker window pops up. So I think this is really cool. Let's say there's a color in your clip that you want your colormap to be. You can grab this eyedropper hovered over the area of your clip that you'd like your colormap to be. Click, and now let's press OK. We can name or colormap, I'll call it orange and press okay, and our project panel, let's click on ListView and by default or colormap went into our footage folder. You'll notice are sequenced did as well. Let's select both of those by clicking on them and drag them out of this footage folder. To stay nice and organized, we can click on this drop-down arrow to close up our footage been great. Let's drag our orange color map onto our timeline to the V2 tracks so that it sits above our clip. I want to change the color of it a little bit to make it more orange. We can do this by double-clicking on the colormap. And now in our color picker box, we can hover cursor over whichever color we like. I like this orange, so I'll press OK. Awesome. Let's take a look at how to use the crop tool by going over to the effect panel, typing in crop. There it is, and dragging the crop effect onto our orange color map. Let's go to our Effect Controls panel where it says top. Let's drag the 0 to the right to crop the top of our map around 70%. Let's drag the bottom to 4%, bring the right side and worked a little bit in the left side as well. That's one way to crop. Let's undo this so I can show you how to use a crop shaped mapped to undo the adjustments we've made where our effect is, we can click this circular arrow to undo. Now we're gonna do something a little bit more advanced, which is creating a mask. Let's select this rectangle box to create a crop mask. And the mask outline appears on our program monitor. We can have our cursor over it, which brings up this hand icon. And by clicking down, we can move this mask wherever we'd like to increase the length of this rectangle, let's click down on the top right corner point of the mask. Hold down shift on a keyboard so that we can select a second of the mask. Let's select the bottom rate point and drag it to the right. By pulling this little circle here on our mask up, we increase the feather around the mask to the parts of this checkered blue border. And you'll see how this looks on one sec. Let's go over under Crop and drag our left percentage to the right. And you can see that doing this is cropping the inside of this rectangle mask. And notice that the edges are blurred or feathered. Let's undo that because I actually want the rectangle mask to contain the orange color rather than crop it out. To do this, let's check mark inverted. And now when we adjust the left side of her crop or cropping everything outside of the mask from the left rather than on the inside of it. Not really liking that feathered looks so we can adjust it by going under the mask and where it says mask feather, we can bring the percentage to 0 to create a crisp edge. Let's create a title in this rectangle by selecting this T, which is the text tool hovering over the rectangle in our program monitor and typing, I'll type horses of Iceland. Select this text and in effect, controls it now shows text. Click on the dropdown arrow to bring up text options under source text, we can use this slider to increase the size of our text. Let's scroll down a bit. And under transform, we can adjust the position of her text to sit more in the center of a rectangle. Let's scroll up and under source texts, we can click on the drop down menu to choose a different text. You can type in the text you're looking for. I'll type Ariel and select Ariel Bold. Now we have a text layer above our colormap. Let's try each one of us longer to match the length of her Colormap. So they're both even. And now we're gonna do something that I and many other professional video editors do all the time. And that's called nesting. Well, unless these two layers together, by selecting both of them, by right-clicking and choosing nest. You'll see what nesting multiple clips does in a second. First, let's name this nest horses of Iceland with Colormap. So we can clearly see the name of it with a reference to what's inside of it. Well, we work, okay, you'll notice these two layers have become one. Let's double-click on this nest to open it up. And these two layers now exist in this nested sequence, nesting footage or glaciers helps reduce the clutter in your timeline by giving you the ability to have multiple tracks with multiple assets live in a nested sequence rather than on the timeline you're working on. Next, let's work with another clip by double-clicking and our footage folder. And I'll select this clip of horses and drag it onto our timeline. When I bring my cursor over top of it, you'll see in the program monitor that this clip isn't taking up the entire size of the frame. That's because our sequence settings are 4K like the first clip and the second clip isn't for k. We can check the resolution of this new clip by going to our footage been choosing ListView. And you'll see in the video info that this particular clip is 1920 by 1080 compared to the other clips that are 3840 by 2160, which is 4K. Let's exit that. Ben and I want to zoom in a bit more of my timeline to do that, you can press the plus key on your keyboard a few times and we can scale the size of this clip up by right-clicking on it and selecting scale to frame size. Again, especially if you're editing a professional project. Overall, I don't recommend scaling the size of your clips into much, but in some cases, being able to do this does come in handy. And let's look at how to reverse clips by right-clicking on this one, choosing speed, duration, check marking reverse speed and okay, and as you can see, this clip is reversed. We'll right-click on it again, go into speed duration again, unchecked reverse speed, and instead let's increase the speed of this clip by 200%. Ok. And now with my cursor close to the beginning of this clip, I'll press the spacebar to review it and we