PREMIERE PRO: Create 5 Styles of LOWER THIRD TITLES in PREMIERE PRO | Alli Bartlett | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x


teacher avatar Alli Bartlett, Filmmaker. Youtuber. Business Owner

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

20 Lessons (1h 55m)
    • 1. Introduction to Your Instructor and This Course

    • 2. Where and How to Get More Fonts for Your Lower Third Titles

    • 3. How to Create a Simple Lower Third Title

    • 4. How to Create a Professional Lower Third Title

    • 5. How to Create a Corporate Lower Third Title

    • 6. How to Create a Creative Lower Third Title with a Logo

    • 7. How to Create a Social Media Lower Third Title

    • 8. How to Export Your Lower Third Title

    • 9. BONUS Best Way to Sharpen Footage

    • 10. BONUS 4 Secret Premiere Pro Hacks

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

    • 12. BONUS How to Reduce Moire in Premiere Pro

    • 13. BONUS How to Edit Faster in Premiere Pro

    • 14. BONUS How to Put Footage Inside Text in Premiere Pro

    • 15. BONUS Mistakes New Editors Make and How to Fix Them

    • 16. BONUS Premiere Pro Basic Tips

    • 17. BONUS Premiere Pro How to Relink Offline Media FAST

    • 18. Bonus Premiere Pro Production Panel for Solo Editors

    • 19. BONUS How to Use Photoshop Files in Premiere Pro

    • 20. BONUS How to Remove Background Noise in Premiere Pro

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class Alli Saunders will teach you How to Make 5 Different Lower Third Titles in Premiere Pro 2019. Alli Saunders has been a professional video editor for over 5 years and owns a video production company in Toronto, Canada that specializes in commercial and web videos. She edits most of her video projects in Premiere Pro and over the years has come up with many ways to use Premiere tools to make her videos more engaging, interesting and fun. In this quick course she will teach you how to make awesome and unique lower third titles that will stand out!

Meet Your Teacher

Teacher Profile Image

Alli Bartlett

Filmmaker. Youtuber. Business Owner


Connect with me:

