PREMIERE PRO: 10 Things You Probably Didn't Know You Could Do in Premiere Pro | Alli Saunders | Skillshare

PREMIERE PRO: 10 Things You Probably Didn't Know You Could Do in Premiere Pro

Alli Saunders, Filmmaker. Youtuber. Business Owner

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13 Lessons (1h 16m)
    • 1. Intro to This Premiere Pro Class

      1:19
    • 2. 10 Things You Probably Didn't Know You Could do in Premiere Pro

      16:57
    • 3. BONUS 4 Secret Premiere Pro Hacks

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

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

      2:44
    • 6. BONUS How to Motion Track Out a Logo

      5:06
    • 7. BONUS How to Put Footage Inside Text in Premiere Pro

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

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

      8:17
    • 10. BONUS Premiere Pro Basic Tips

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

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

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

      8:52

About This Class

If you're a Premiere Pro editor then this is a great class to take to find out tools, effects and ways that you can make editing more efficient and fun! In this class Alli Saunders will teach you 10 things that you probably didn't know you could do in Premiere Pro!


You should have Premiere Pro to follow along. 

This class is suited for beginners but intermediate Premiere Pro users may also find it valuable. 

Transcripts

1. Intro to This Premiere Pro Class: Hey, everyone, what's going on? I'm Alley Saunders, and in this class, you're gonna learn a bunch of cool things that you can do inside of Premiere Pro that you probably don't know in this class. You're gonna learn several ways to make editing improvement Pro more fun, more efficient. How to tell a better story with certain effects. How to make your video at it. Flow better by using one really simple effect. How to create a timer and account on improvement Pro had to grab images for thumbnails and much more. It's really important to stay up to date with the latest trends happening in video editing as well, staying up to date with the fastest and best ways to apply certain techniques and different effects to your videos to make them stand out. Being more visually engaging and interesting, I released classes here in sculpture almost weekly that go over different tools, tips, effects, work flows and creative ways to make your videos better. And although I do have several classes that go more in depth when it comes to video editing , I found that releasing 10 to 15 video tools, tips and effects that you can use in primer pro within each of my class is the most effective, because that way, as a student you're more likely to put what you're learning into effect immediately. So if you'd like to get notified and stay up to date, when I do put out a new class, then feel free to follow me here in skill share. So without further ado, let's hop into Premiere Pro and get learning. 2. 10 Things You Probably Didn't Know You Could do in Premiere Pro: Okay, so we have a bunch of clips on their timeline and let's say we start putting our edit together so we delete some of these clips. We aren't going to use these deleted clips in our video edit. So maybe originally we had 20 clips in this project, but we're only going to be using and working with these 10 or so that we have on their timelines. Well, if we want to remove those additional clips from our project, we can do so by going upto edit and clicking on remove unused. As you can see in our Footage folder, we now only have the clips within this folder that were actually using on her timeline. And if you haven't done any other actions in Premiere Pro and you go, Oh, you know what? On second thought, I do want all of those clips back. You can press command Z or controls E on your keyboard to undo, and there they are. Great. So that comes in handy, especially when you're working in bigger projects with tons of footage and assets and premiere pro and you're looking a tad es That project. Have that project open faster and make your workflow more efficient. Next, let's look at another time saving tip. Okay, so let's say you're in the early stages of editing and you've picked your selects and they're nice and spread out on your timeline, like so now you're the point where you want to bring all of these selected clips together. Now, a slow and tedious way to do that is to click on the space in between two clips, so that's highlighted and press delete on your keyboard. Depending on how big your project is and how many clips you have, This could take a very long time. And when your video editor time is money. So let's look at a very quick way to remove all of those spaces in between your clips, making sure that your cursor is resting between clips in one of the spaces on your timeline and also making sure that none of the clips air selected, go up to sequence and click on Close Gap. And there we go. We no longer have any gaps between any of our clips through a few different ways to achieve that result, and I've talked to the ripple delete way in a previous class This way is the quickest. Next, let's look at how to create a timer and a countdown clock. Improver pro. Okay, so first we need a layer to put our time or effect on. Let's go over to the project window. Click on the new item icon and select transparent Video. Those settings Air fine press OK and drag that transparent video layer onto your timeline. As you can see, because we haven't done anything, there's nothing going on on this layer so far, but there will be soon. So next that let's go to the effects window and in the search bar type in time code, you'll find the time code effect in the video Effects video folder. Drag that onto your transparent video in the timeline. Great and in your program window, you can see that we have the time code now displayed on that transparent video. We're going to be doing some adjustments here. So now let's go over to our effect controls window and remember, if you can't see any of these windows were working in, you can go upto window and you can select them, so make sure you have affect control. Selected and effects elected under the time code effect. Let's increase