have doubled the speed of it. 16. BONUS Premiere Pro How to Relink Offline Media FAST: Have you ever seen the show up when you open up a project in Premier Pro? Mediocre, lying. What heck is, well, don't worry, there's an easy solution to relink near media. Then I'm gonna show you in like 17 seconds first. Why does this happen? There are several reasons that your media could go offline. Like if you have files imported into your Bremmer pro project and outside of your projects where the original source file lives, you move the location of it around or you rename it, or you delete the original file. Well, if you do any of those things, premier can't link back to the original source file. So you've got to relink yourself. Let's look at how to do that. So we're in Premier and we've got some clips that are offline scattered throughout our project. Let's make these offline clips a little easier to spot by right-clicking on the top of our project panel in choosing metadata display in the search bar type in status and their Premier Pro project metadata checkmark status. Oh, okay. Now we can click on the status bar to organize all of the offline media so we can easily select it. All. Right-click on that selected media and choose link media. And you can see the file path where the original files lift the top files already selected. So now let's click locate. And since all of the off-line files are in the same folder on my hard drive. When they click OK, all of these files will also relink. So that's pretty easy. But, uh, let's say we went over to our folder that the video files are in and moved one of these files editor folder, I'm just gonna move this clip onto my desktop. Now, when we go back to Premier, this pop-up window shows that the file is offline again. So let's click locate and the clip still not showing up if this happens and you know that file is somewhere on your computer or your connected harddrive, click Search. And now perimeter, searching my entire computer for that file, which is gonna take a little bit longer because it is going through so many files on my computer. And there we go. The file's been located. Click. Okay. So well that's had a relink offline media in a few different situations. Keep in mind that relinking footage that's located in a random location isn't a very professional workflow. To stay organized, you'd want to have any project assets existing in one folder and then relink them to that location. And rather than having them located in multiple locations. 17. Bonus Premiere Pro Production Panel for Solo Editors: A lot of us Premier Pro editors need to reuse logos, social media tags, and other assets from older Premier Pro projects. When we work on new projects productions was designed to work with multiple projects in one workspace. And the ability to easily take clips are assets from one project and bring them into another project without creating duplicate clips, longer save time, or disorganization. So let's take a look at how to create and use a production as a solo editor, let's open up Premier Pro, go up to File New production and give your production and aim. Since I edit YouTube videos fairly regularly, I'll be creating a production where all of my future YouTube projects and any other YouTube project I choose will live. So I'll call this YouTube production. Next, let's click on where and when you're choosing where to save your production folder, store it in a place that you plan to keep it. Because if you move your production folder around, premier won't easily recognize your production as a production anymore, and it will just cause you a lot of hassle. Youtube's Video folder with a few of my more recent YouTube videos. So I'll create a new folder in here and call it YouTube productions. And this will be the folder that any of the projects I work on in this production will be saved to. So I'll click Select Folder, which brings us back into Premier and press Create. Now we're in there Premier Pro production. And you'll notice the layout has a similar look to your regular Premier Pro projects, but it also has a production panel on the left side. And if you don't see this production panel for some reason, you can go up and click on window and production to bring it up. Production panel is where your various projects will live when he created production. By default, Premier Pro will create an untitled project, which you can see here. We can create new projects in this panel as well. But first I'm going to add a YouTube project I previously had started working on before productions existed into this YouTube production. So I can continue working on it here to add a project, right-click in the production Panel and select, Add project to production. I'm gonna add my habit change colors in Premier Pro project into this YouTube production. So I'll select it and press open. And this pop-up window shows saying a new copy of the chosen projects will be added to the selected folder inside the production. Would you like to continue? So yes, I would like to continue press copy. And now any work we do on this project within our production will be saved on this project file that's been copied into our productions folder here, here's my important project in the production panel. And notice that the little box to the left of its grayed out. This means that it's currently inactive. Where's the untitled project shows a green diagonal line indicating it is active. Let's double-click on are inactive project to open it up. And doing so has opened up this project in our production. And we can easily go about editing it the way we would in a regular project. Next, I'd like to create a project that contains all of the social media tags and assets. I tend to use an every single one of my YouTube videos. So I'll do that using this untitled project, which I'll rename by right-clicking on it, choosing Rename, and I'll call it YouTube tags. And as you can see, the correlating project panel has also been updated with the name YouTube tags. I'll right-click