SUBSCRIBE on YouTube FOLLOW on Insta
Click the +Follow button here on SkillShare to stay connected! See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction to Your Instructor and This Course: lower third titles or something that we, as premier pro editors often have to use in video edits. And it can be quite time consuming and challenging to come up with a good looking lower third title for a video project or to pay tease a template. And it just had template to fake your own video project. Hi, everyone. My name is Allie Saunders, and I own a video production company in Toronto, Canada, where we work mostly on creating commercials and corporate videos for our clients. I have been a premiere pro editor for over five years and often have had to create hundreds of unique lower third titles for various client projects and for my own YouTube channel. Over this time, I have learned the type of lower third title styles that clients love and how to create them efficiently. All inside of Premiere Pro. In this class, I'm gonna teach you how to create five different lower third titles. You'll learn how to create a simple lower third title, a corporate lower third title, a professional lower third title. Ah, creative lower third title with a logo and a social media lower third title. I'll show you the various ways I animate my lower third titles as well as my favorite effects toe. Add to them. I'll also show you where I get my social media icons and text from and how to export your lower third titles so that you can use them in multiple video projects. You can download the demonstration clip provided to follow along. This class is for people who are comfortable working in Premiere Pro, and this class would benefit any Krumer pro editor who wants to start creating their own lower third titles. By the end of this class, you will know how to make lower third titles look professional and you'll be able to apply what you learnt so that you can create your own lower third titles. And I'm creating new classes on sculpture almost weekly about premiere pro editing and film making. So if you're interested in seeing more classes on these topics, feel free to check out my other classes and follow me so that you're notified when I do create a new class. With that, I'm excited to teach you how to make floor third titles that stand out in Primer Pro so we'll see you in the next lesson. 2. Where and How to Get More Fonts for Your Lower Third Titles: all right, so the first thing that you need to do in order to follow Long is download some free fonts . I go to www 0.1001 fonts dot com to find a lot of my free fonts, and I always look for funds that are free for commercial use. That way I can use them in my corporate projects as well as my classes, my flogs and so on. You can tell that a phone is free for commercial use if it says free for commercial use when you look it up. Now, I have a bit of a unique set up with my computer. I use a PC computer, but I have my key board set up to Mac. So I will show you how I download these fonts where I store them on my PC computer, and you can do a similar thing if you're using a Mac computer. So let's get right into this. Go to your Internet browser and go to www 0.1001 Fahnestock com and in the search bar provided type in Amazonas font. Or you can just type in Amazonas A M A. Said O N A s you'll see this phone come up. Click on download, and this phone will be safe to wherever your downloads go. Press save. Okay, great. Once you download this first font type into the search bar, Barlow, B A, R L O W. And Barlow is going to give you a few different options. Regular, condensed, regular, regular. Cool. You can download each of those next type into your 1001 Fahnestock com search bark rodders R o T T E R s, and you'll get this nice cursive font that you can again download next type into the 1001 fonts Search bar. Sell a wick S E l A W I k and download that font Next, and finally type in Vlad Ivo Stoke in two year 1001 Fund search bar. It's spelt V l A d i v o S t ok, and download that fund. Great. So I'm not sure what kind of computer you're using or how exactly you save your fonts. But I'm gonna show you what I do to save my phone's on my PC. And if you're using a Mac, you should be able to save thes downloaded fonts into your font book, so you'll probably have to type in the search bar in your back font book that will appear. And you would select the contents of your downloaded from folder and put them within your front book. Since I already have a lot of these phones, I'll just show you what I do with this Amazon. This font that's within my downloaded folder. So I'm first going to bring up a new tab. I will click on local disc C, select the Windows folder and select my fonts folder here. This contains all of my fonts. Just gonna move this window over here, Go back to my download folder. And what they need to do is get the contents out of this compressed zip file. So what I'm gonna do is double click on this Amazonas folder and select this true type font file and drag it into my front shoulder. Great. Okay, So once you've downloaded all of these fonts and you've put them in your front folder, you may have to restart your computer just so that they're all saved and they're all in your front folder, ready to go. This is sort of the most TV ist process of this entire glass. Once that's done, you're gonna have some really cool new fonts to use and follow along with in this class. And in the next lesson, we're gonna get right into creating your first lower third title. I can't wait. I'll see you in there. 3. How to Create a Simple Lower Third Title: all right, We're gonna create our first lower thirds title and we're going to call this a simple, lower thirds title. It's just gonna be the person cameras name. That's me. So it's just going to say Alley Saunders, I'm gonna make sure it looks modern, minimalistic and cool. We aren't gonna add a job description or website or anything like that. We're just keeping it simple. And this would be a great lower thirds title to use and they log or in a video that feels a little more casual and a little more intimate, we're not gonna be adding a job title underneath or anything like that because that would make it more professional, more corporate feeling. And we're gonna save learning how to do that for upcoming lessons. All right, let's get into it till starting off in Premiere Pro. Make sure you've brought in the demonstration clip provided and without demonstration clip in your project panel. Let's drag it onto the timeline. This will be used as a reference point as we're creating these different lower thirds titles because it's nicer to see how the lower thirds titles will show up with a person on screen Now this is me. And because I am shown on the left side of the frame, I'm gonna have my lower third title show up throughout this class on the right side of the frame because I like the visual, wait being balanced. So because I take up a big chunk of the left side of the screen, the different lower thirds tales that would create will feel nice on the opposite side of the frame. But once you learn all these tools and how to create different types of lower thirds titles , you can choose to place them right underneath the person shown and frame or on the opposite side of that person. It really comes down to look and your personal preference or your clients preference. You'll want to make sure that your essential graphics panel is up. I have mine right here on the right. If you're essential. Graphics panel ISn't SHOWING UP. You can goto windows and click on windows and check mark essential graphics. Great. You'll also want to make sure that your edit tab within essential graphics is clicked on and you can tell that it's elected because it's underlined. Cool. OK, one more thing. A tool that I'm gonna be turning on and off throughout this class is the safe margins tool here in your program window. I like to use the safe margins as a reference point when I'm placing my text or shapes into position. Usually all line up my lord third title so that it is just touching this inner border here . And you can turn it on and off by simply clicking this icon. It's turned on which you can tell, because the icon is, um, blue. By turning it off, you