the size of her Time Co 2 50% okay and will bring the Y access position to 5 20 Great. Let's get rid this field symbol by un checking it awesome and by default or format is S M P T E S M PTE. Timecode is hour, minute, second frame. And this is the format I work in whenever I'm creating either a time code to put on the client video for them to reference. I'll also used this format when I'm creating timers or countdown's on screen, and that's exactly what we're doing. You do have a few other options, though. You can click the drop down menu and see that you could change the format. Two frames or feet plus frame 16 millimeter 35 millimeter will stick with S, M P T e. And I'm just gonna drag this open a little more words this time. Coach source. We currently have it set to media. We're going to change that because right now, as you can see with our cursor at the very beginning of this transparent video, it's showing 59 minutes 56 seconds and nine frames in. We don't want that. So let's click the drop down menu and choose generates. Great. That's what we're looking for. So now our time code, starting at zero. Let's take a quick look a time display. You can change that if you need to. 24 works for me because I'm working in a 24 frames per second timelines. If you wanted to offset these numbers, you could drag offset to the right or to the left so that your time could would start at a different point. But we don't want that. So let's just click the reset parameter button toe. Undo. Great. You could also change the starting time code time by dragging your cursor over the starting time code number. But we're gonna undo that as well. When I'm creating a timer or account down, I like to get rid of the frame part of the time code here. So again we go up to effects in the search bar type and crop, and in video effects, transform. Let's dried crop on toe are transparent. Video will go back into effect controls and in the crop effect, where it says rights we can bring the right side of the crop in by 33% to crop out the frame part of the countdown. So now we're seeing the hours, the minutes and the seconds up under motion. I'm going to change the position of the X access to around 1100 seventies so that we have our timer more in the centre frame. Great. And let out a color. Under this timers will drag the transfer of video up on the B two tracks in the project window. Click on new item color, Matt. Okay. And I'm gonna choose nice teal blue color. Okay, Great. And will drag that color mat underneath the transparent video. And you probably just noticed this ugly rectangle around our timer We don't want back. That doesn't look good. So under affect controls quick on the opacity drop down menu. Just gonna turn the toggle animation off, Click the blend mode, drop down menu and choose screen. And there you go that ugly rectangles no longer visible. Okay, so let's say you want a one minute countdown. I'll just drag the video and killer Matt out. Rare cursor, toothy. One minute mark. Dragger elements back over until they sit out. One minute. Great. Let's say you want to make this account down instead of a timer. So you want the countdown to start at one minute and then ended zero seconds. So to do that, we will reverse the speed of this clip. Right? Click on transfer video speed duration. You'll notice that we can't click on reverse speed. So press cancel. In order to be able to reverse the speed of this timer, Silva, that becomes a countdown. We have to nest this transparent video. So again, right click, choose nest. We can name this countdown. Okay, And now that we've nested this looks click on the nest and again change the opacity blend mode to screen. Great. Now we can right click on this nest, slut speed duration. And we have the option to reverse speed check Mark, but press. Okay, I'll bring my play head to the very beginning and play that through. And there you go. You now have a one minute countdown. Recently have had several of my corporate clients asked me to include timers and countdowns and their videos. And since this request keeps coming up, I figured I may as well teach it in this class. That's why did next. Let's look at how we can make clips that were lagging when we play them back in Premiere Pro. Not like Okay, so let's say you're editing away and you have a clip that maybe you've put some heavier effects on. And as you play back your edit toe, watch what you've done so far. Once he gets that clip with those heavy effects, your playback starts lagging. Well, if you want to be able to watch playback and watch this clip with those heavy effects, one thing that I like to do is bring my cursor to the beginning of this clip. Press I on my keyboard to create an in point. Bring the cursor to the end of the clip and press ode to Greed out point. There we go and press enter on your keyboard. Doing this will render your effect depending on how big your effect is, how old or new faster So your computer is rendering. This effect may take several minutes. OK, there we go. The clip is now rendered great. Now when I play back this clip, it's no longer lagging So whenever you see red above clips and you want to be able to play back those clips without lagging, you can render those clips the next tool you're gonna learn. I use pretty much every time I edit and Skreamer Pro. It makes life so much easier. Let's hop back in there and check it out. Okay, so let's say that you need to find this clip within your project. Instead of wasting your time checking out the file name of this particular clip and looking for it within your Footage folder. You could very simply right click on the clip that you're looking for and select Reveal in Project, and we'll go over to the project window. There's that clip, and you can do almost the same thing if you're looking for that clip in its original Project folder outside of Premier Pro right click on the clip and for me, since I'm on a Windows computer, it says reveal on Explorer. So for Mac, I believe it would save reveal in Finder. Click on that and there you go will open up your explorer, your find her window with that clip selected. So there you go next Let's look a tool that I use all the time when I'm creating tutorials . Whether you're creating tutorials or not, this effect definitely comes