in the YouTube tags Project Panel, press Import, hop into my YouTube assets folder, select all of the tags that it regularly use and open them. Create a new YouTube tag sequence and drag oboes assets onto my new sequence. And now I have this YouTube TAG project and sequence easily accessible to copy any of these assets over to any of the YouTube videos I edit, like I'll do so now by selecting these tags, pressing Command C on my keyboard to copy them. Going over to my coat color change sequence from another YouTube project. Just gonna close this limit jury panel to make more space, great, and paste all those assets. I recently shut some talking head footage for new YouTube video I'm going to create. So let's create this new project within our production by right-clicking in our production panel, choosing new project on name and how to use Adobe Audition, okay, and in the correlating Project Panel, right-click import, I'll go into my how to use Adobe Audition folder that contains that footage selected and press Import folder. Again, I'll create a new sequence, name it, drag that footage onto it. And again they can go into my YouTube tag sequence, select all the tags, copy them, and paste them into this new project as you start to work on and open up more projects in your production. I currently have three projects open, your workspace may start to feel a little cluttered. So as you're working, just pay attention to which project panel and sequence you're working in. You can also follow some of the projects that you might not be using. Like all right-click on my head to change color and Premier Pro project and choose Close project. It's now closed, which is indicated by that empty gray box to the left of their project. And the project panel and sequences associated with that project are now closed as well because it just close this project prima prose no longer using processing power to reference files from it. If you want to save all of the projects you've been working on in your production at once. I highly recommend you create a keyboard shortcut to do so, you can do that by going up to edit keyboard shortcuts in the search bar typing and save all there it is. And you can choose whichever shortcut you like by clicking on the empty space. Besides save all under shortcut, you obviously want to make sure you're not already using that shortcut. I'm going to choose Shift plus S and press OK. And now when I use that keyboard shortcut, any changes I've made to any of the projects within productions will all be saved if you exit out of your premier production and then want to open it back up, you can do so by opening Premier and at the home screen, you can either choose a specific recently saved project you worked on in your production and click on it to open it up. Or you could find your saved production and click on it, which will open it with each of the projects in it closed. And you can double-click on any of these projects to open them back up as well. So there you go. That's how to work in productions as a solo editor. If you're working on a video series or you regularly create YouTube videos or work on more than one video project for a client. Productions makes editing much faster and more efficient. 18. BONUS How to Use Photoshop Files in Premiere Pro: Hey, what's going on? I'm Allie, in this tutorial, we're gonna work with a layered photoshopped logo in both Photoshop and Premiere Pro. Lets happen to Premier and get started. Ok, so we're imprimatur pro. We have this mountain time-lapse clipped here and we're going to be placing a client logo over top of it. I'll hop over to Photoshop. And here we have our multilayered logo. We have the sun here, the mountain, the client's name, and their slogan for different layers. Let's hop back into Premier Pro and import this logo. I'll go up to my project panel and selecting import. I'll select the logo PST file open. Okay, and here we have a few different importing options for this logo. We could import it as merge all layers. So that would merge all four layers. Click the drop-down menu. We also have the option for merge player's individual layers and a sequence. So let's look at what each of these does. If we were to choose merge All Layers, press OK, drag this logo down onto the V2 track here. And side-note this logos currently too big and the dark blue if the local interferes with the Dark Mountain that sits behind it, we're gonna fix that coming up, okay, and we have this one layer that contains this entire logo with the client name and slogan. So that option certainly works fine. I prefer different option. I'm going to show you in just a second. I'll just Command C on my keyboard to undo importing that logo will just import the logo again. So I want to show you what import as merged layers does here. So this gives you the option to checkmark or uncheck any of the individual layer. So let's say we don't want to include both slogan. We will uncheck that and press OK, drag that logo onto the timeline. This gives us the logo with the client name and no slogan all on one layer, having all of the elements of your logo in one layer reduces the clutter. But most of the time I do prefer we'll just import the logo again, import as individual layers. So again here we could deselect any of these individual layers if we wanted to. I want them all selected. Press, okay? And here we have a bin that contains each one of these layers here. We'll just select them all and drag them onto a timeline. And as you can see, they definitely need to be stacked on top of each other. So I'll just zoom into the timeline here. I'll drag each of these layers on top of each other and extend the duration of them. Ok, so the reason that I like each of these to be on its own layer is because this allows me to manipulate each layer on its own. And I know the size is little bit grey now we're gonna deal with that coming up first. Drag the timeline up little bit here. Okay, so let's say that I want the sunshine layer to have a cross dissolve