can no longer see it. If you don't have this icon showing up in your program window, you can click this plus button the button editor and select that safe margins icon and drag it onto your toolbar press. Okay, great. So we will make sure that the safe margins tools turned on for the time being. Next, I will go down to my tool bar. That's to the right of my timeline. You can drag it out our inward, whatever you prefer, that you can see clearly because we're gonna be going back to this toolbar a lot throughout this class and make sure that the type tool is selected again, you'll be able to tell it selected because it will be in blue covering our mouths over the program window. Let's click on it. And you may have noticed that when you click on it under the essential graphics panel within the edit tab, we now have a whole bunch of text options. We're gonna be coming over to this panel very soon. First will be typing out my name in caps locks. So all capital letters. Ali Saunders. A l l I Space s a u N D E r s Great. All right. So likely the text that you typed out didn't default toe Amazonas. It might have defaulted to whatever text you last used in Premiere Pro, so to make sure it's the Amazonas text, let's highlight that title Alley Saunders have her over art Edit tab in essential graphics and where it says text, you can see this drop down menu here. When you click on it, you will have access to all your text within Premiere Pro, and with this text highlighted, you can simply type in Amazonas. It's already selected for me great, and my tracking has also defaulted to the last tracking setting I used, which is 76. This is the tracking icon. We're gonna be referring to this a few times throughout this class. So let's click on that number and I'm gonna tape in 100. Click off of that you're tracking might already be defaulted to 100 or it might not be. So. Just to be consistent so you can follow along. They seem clearly make sure tracking is set to 100. Great. The next thing we want to do is move this text over because it's currently really close to the end of frame here. So let's go to our toolbar and click on the selection tool. And now we can have a right over a program window and drag that text in words following along moved this text so that it almost sits right on that inner bottom line of this safe margin frame. And so that the end of the text es here almost touches up to this right inter frame here. Now that looks good, but let's add a sheep behind part of the name so that we could make this lower third title stand out more and look unique. To do that, we can go up to the graphic tap here on the left of the premiere Pro window. Click on graphics hover over new layer Embraer, most to rectangle. It's click arm rectangle and this rectangle, this gray rectangle has been created, and it's shown up on our program window. We can move it around wherever we'd like. Let's put it over top of Saunders. Let's drag the right side of it. Just passed the S at the end of the name Saunders and let's drink the height of it down just so that it overlaps thesis on ders text. Cool will be adjusting this sizing later to make sure that looks good. But first we have to get that rectangle behind the last named Saunders because right now we can't see it. How are we going to do that? As you can see, we only have one text layer here on their timeline. The Alley Saunders text layer and this rectangle has been created within this text layer. An easy way to tell that is to toggle the eyeball on the V to track off all the assets that air in that layer have been turned off and we'll turn it back on very go so the rectangle is within the text layer in order to move that rectangle behind the text, let's go up to the edit tab in essential graphics quick on the shape layer that shows here , that's a shape one and drag it underneath the text layer. That, says Ali Saunders. Great. And what that's done, as you can see in the program window, is that's moved the rectangle behind the font. Within this edit tab, you can also turn the eyeballs on and off on either the text layer or the shape layer to see what it looks like with and without the great color of the rectangles. Kind of boring, in my opinion. So let's spruced up a bit under appearance in the essential graphics tablets. Click to the left of Phil on this color picker box here, and I'm gonna click here within the purple part of this slider because I want a nice, rich purple color for my rectangle. So hovering my mouse over this square, full of all sorts of purple hues and saturation, I'm gonna click on a purple that I like. Okay, there's a little preview of the purple color, and you can choose your own purple color. Doesn't matter if you perfectly follow the exact color I use. You'll still learn everything you need to learn. But if you do want to use the exact same color that I'm using, then at the bottom of your color picker screen where this number icon is, type in 340 841 That is the hex code or hex number of that exact color. Great press. OK, and now the color of your rectangle has changed to that beautiful purple color. Okay, so that's looking really good. It's simple, minimalistic. It's not too in your face, but it tells you the information that you need to know. Let's zoom in on our program window to make sure that rectangle is lined up nicely. We can do that by clicking on this drop down menu, where it says fit on the program window and let's select 100%. We'll scroll over to the right and will scrolled down. Let's turn our safe margins on, and I want to drag the rectangle up slightly because, as you can see, it's kind of showing underneath thes safe margins border frame that I'm using. So if you try and click on the rectangle is actually pretty hard to do because the text is over top of it. So you might accidentally select the text. So go back up to your at it window click shape. So you've selected shape, and that will lie to drag your rectangle over. So we're just gonna line the rectangle up so that it's perfectly touched up to this inner safe margin lying. And then we will bring the bottom of the rectangle up just a little bit. So again, it's perfectly lined up on the safe emergence line. We also want to be mindful of the spacing on the right of the rectangle in comparison to the last letter again compared to the left side of the rectangle. So, as you can see on my rectangle, the left side of the rectangle has about doubled the space within it before the S compared to the right side of the rectangle. So I'm going to drag my rectangle in just a little bit, so that looks even on both sides. Great. And next, I'm gonna go back up to the edit panel. Select my text again and you can see it selected because it's got this thin border in blue . And I'm gonna move this text up just a little bit so that it has the same amount of space from the top of the text to the top of the rectangle, as it does on the bottom. Once you're happy with the alignment of your text in comparison to the rectangle, you can click this drop down menu again and select fit. Great. Let's click on our timelines. We de select the text and the rectangle. Let's also turn Are safe, emergence off by clicking on the safe margin icon. And now that we have our lower third title looking good, we want to add a transition onto this lower third title. So the first thing that will do is in our timeline. We will drag the title layer so that it extends to the end of the demonstration clip perfect. Next, because we're not gonna be messing with the demonstration club, all I'm going toe lock that video tractor so I don't accidentally move it around. And since this is just a nice, simple lower third title, we will add a dissolve on the beginning and end of this lower third title. This is a quick and easy way to introduce the lower thirds title and remove it from the frame. As we move on in this class, you're gonna learn some more complex transitions, which I'm excited to show you, cause some of them are really cool. They also do take a little bit more time and can add more of a tedious process. So again, we're keeping this one simple. Let's select the text layer by clicking on it in the timeline and with our cursor at the front of this text layer, you can see mine right here, press command G or controlled the on your keyboard. And as you can see, that has brought up a cross dissolve on the beginning and end of this lower thirds title. So I'm gonna now play this through and you can follow along, play years through as well to see what that looks like. Awesome. Okay, so that is a look at creating a simple lower thirds title with just one line, not multiple lines, not two lines. Just one line. In this case, it was the person me my name. And the next lesson we're gonna create a more professional, lower third title that you could use for a corporate video within an online course and so on, so I can't wait to see you in there. 