in handy and is good to know. Okay, so bring your cursor to the frame of your clip that you'd like to put a frame. Hold on. Great. Next, grab your razor tool from the toolbar to make a cut where your cursor is. Grab the selection tool. Select that one frame and notice. I have my cursor to the left of the frame rather than to the right of the frame. Sometimes when you're cursors on the right side of the frame, just cut. This effect doesn't work. So anyway, I find it always works from my cursors on the left of the selected frame. Next, right. Click on that frame and select add frame hold. Now we can drag that frame out, and as you can see, we have a still shot of that frame. Adding a frame hold comes in super handy if you wanna add text on screen and you want the frame to stay still. When the tech shows up, I find add frame. Hold particularly handy whenever I'm creating courses and I need to hold on the frame for a longer period of time. I've actually used frame hold several times throughout creating this class, and it's super quick and easy to apply to a frame within your footage. The next effect we're going to look at is really easy to apply to a clip, and it can help tell a story and cream or overflow in your video. So let's check it out. Next. Let's take a look at thes three clips, so the first clip we have is will. And as we look at the screen he's facing left. Next we have two more shots of me, and I'm heading in the opposite direction, so I'm heading to the right now. Sometimes when I'm putting edits together, I like the people on screen to continue their movement or to continue traveling from left to right throughout each frame. When you're reading a book you read from left to right, I just find it creates a nice feel, a nice flow in the story, I'm telling. So I want the clip of Will to show him heading to the right of screen instead of heading to the left and we can make that happen with one quick effect. So let's go up to the effects window, search far and start typing in horizontal. There we go. In the video effects Transformed folder, we have horizontal flip. Let's drag that onto the clip of will, and that has flipped this clip horizontally. So now, as we watch through will, is heading in the same direction as I am in the following clip. Awesome. So how are you doing so far? Do you have any primer, pro or video editing questions for me? If you do shoot me a comment, I would love to hear from you and help you, however I can. And now let's look at how we can add clips in between other clips on their timeline. With replacing any of those clubs, you'll see what they mean. Let's hop back into rumor pro. Okay, Next, let's say you have a bunch of clips on your timeline. They're all nice and close together, and you want to add a new clip in between two of the clips that are already on the timeline . But when you drive your new clip onto the timeline, you don't want to replace any of the footage. You just wanted to move the other clips over. Okay, so we have this clip of trees on the right, and we have this clip of will on the left. I'm going to select a different clip in my footage folder, and I wanted to show up in between those two clips. You can hold down command on your keyboard and doing that will move all of the footage to the right of your cursor over. So when you drop that new clip down, there's the new clip of me in the red jacket. It's now sitting in between the clip of will and in between the clip of the tree because we held command when we drive back, clip down. It didn't replace the clip of the tree rather and moved all of the footage over to the right. So remember when you're dragging new footage onto your timeline and you don't want it to replace any of the other footage, hold command as you drag it. Sometimes you need to watch part of your video or part of a specific clip on a loop. So let's look at how to do that. Okay, so Let's say you want to watch back a particular part of a clip on a loop. Well, you could do that very easily. Improver Pro. So first, let's go to the beginning of where I want this clip, toe loop, Press I and R Keyboard to create Name Point, and I want the video playback of this clip toe end. Here's all press Oh, to creating outpoint. Next, go to your program window and click on the plus icon on the right hand side. Fantastic. The Springs up the button editor and you want to find the loop playback symbol. Great. Click on it and drag it onto the toolbar area of your program window. OK, great to the last thing you want to do is click on it so that it's turned on and it's indicated that's on because it's now on blue Auburn. My cursor to the beginning of this clip. Press the space bar and there we go. We now have the clip looping within that in and out point. So as I mentioned, Will and I have a YouTube channel called Ali and Will and on YouTube, you need tohave thumbnails with your videos. Now, I prefer using images from the footage that we capture and improvement pro. There's a really quick and easy way to do that. I'm gonna show you how right now on YouTube as well as on skill share, it's great toe have thumbnails. So something I love to do is actually pull shots from the YouTube video or from the skill share class itself and use my favorite shot when I'm creating my thumb now. So I want a still image of the shot of will and Premier Pro has an option to do that. Let's go up to our program window, and we can click on this camera icon here that brings up our export frame box and the formats J. Peg. That's great. I'll click browse to choose where it like the still image to live. We also have the option of importing this still image into our project. I'm not going to do that, though, and press OK now have over and here we go. Since I'm working in the 1920 by 10 80 resolution sequence, this image is also 1920 by 10 80 which works great for YouTube and skill share thumbnails. Congratulations. You've completed this primer. Pro class and learned tips, tools and effects to make editing improvement pro. More efficient, easier, faster, more fun as well as some ways to make your videos. Mawr engaging and creative If you're filmmaker or video editor and you want to stay up to date with the classes that I'm putting out about filmmaking and editing improver pro, then remember to follow me here on skill share. Check out any of the other classes I have that might interest you. And we do have a YouTube channel called Alley and will where we put out weekly tutorials all about filmmaking. So if you're into learning more about how to be a better filmmaker, I definitely recommend you check other channel. Thanks for checking out this class. I hope you have tons of fun video editing in applying these new tools and effects to your video. Edits when you work inside Brumer pro, and I hope to see you in future classes 3. 