on it, making sure that my cursor is at the beginning of this layer, I will select it and press Command D on my keyboard, or Control D if you're on a Windows. And there we go. We have a cross dissolve, going to select the cross dissolve on the end there and delete it because I only want it starting at the beginning. And side note just so you know, the reason that my cross dissolve didn't affect every single one of these layers is because I don't have the v2, v3, v4, and v5 track selected. If I did and I added a cross dissolve, it would affect every single one of those layers. I'll just Undo that and deselect those tracks. Ok, scrub through their cool. Okay, so I like to some part of that logo dissolving in like that. Next I'll select the client name logo. And on my keyboard I'm going to hit the right arrow ten times. Go over to effect controls and under motion where it says position, Click on the toggle animation to add a keyframe. I'll bring my play head to the beginning of that layer. Just move this over a bit and drag the x-axis position all the way to the left. I've got mine now at like minus six 96 so that we can't see it anymore. And this has created a second position. You can see the keyframe. You can sort of see the keyframe right there. So if you haven't worked with keyframes before, we have the first position set where we dragged our client name off screen and we have the second position here where it originally was. So i'm going to click the spacebar to play this through. And the client name swipes in there. I'm like milk of at, I'll select the client name again. Go up to these keyframes, select them both. Right-click, choose temporal interpolation and select ease in play that through. And easing does what it says it does, it makes the position of the company named moving in 0s and a little smoother. Next I will select the slogan again, go over ten frames, go up to position, click the toggle, go to the beginning of that layer. And instead of starting the slogan off from the left side, I'm going to actually do the opposite. So we'll drag the position all the way to the right so we can no longer see it. Select both of those keyframes. Right-click again, choose temporal interpolation and ease in. Okay, and let's check this out. Sweet and pretty happy with that. And I want this logo to be the length of the clip. So I'll just select all of those layers and increase the duration of some. Cool, okay, so once you're happy with the way that each of the layers of the logo shows up on screen. What I like to then do is nest my logo because I'm not a big fan of clutter when I'm editing and nesting allows you to easily access any of these individual layers of your love life need you. So let's select all of those local layers, right-click and choose nest, call it logo. Okay, there we go. Now, all of those individual layers are within that one nested layer. If we wanted to access any of those individual layers, we could double-click on the nest and there you go, we got them. All right there we'll go back to the other sequence. Ok. Next, making sure that our nested logo is selected on their timeline. Let's go up to effect controls and let's adjust this scale to 55. Unlike in the way that looks, I want the position of this logo to build a little bit higher up so we will adjust the positions y-axis just a little bit there. And I have my cursor sort of in the middle of this logo. So I'm going to press the toggle and emission button sites scale, bring my cursor to the beginning of the logo and bring the scale to around 50. Let's play this out. Okay, so now the logo scales in nicely. Now we could be done here, but I want to show you something that's super cool and super easy to do because all of the Adobe apps are dynamically linked. So Premier Pro and Photoshop work really well together. So let's say that your client wants to see their local in White. Let's double-click on our local nest. I'll right-click on the high glycaemic layer. Choose edit in Adobe Photoshop. That brings us over to our logo with all four layers in it. And I'm going to quickly select each of these elements and make them white. I'll grab my text icon to select the hypoglycaemia text. Click on this double arrow sorta icon here where these colors are to flip them so that white is in front and that makes our first layer white, do the same thing to the second layer, and the other two layers aren't Text layers. So I'll grab my selection tool up here, select them, grabbed my paint bucket tool and select each of them to make this entire legal white. Now I'm going to press Command S on my keyboard. If you're with Windows, press control S to save what you've done, hop back over your primer and look at that. That's how easy it is to make changes or adjustments to your Photoshop file and have those changes be applied back in Premier Pro, we'll go back over the clip with the logo and check this out. Awesome. Okay, and lastly, I'm going to show you what the last option does. So again, I'll right-click in the project panel and import the logo where it says import as click the drop-down menu, choose sequence. And again, we can de-select enable layers if we wanted to. I don't want to suppress. Okay, great. And this option has made a bin for us and it has each of the individual layers in it as well as a sequence. Let's double-click on the sequence here. So the sequence option is great as well because it creates a sequence with each of the layers already stacked. So you don't have to manually do it the way we did before. And if you're going to choose the sequence option, what you can do is just select all of those layers. Press command C or control C on your keyboard to copy them, go over to your clip. Just move that over, de-select the V1 tracks, let the V2 track so that the first layer shows up in the B2 track and above, press Command Z or Control V on your keyboard to paste a K. And we could drag these out again. And there you go. That's a you can easily work with a Photoshop multi-layered logo in Premier Pro.