4. How to Create a Professional Lower Third Title: Welcome back in this lesson. We're gonna look at making a professional looking lower. Third title will start by bringing our mouse up to the demonstration clip right, clicking on that and selecting new sequence from clip. As you can see, we've created a new sequence from that clip. So let's call the first sequence above here. Simple, because that was the simple lower third title and we will call this new sequence professional. And you can see this new renamed sequence is on. The timeline right here will close the simple sequence. Perfect making sure our text tool is selected. Let's click on the program window and go over to our essential graphic editing tab under text. Let's click on that drop down menu. Start typing a m a. There we go. We're looking for the Amazonas text Will select that great again, making sure text tool still selected on the program window. We will start typing a l l i in capital letters Space Saunders essay you and dear s. And on second thought, I think I actually like the Barlow text that we used earlier. So let's switch this font to Barlow. Great. Next with our mouths hovering over our program window. Let's select just the first name with Allie. Selected will go back in the text tab to the right here and click on the drop down menu that currently says Regular, Let's choose bold so that the first name Alley is M bold. Next we'll click on Phil and let's go for a teal color. So we'll select the blue area of this slider here and click on this nice bluish chill color . If you want to follow along exactly with this color, you can type in the hex code one a five c six f press. Okay, all right, Let's bring her mouse toothy timeline and select that Ali Saunders text will go up to the effects panel and typing drop shadow. The drop shadow effect shows up in the Perspective folder here, so let's drag that effect on to the Alley Saunders title. On the timeline. We'll go over to effect controls. Let's go down until we see the drop shadow effect. There it is will increase the capacity to 100% so that it stands out more and will change the distance from five. If you're says 5 to 3 great Let's drag this text layer wider so that it matches up nicely with the duration of the demonstration clip. We will click back on the program window and notice one week. Do that. We're making a new graphic layer that has shown up on the V three track in their timeline in Capitals. Let's type Content Creator will highlight that click on Phil and change that Phil to White . Great. Let's hit the drop down menu that currently says Bold and we will change that Too thin. Analysts changed the text size off content creator to 60. We can just type that in here. Cool. That's looking good. Let's hover over this toolbar and choose thesis election tool so that we can drag this content creator text to the rights will turn on our safe margin effect. Just use as a guideline. As we position this content creator text nicely, we can move the top layer of text over a little bit as well. Lovely. Let's turn off the safe margin so we can see what that looks like. Will drag the content creator layer over and out so that the same duration as the other text layer. Let's bring the Alley Saunders text That's on the V to trek above the content Creator text , because that's how we're visually seeing it. The names on top and the job titles underneath. Great. Now we'll highly both of these text layers and drag them down just to keep things looking nice and organized. This lower third title is looking really good. Depending on the footage that you're gonna have your lower third title showing up on you can change the colors around. You can change the drop shadow color even to make the lettering stand out War. And because my very pale arm is in frame behind the white text, that's a reason I've added a subtle drop shadow to the text just to give it more of a punch . So that stands out more from the background footage. Okay, now we're gonna get into animating this lower thirds title, so let's select the alley Saunders layer on our timeline. We'll click on this drop down arrow on the left of the drop shadow effect to bring it up so that we're not seeing all of that information there. Next, let's bring our cursor to the very beginning of the timeline where the Alley Saunders text begins and using your right arrow key. Hate, You're right arrow 10 times so that you're moving over 10 frames. Great. Now let's go back up to the Effect Controls panel here, and we'll click on this position toggle so that we put a key frame onto that text layer. You can see the key frame. They're all just drag this out a little bit so you can really see what's going on here. Great. Okay. With that first key for him down in that position, hit the up arrow on your keyboard to bring the cursor to the very beginning. The very first frame of that alley. Saunders Text layer. Great. Now let's go back up to position with our mouths and drag that position to the right of frame. You can check out the program windows to see what's happening, so we'll drag that position until just until the A is no longer visible. Great. Drag your mouse over both of those key frames to select them. You can tell they're selected because they're now in blue and press command or control C on your keyboard toe. Copy those key frames. Great. Now we're gonna go back down to the timeline. Here, select the content Creator text and press command V or control V to paste those key frames . Now, with these key frames on this content creator taxed, the same motion will appear on that Texas. Well, next, let's highlight these two key frames hover over temporal interpolation and select ease in, and you can see that the key frames have now been affected, so the shape of them has changed. Adding ease in will make this title ease in nicely. And we can also drop down the position, drop down arrow here and move around the smoothness of this season effects like so Okay, bring your cursor to the timeline to the beginning of the text layer and hit the space bar to play that through and see what it looks like. I'm going to do the same for you to watch. Check it out Nice. Okay, we'll bring this drop down menu up, and let's dragger mouse over both of these key frames. Press command, see or control C on your keyboard to copy. Those key frames will select the content creator layer, making sure that our cursors at the very beginning the very front of this layer and will press commander Control V to paste those key frames. Let's bring our cursor to the beginning of the timeline. Hit the space bar to play this through and check out what it's looking like. That looks cool. Looks professional. I really like that one subtle thing we can do now to make this a little more visually engaging. An interesting is Select the content creator text layer and drag it to the right slightly like so nice. Okay, check this out. So bring your cursor to the beginning of the timeline again. Hit the space bar to play that through Nice. That's looking awesome. So we have that nice movement. The first name comes in and the second text layer the title. The person's job position comes in right after. Let's drag the end of the content Creator text layer inward. So again it matches up with the Alley Saunders text layer. Select both of those text layers, right click and choose nest press. Okay. And as you can see, those two text layers have become one layer. This is gonna make animating this lower third title out off screen easier because the animation we put on this nested layer will affect both of those text layers Within that nested sequence with our cursor at the end of this nested layer, use your left arrow key to move in 10 times. Great. Now let's go up to the Effect Controls Panel once again will click the position toggle to put a key frame down. Now hit the down err on your keyboard to go to the end of that layer once or at the end. Press the left here wants to go in one frame, will go back up to position and dragged this part of position that says 9 60 to the right so that we're removing the lower third title all the way off frame. Awesome. Let's bring her mouse over these key frames and select both of them. Right Click good a temporal interpolation. Choose ease in. Click the drop down menu beside position so that we can see what's going on here in a just the smoothness. Okay, good stuff. Let's bring her cursor to the very beginning of the timeline. Hit this base bar and play this through to see how it's looking. Beautiful bats looking great. There you go. You have completed a professional looking lower third title. In the next lesson, we're gonna make a different lower third title. Ah, more corporate lower third title. We'll see you in there. 