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. 4. 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. 5. 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. 6. BONUS How to Motion Track Out a Logo: Hey, I'm Allie, and in this quick tutorial, I'm gonna show you how to mask and track by hiding this big circular sticker on this iPad here, the technique you're going to learn can be used for lots of different things. Let's say you want to hide a logo that's moving around on screen, or you want to hide something that's in the background of a wall. By the end of this video, you're gonna know how to do just that. We're in. Premier Pro will select this clip on our timeline. Hold down the altar Option key on our keyboard and drag up to the second track to create a duplicate of this clip. Next, turn the visibility of the original clip on track one off by clicking on the eyeball icon, so it's crossed out. We don't want to be able to see the original clip because if we could see it, we wouldn't be able to easily spot or mask and it would just make things confusing. And the effect panel search bar typing crop, there it is in the Transform folder. Drag this effect onto your clip on the V2 track, pop on over to the effect controls panel. And before we just the crop effect, let's get a closer look at our Eclipse so we can choose the best area of the iPad to use as a mask. Go to the program monitor, drop-down menu here and change the view to 200%. So we're nice and zoomed in. I'll just scroll down here so we can see the iPad and circle in effect controls under the crop effect, select the free draw Bessy eight tool and over an area of the iPad that's a more solid color that doesn't have any distracting elements. Let's draw a tall rectangle. This will be the part of the iPad that we use to cover the circle. Now, the decision of the shape of the mask you create should be made on ecliptic clip basis, but I'm choosing to draw a mask, its rectangle and larger than the circle because this rectangle mask will blend better with the rest of the iPad and be a lot less noticeable, not noticeable at all once we're done with it, then if we were to draw a circle mask in this case, okay, we've got our mask now under the crop effect. Let's bring the crop over from the left by scrolling it from 0% to 100%. Cool. So now we have a rectangle crop that ever clip, but we actually want the opposite of this. We want just a rectangle mask showing the gray of the iPad and the entire clip around it to be cropped out. So we can quickly do that by check marking inverted. And now we ever masked that will track over the circle. Let's skip through this clip to make sure no distracting elements are gonna show up in our mask. And here we can see the top edge of the iPads or into Show. We don't want that to be visible. So let's select these top points of the mask and drag them a little lower. So we're just seeing that solid gray part of the iPad. Great. Oh, and our mask feathers set to ten by default, which suddenly softens the edges of the mask instead of having a sharp edge. In this case, I'll leave the feather at ten, depending on the clip you're working with, you may choose to increase the feather or decrease it. Let's go back to fit View and turn the clip on the B1 track back on. I'm going to select the mask under the crop effect so we can see the blue outline of it and scripter the clip. Okay, so we have our mask, but as the iPad moves around on screen, the mask staying still. So we get a track this mask, making sure that the V2 trek clip, which is the mask is selected and on our timeline and that are cursor is at the very beginning of the clip because this is where we'll have our tracking begin in the effect controls panel, we can adjust the position of the x axis until the mask is covering the circle like so under the mask drop-down menu where it says mask path, Click on this circular toggle to the left to place your first keyframe, which will hold the position of the mask in this spot. Next, we use pre-molars mask track, which is pretty great job of tracking, press the play icon and this is going to take a few seconds. Okay? These are the tract key frames that are now holding the position of the mask over each frame of the clip. Let's check out how successful the tracking job was. And as you can see, it's a pretty good job over all. But there are few areas where the tracking missed the mark, which is okay because we can manually adjust the masks position in these areas. Let's just get a closer look at our mosque. And this line indicates the play heads position and where it is within your clip. Depending on which keyframe it sits over. If we move our mask, the new position will be saved to that specific keyframe. Click on the mask here to show the blue outline of it. And we can bring our cursor over the program monitor where the mass is doing. This brings up a hand icon which allows us to click down and move the position of this mask so it covers the circle that's peeking out. Awesome. This new position has been saved to that keyframe. Let's play ahead to see where the circle pizza again and Mover Mask again to hide it. And now that we have the new position saved, let's check this clip out. Awesome, so there you go. That's how you mask and track distracting elements to hide them as they move around in your clip, imprimatur Pro 7. 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. 8. 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. 9. 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. 10. 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. 11. 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. 12. 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. 13. 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.