5. How to Create a Corporate Lower Third Title: Welcome Back now will be creating a corporate lower thirds title. Let's go up to our project window and right click on the professional sequence and select duplicate. We now have a duplicate of that professional sequence. Let's select it and rename it corporate and double click on this new corporate sequence to open it up in the timeline. Let's close. The professional timeline will go back up to the program window and DoubleClick on that nested sequence. To open it up, select the text layer that says Ali Saunders, and hold down the altar option key on your keyboard to drag this text layer to the rate. And when you let go, there will be a duplicate up this layer press command or control C on your keyboard. To copy this duplicate layer, let's go back into our corporate sequence and will select the view on track and so that the V one track isn't highlighted in Blue Press Command or Control V to paste that text layer. OK, select that text layer and drag it up onto the V three track. Now with your textile selected, go up to the program when go and click on it, doing This will create a new graphic layer, which you can see in the timeline. Start typing in all lower caps. Content Creator Select Content Creator. Let's click on the next drop down menu and change Bold to regular. Great. Select the text size and change it to 70. Let's choose the selection tool on this toolbar and go back up to the program. Window will move content Creator over to the right, so that sits under the Ali Saunders text nicely. Let's go back to the timeline and drag out that content creator layer so that the duration of it is as long as the Alley Saunders sex layer next will bring this content creator text layer onto the beach to track. Just gonna drag this time like a bit so we can see what's going on better. And let's go up to the graphics tab. Select new layer and select rectangle, and when you do this, you will see a rectangle layer appear on the timeline and a rectangle appear on the program panel. Let's elect that rectangle and drag the right side of it out longer and let's move it over top of the last name. Saunders. We'll just drag this rectangle layer so that it's the same size as the other layers on the timeline and drag the alley Saunders layer above the rectangle air. And when you do that, the Alley Saunders text sits in front of the rectangle. Let's drive the height of this rectangle down and move the sizing around to get a closer look. Let's zoom into this program window more by selecting the fit drop down menu and choosing to zoom in by 75% will scroll over to the right and down so we can see where were out with the lower third style so far. Now select the rectangle again and drag the size of it so that it looks like there's an even amount of rectangles slightly showing around the name. Click on Phil and let's change that color of the rectangle to black. Okay, now let's go back to the drop down menu here, and select Fit will select the rectangle on the program panel. Go over to the Effect Controls panel. Click on the pencil here, and this drop down menu will appear, making sure mask is selected. Go over to the program window and follow along as I'm doing with the pencil around the rectangle. So we're going to put the first pem point above the A on the rectangle. The second point will put at the bottom left part of the rectangle here. The next point will put on the rectangle under the are and the next point will put on the top right part of the rectangle and now will connect the final point back over here. We've just masked out the edges of the rectangle and created this cool shape here. Let's zoom back into the screen by going to fit and zooming in by 75% will scroll over and down. And now, huh? For our mouse over this bottom left point here and adjust it slightly if you need to and check this out. If you move this point up too far, you'll actually start masking out Maurer of the rectangle. So basically want the shape that you've created using your masking tool to have straight lines and look even on both sides. So adjust accordingly. I'm gonna zoom out to 50% here and move this entire shape over slightly awesome. Let's click off of this mask by clicking on the timeline, and now you d selected your mask. Let's click back on the rectangle shape and click on Phil to change the color to read Press . OK, awesome. Let's fit to screen so we can see how things were looking so far. Okay, we'll go up the graphic Taba gang. Click on it, click on new Layer and again, Select Rectangle, and this new rectangle appears. So let's drag its height smaller and let's drag it below the Alley Saunders title, dragging the with in a little bit. And we're going to adjust this a bit more later, so we have to fuss too much over right now. Let's drag this new layer down and over to the side of the timeline will move the content creator layer up and bring this new graphic layer on to track feet to drag the slayer out. So it's the same size as the other layers and go back up to the program window to adjust the sizing of this rectangle so that it fits nicely around the word content creator. We'll go back down to the timeline and select the top two layers, right click and select Nest press OK, so we've just nested the name Alley Saunders with the rectangle shape that's underneath it . Now let's let these next two layers on V three and V two and right click right click and Select Nest Press OK will drag that top nested lier onto the V three track now. And because we duplicated the name Alley Saunders from the previous professional lower thirds title, we also have the animation effect on here. We're going to remove that by double clicking on this top text layer toe. Open it up. Let's hover over these empty layers, right? Click and choose. Delete track and select Delete video tracks, all empty tracks. Press OK, and now those empty tracks are gone. Okay, let's select the top layer here, and when you've selected it, you can see the tracking points up here. So with this track selected, we can right click and select, remove attributes and de select opacity makes your motion is selected press okay and that will remove those key frames. Let's go back to her corporate timeline and close the nested timeline. We'll go up to the effects panel and type in white. This has brought up a lot of transitions. This has brought up a lot of transition effects. So let's choose barn doors and drag it onto our top nested layer on the timeline. Let's play that through to see how it's looking nice. Okay, now let's go back up to the effects and choose random blocks. Drag that onto the lower nested layer. Cool. Okay, let's drive the lower next layer to the right. Just a little bit will drag this layer in so that it matches up with the other layer. Here, go back up to our effects and drag. Wipe onto the end of both of these layers. And let's drink the length of this wipe effect on both of the layers A bit shorter. We'll see how this looks. Awesome. One more thing we can do. Tow. Watch this back smoothly. That lag is with our cursor. At the end of these layers, we compress O on your keyboard to put an out point, will scroll over to the front of this timeline and press I on your keyboard to create an out point. Now let's press enter on our keyboard, and this will render the area of this clip that's currently showing inbred. Great. So now when you watch this play back, it shouldn't Legace much. So you've already created some cool, unique, lower thirds titles that come work with you in vlog videos, corporate videos, commercials, documentaries. Next, we're going to create a lower third title. That's actually my favorite style. It's a more creative lower third title where we mix up our fonts, so we use a few different fonts and a logo, so I'll see you in the next lesson. 6. How to Create a Creative Lower Third Title with a Logo: out of all of the lower third styles were creating in this class. This creative lower thirds titled with the logo is my absolute favorite. Let's bring her mouse up the corporate sequence here in the project window. Right? Click on that sequence and duplicate it. We will call this new sequence creative with logo. Okay, double click on this new sequence. To open it up will delete thes top two nested layers. Let's click on our text tool and hover over the program window. Let's start piping capital. A lower case L. L. I highlight this text and change it to Rogers. And now the first name of this lower thirds title is in this fun handwriting fun. Let's also type out Saunders and select the Saunders portion of the text. And let's change this to Barlow again and will make it light. Great. Let's let Ali and make that text bigger. 1 29 looks good. Let's select and highlight the space in between Alley and Saunders, and we will decrease that space by dragging our tracking slider toe left to minus 1 61 And now that space in between the first and last name is smaller. cool. I'm gonna fiddle with the sizing of Saunders a bit more by selecting it and increasing the font size to 1 10 Next, let's elect that text layer and drag it to the left of the timeline so that it's in the same starting position as the reference clip below on Track one and again dragged the end out so that the length is the same as the duration clip. And with this text layer still selected on her timeline and with our text tool still selected, let's click on the program window and noticed that because the text layer was selected when we add a second text line, the second text line remains within the original text layer. A new graphic clear hasn't been created, and in just a few minutes I'm gonna show you how you can change that, in case you do need each text line within its own layer. For now, in all, lower case is let's type content creator. Let's grab our selection tool to move this new text layer over so it sits to the left and underneath Alley Saunders, hovering your most over the Project window, right click and select Import and Let's elect this pink local here great will import this by pressing open. There it is in the project window. Let's drag it onto our timeline on the V to track. Extend the length of it to match the length of the other layers. And this local is way too big right now. So let's go up to affect controls and scale this logo size down to 25. And let's drag the position of the local over to the right and down next. Bring the scale of this little down a little bit more by typing 10 and drag the position over more so that the right side of the local sits underneath the arm and the S at the end of Saunders. And I'm gonna move my positioning on the tiles themselves over a bit more. Here, let's turn on their safe margins to use them as a reference point as we move the position of this lower third title around. Okay, let's change the color of the alley text by selecting it in our program window, and we'll go over to this eye dropper to the right of Phil. Select it. Bring the eyedropper up the logo and click on the deeper pink color in the logo. Doing this has changed the fill color of Ali to the exact pink from this logo. Let's increase the size of alley toe 1 44 That's looking good, and I know there is a lot of little refinements involved and creating a nice and precise looking lower third title and finding the right sizing the right color and the right fit that work within the style you're looking for. But this sizing now looks good. Let's click off the program window to see how this is looking will go up to effects and type in draw. There's the drop shadow effect will drag that onto the text layer Here, go into your effect controls panel. Drop the arrow down and let's change the drop Shadow opacity toe 100 the distance to three . I'm gonna toggle this effect on and off to see what it looks like before and after, and that subtle drop shadow makes it stand out more great. Let's select the word content creator here and change the color of this by selecting that eyedropper tool again. And hovering over the pink is part of the logo. Okay, Nice. Okay, this is a little too pink. And since the name alley sits over dark spot of frame, let's make it white. So it stands out more so we'll select Ali and change the filled toe white. Okay. And we're ready to animate this lower third style. All right, so right now we have both the Alley Saunders text line and the content creator Text line within one graphic. This graphic here on the V three track on your timeline. We're going to separate these two lines now so that they're both on individual graphic layers. So with this content creator layer selected on the V three track, hold it down with your mouse press alter option on your keyboard and drag it up to the V four track. In doing that, you've created a copy of this layer. Let's toggle the eyeball off on the copy. We've just created that sitting on the V four track, so we're going to turn that I bought off so we can't see that top layer. And with this layer still selected on the B three track, let's go up to our edit tab here in the essential graphics panel and select Ali Saunders. You can see when you select that it's been selected in the program window as well and press delete on her keyboard to remove that line from this graphic layer. Great. Let's go back down to our timeline and we're gonna toggle bat eyeball off on the B three track. Let's now turn the V four track back on by clicking this eyeball back on. And as you can see, this layer still has both lines in it. So we'll select this graphic layer on the B four track with its elected. Let's go back up to our essential graphics panel and again in edit. We're going to delete the opposite line now, so we're going to select the content creator line and press delete on her keyboard. Great. And because the content in this layer says Ali Saunders with no additional text, the name of this graphic layer on the V four track on her time on has been renamed to Allie Saunders. So we now have these two text lines on separate layers. Let's turn the eyeball on the B three track on so that we see the content creator line once again great. Let's let the content creator text layer and the local layer on the timeline right click and select nest press OK will drag this alley Saunders text layer down onto Track B three. Okay, let's go up to effect and type in Iris, and we will choose the iris round effect. Drag it onto the top layer that says Alley Saunders. Okay, let's move the nested layer here to the right so that it will appear once this effect ends here with her nested layer selected and are cursor sitting a few frames in to that nested layer. Let's go up to our position here. Hit the Tuggle position button, and we've created key frame. Now let's hit the left arrow on her keyboard a few times so that we bring our cursor over to the beginning of this nested sequence on the V to track here. And let's drag the position of this nested layer over to the right until the content creator text is out of frame. Doing this has created another key frame. Awesome. Let's elect both of those key frames and right click, go down to temporal interpolation and choose ease in. Let's drag the iris affect shorter and bring the nest layer closer to the beginning of the timeline. Okay, now let's go to the end of the solar thirds title dragged this nested there in just a little bit, go upto effects and drag down the iris round effect onto both of these layers. Drag the length of this effect in so it's shorter on both layers. Awesome. We have one more cool, lower thirds title that we're going to create, And I'm also going to show you how you can export any lower third titles that you create as Alfa channels. We'll see you in the next lesson. 7. How to Create a Social Media Lower Third Title: all right, We're not gonna work on our final lower thirds title for this class, and this one involves a social media tag. This style of lower thirds title is also something I'm getting requested to create more and more with clients, and I also use this style of a lower third title for all of my YouTube videos. So as we've been doing, let's go up to the creative with logo sequence. Right Click on that and click on Duplicate will rename this duplicated sequence instagram tag. Awesome. Let's double click on that to open it up and we'll close thes Other two sequences here will highlight these top two layers and delete them. Let's also right. Click on the timeline to clear the in and out, making sure text tool is selected. Let's go up to the program window, click on it and start typing Ali Saunders in Capitals and my phone has showed up in this funky green color. Although I like it, let's change it up. So let's select that name and go down to her eyedropper tool here in the essential graphics panel, hovering our eye dropper over the frame. Let's click on part of the blue screen that's in the background. In doing that, we have made our text color the exact same color as the color we grabbed from that blue screen. Let's go down onto the toolbar and click the selection tools so we can move this name over bit. Cool Will go back to the text tool. Let's select just the S in Saunders the first s and will increase the text size 2130. Okay, we're gonna do the same thing with the A here. Cool. Let's highlight all of that text and change it from bold to regular sweet again selecting all of this text. Let's go down to our tracking tool here and drag that to the right to about 50. So they're bigger spaces in between each letter. Great. I'm just gonna choose the selection tool again to drag that over bit. Go back down to the text tool, click on the program window and start typing in lower case front. I'm going to type in my social media instagram tag Ali and Will, and we're gonna put an at symbol in front of alley. Let's go over to our essential graphic panel and check marks of the Shadow box will double click here, where it's currently in gray for me and drag the color picker up to black so that the shadow in the background is black. Great, grab your selection tool and move that at Allium will fund over to the right. Now let's go over to our Web browser and type in picks. Obey dot com in the search bar type in instagram social media tag, and it's gonna bring up a ton of different royalty free free to use options for you. I've provided one that I've downloaded from this website in this course that you can use and follow along with. I just want to show you where I go to get my social media tags. So going back into Premiere Pro in our project window, let's right. Click and click on Import will select this instagram logo. Press open. There it is. Let's drive. That haunts the timeline on the V four track. Let's scale, but down to 15 cool will move the position of it up and over a little bit with their selection tool. Let's grab the at Ali and will font and drag that closer to the social media logo. Cool. Okay, now let's select the Alley Saunders text, and we're gonna change the color of it, so it stands out a little bit more. Double click on Phil. Let's pick this nice bright magenta here. Awesome. With Alexander still selected, let's go down to the appearance tab in the essential graphics panel. Check Mark the shadow box, double click there on shadows and again dried up to black so we have a black shadow behind the alley. Saunders Text. Awesome with her selection tool. Let's move this font around a little bit more sweat lined up nice. Okay, you've got the hang of this. So once you're happy with the positioning of the person's name on top and the social media tag underneath, let's go down to the timeline and select all three of these layers. Let's drink the link of thumb out. I'm right Click select Nested Press. OK, great. Next let's go into effects. Type in wipe and bring down this wipe effect on the beginning of this nested layer and the end of this nested layer. Okay, that's looking great. Good stuff. You've learned how to make a ton of different lower thirds titles for all sorts of occasions when you're editing your videos and I find, especially when I'm creating YouTube videos that I used the same lower third title over and over and over again. And because it is a bit time consuming to create lower third titles, I like toe have one saved ready to go, the Eiken drag in tow, every new premier pro project and YouTube video that I'm working on. This keeps my YouTube channels brands consistent, and it also makes my life way easier because it's just a way for faster process, then creating a new lower third title every single time I put a YouTube video. So in the next lesson, I'm gonna teach you how to export your lower thirds title as an Alfa Channel so that it has a clear background and you can bring that lower third title into any project you're working on. We'll see you in the next lesson 8. How to Export Your Lower Third Title: Let's just take a quick recap of the lower thirds titles that we've created in this class. We have our INSTAGRAM tag lower thirds title, our corporate lower thirds title, the creative with logo lower thirds title, the professional lower third title and the simple lower third title. Using what you've learned from this course, you can use any of thes lower third titles as a template to create your very own lower third titles. And, of course, you can customize them and tweak them so that they fit your own individual style and editing needs. One more thing I want to show you is how to export a lower third title in an Alfa Channel so that you have a file that contains just that lower third title with the animation and everything without the footage in the background or just a blank black screen, the background Follow along. Click on the creative with logo sequence, go up to file export. Choose media. Click on this drop down menu where it says format. Choose quick time Apple Pro Rez. 4444 Let's bring her mouse down to the video tab here, scrolled down and where it's a depth. Let's choose eight. Dash B PC plus Alfa Great! And now let's turn export audio off by un checking this box and let's press export. We've exported that Alfa Channel. Let's imported back into our project by right clicking on the project window pressing import Select Creative with logo open. And there is I'm going to just drag this demonstration clip over in the timeline and will drag this creative with logo Alphatec overtop scrub through. And as you can see, you now have a lower third title within an Alfa town. And there you go. You've learned how to make five different creative, professional, unique lower third titles. Congratulations on completing this course. And if you're interested in learning more about video editing and specifically premiere pro , then follow me here on skill share because I'm putting out new classes here in skills here , almost weekly. You can also stay up to date on what I'm doing as a filmmaker by subscribing to my YouTube channel called Ali and Will, where we put out travel vlogs, how twos and reviews and I want to thank you for taking this course. It was a blast teaching you had to make different, lower thirds titles. I hope you enjoyed it. And I hope to see you in future courses here on skill share. 9. 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. 10. 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. 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 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. 13. BONUS How to Edit Faster in Premiere Pro: In this tutorial, I'm going to show you five things you can do right now in primer probe to make editing faster. First, if you want to move a clip or an asset that's on your timeline from one track to another track. Really quick and easy way to do it is selected, hold down, Alter option on your keyboard and use your up arrow to move it up, or use the down arrow to move it down a track. Next, let's look at how to quickly add a key from your audio track where the volume line is, you can hold down command on a Mac keyboard and control on a PC, and click the areas where you'd like your keyframes to be placed all at these two keyframes. So I can fade this music lower, and we could use the command or control key on your keyboard and click on Align within our footage here to do something like create a fade, like so. Now when you're working with audio and you're using this line to adjust the volume, it can be pretty annoying to try and get it to the exact decimal you wanted at. I'm going to show you two ways to make adjusting the volume easier. So by selecting the audio volume line and then holding down Command on the Mac and control on a PC, you can drag the audio up or down a lot slower so that you can get really precise with where you choose to have audio decibels sit. That was the first way to precisely adjust audio. Here's the second way. So let's say you want to change the decimal of your audio by one. While with your audio selected, you can hit the left bracket key on your keyboard to bring that audio level down by one decimal, I'll just hit the left bracket a few times here. And if you want to increase it by a decimal, you can hit the right bracket. Now, you might currently make edit points by using your razor tool to cut the clip, then selecting the cut part of the clip, pressing delete, then deleting the empty space in the timeline to bring the following part of your overlay this, but there's a faster way to do this. So I'm just gonna press Command C and my keyboard to undo that. Okay, and the faster way to do this is to use ripple trim. So we could either choose our ripple edit tool over here in the toolbar, or we could work even faster and pressed the keyboard shortcut b to bring up this ripple edit tool. And now we can just drag that clip to the point where we want a trend. And when we let go, that brings all of the other footage to the right to that point. Awesome. Now, when you work with text and Premier Pro, you're probably going to find fonts that you really, really like and there's a quick way to access your preferred fonts. So let's just click on this text layer here, go into my essential graphics window and the edit tab select that allium will text title and under the text drop-down menu, Let's say we love aerial. Let's find it. And we want to click on the star beside it to favorite it. And now when we go up to this star here and click on it, we will be able to easily access all of our favorite fonts. Favoriting fonts is a big time saver, especially when you work on multiple projects for one client who prefers using the same font, wrote all of their video projects, and there you go. Those are my five tips for editing faster in Premier Pro. 14. 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. 15. 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. 16. 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. 17. 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. 18. 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. 19. 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 quick on the toggle animation to add a keyframe, I'll bring my play head to the beginning of that layer. Move this overbite 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 Melissa, that 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 key frames. 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 and 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 to Premier 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 tracts, 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. 20. BONUS How to Remove Background Noise in Premiere Pro: In this Premier Pro tutorial, I'm gonna show you how to use an effect that we'll quickly and easily remove annoying background noise in your audio. This effect works best at reducing and removing consistent background noise like the hum or buzzing of your computer or the air conditioner. But this effect won't work so well for you if you have a lot of random inconsistent background noises, just keep that in mind. So it whenever you're recording audio, you want to make sure you give yourself at least ten seconds of recorded room tone, which you can see I have here at the beginning of before I start speaking. And I have it at the end of my clip. Having that recorded room tone in your audio recording makes working with this effect a lot easier. And it's a general rule of thumb to just always make sure you have a good chunk of recorded room tone to work with in your edit. So let's take a listen to this clip and see what we're working with. And side note, it will be easier to hear the background noise if you're wearing headphones while you're watching this. Okay, so let's take a listen. Those wavy, sort of distorted lines that will, Alright, so let's reduce and see if we can even remove that background noise. To do that, we want to work in the audio track mixer window to bring it up Gupta window and select audio track mixer. Here we go. So we have the A1 track here that we're gonna be working on. And this will affect the A1 track with our audio on it. Let's click on this little drop-down menu here and choose noise reduction, restoration, and de-noise. Let's double-click on it to bring up our track effects editor. By default, the amount this effect is set to is at 40%. Let's bring the slider all the way to 100% and have a listen, hear those wavy, sort of distorted lines that will, ok. So at 100%, background noise is almost completely gone. But this has also made my voice sounds certain, nasally, sort of robotic. And that's because as we've removed the frequencies and the background noise, we've also removed some of the frequencies of my voice. So 100% is too much. Let's try 50%. Those wavy, sort of distorted lines that will appear over people's clothes. Okay, so 50% sounding really good. Now, I don't like to push this effect really too much past 50% because I find pushing it any further does make my voice starts to sound robotic. But depending on the audio you're working with and the background noise you're trying to remove. You might want to push it a little bit further or not even as far as 50%. These little icons here are where you can choose to have this effect focus on. I tend to be happy with the results of the focus on all frequencies, but you do have several different options here, you can focus on de-noising the lower frequencies, mid-frequencies, lower and higher frequencies, or the higher frequencies. And overall I like to focus on all frequencies, so I will select that again. And if you want to quickly here the before and after, you can turn the effect on and off by clicking this bypass, the effect icon here. So here's what this audio clip sounded like before. Those wavy, sort of distorted lines that will appear over people's clothes. And here's what it sounds like with the denoise effect. Those wavy, sort of distorted lines that will appear over people's awesome. So the denoise effect did a great job of removing that background noise. I'll just exit the that ends in the audio tracks mixer if you want this effect that you just customize on the A2 track, for example, you can just click on it and drag it over like so. You can also quickly turn the effect on and off by clicking on this effects button here, those wavy, distorted sorta lines that will appear in your footage when people do. Ok. Now let's say you have several different audio files and you want to put the denoise effect on just one of them. First, what you wanted to do is in the audio track mixer, click on the drop-down menu that says denoise and choose none to remove that effect on that track. Next, we can go into our effects window, type in de-noise, end in the audio effects, noise reduction restoration folder, grab de-noise and drag it onto whichever audio clip you'd like. And to make adjustments, you can go into effect controls. There's the D noise effect, choose Edit. And just like when we put d noise on the entire A1 track, you would adjust the amount to your liking. And there you go. Those are two different ways to use the de-noise affect him primer probe to reduce M, remove background noise in your audio.