Premiere Pro Effects MasterClass: Master Premiere Pro by Creating | Kurt Anderson | Skillshare

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Premiere Pro Effects MasterClass: Master Premiere Pro by Creating

teacher avatar Kurt Anderson, Computer Scientist, Multi-Media Designer

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

81 Lessons (6h 53m)
    • 1. 1-1 Introduction

    • 2. 1-2 Download Files

    • 3. 1-3 Let's Jump Right In

    • 4. 2-1 Basics Introduction

    • 5. 2-2 Basics of Effect Controls

    • 6. 2-3 Black, Transparent, Adjustment

    • 7. 2-4 Get Your Effects Moving

    • 8. 2-5 Keyframe Manipulation

    • 9. 3-1 Basics Introduction

    • 10. 3-2 Rotation in Premiere Pro

    • 11. 3-3 Flip Footage in Premiere Pro

    • 12. 3-4 Adding Text

    • 13. 3-5 Typewriter Effect

    • 14. 3-6 Color Ramp Effect

    • 15. 3-7 Watermark Effect

    • 16. 3-8 Rolling Text Effect

    • 17. 3-9 Social Media Callout Effect

    • 18. 3-10 Working With Multiple Video Sizes Effect

    • 19. 3-11 How to Render Videos

    • 20. 4-1 Enhancements Introduction

    • 21. 4-2 Lumetri Color Introduction

    • 22. 4-3 Enhance Night Footage in Premiere Pro

    • 23. 4-4 Reduce Vignetting in Premiere Pro

    • 24. 4-5 Enhance a Silhouette in Premiere Pro

    • 25. 4-6 Draw Attention to a Spot in Premiere Pro

    • 26. 4-7 Blur a Face in Premiere Pro

    • 27. 4-8 Blur a Color in Premiere Pro

    • 28. 4-9 Blur Highlights in Premiere Pro

    • 29. 5-1 Let's start Changing the Feeling

    • 30. 5-2 Party Strobe Effect Premiere Pro

    • 31. 5-3 Comic Book Effect Pt 1

    • 32. 5-4 Comic Book Effect Pt 2

    • 33. 5-5 Comic Book Effect Pt 3

    • 34. 5-6 Heat Waves

    • 35. 5-7 VCR Lines

    • 36. 5-8 Eighties Vintage Filter

    • 37. 5-9 Simulate Rain

    • 38. 5-10 Day to Night

    • 39. 5-11 CSI Miami Effect

    • 40. 5-12 Underwater Effect Pt 1

    • 41. 5-13 Underwater Effect Pt 3

    • 42. 5-14 Two-Tone Gradient

    • 43. 5-15 Moving Painting

    • 44. 6-1 Animation Introduction

    • 45. 6-2 Hit-Shake Effect

    • 46. 6-3 Heartbeat Effeect

    • 47. 6-4 Parallax Effect

    • 48. 6-5 Newscaster Effect

    • 49. 6-6 Hitchcock Effect

    • 50. 6-7 Glass Overlay Effect

    • 51. 6-8 Move Footage to a Beat

    • 52. 6-9 Write On Effect

    • 53. 7-1 Time Saving Introduction

    • 54. 7-2 Quick Slideshow

    • 55. 7-3 Edit Quickly to Beat

    • 56. 7-4 Saving Time with Animations

    • 57. 7-5 Keyboard Shortcuts

    • 58. 7-6 Synchronize Audio

    • 59. 8-1 Transitions Introduction

    • 60. 8-2 Whip Pan Transition

    • 61. 8-3 Star Wars Transitions

    • 62. 8-4 Clock Wipe

    • 63. 8-5 Arrow Wipe

    • 64. 8-6 Color Text Transition

    • 65. 8-7 Slot Machine Transition

    • 66. 8-8 Sketch Transition

    • 67. 8-9 Create Your Own Transition Part 1

    • 68. 8-10 Create Your Own Transition Part 2

    • 69. 9-1 Audio Techniques Introduction

    • 70. 9-2 Automatically Ducking

    • 71. 9-3 Create a Machine Gun Sound Effect

    • 72. 9-4 Create a Cave

    • 73. 9-5 Underwater Sound Effect

    • 74. 10-1 Advanced Effects

    • 75. 10-2 Add Camera Shake

    • 76. 10-3 RGB Glitch Effect

    • 77. 10-4 Tilt Shift Effect

    • 78. 10-5 2D Image into 3D

    • 79. 10-6 Professional Text Reveal

    • 80. 10-7 Create Anime Background

    • 81. Conclusion

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About This Class

Learn Premiere Pro through the Creation of Stunning Effects

Tired of learning software like you would learn Biology? In this course I strive to break up that old routine. We will be creating effects from the start. Small one off projects that will stretch your skill-set with each lecture. Want to learn how to blur a face? What about color grade with a ramp? Make a 2D picture 3D? All of these are covered. Jump in to begin expanding your skill-set.

Follow Along at Each Step - Build your Portfolio from Day 1

In any creative field, a portfolio is important. Things you have actually created. With the combination of all of these effects, you will have a portfolio you can be proud of. Do you want the person that has just taken a course, or a person who has created work for a variety of scenarios? Learn everything you need throughout the course.

Enroll Today and Learn These Effects

  • Make a Slideshow at Super Speeds

  • How to edit clips to a Beat

  • The Hitchcock Effect

  • Parallax Effect

  • 2D to 3D Pictures

  • The Heartbeat Effect

  • Heatwaves

  • Underwater Audio and Visuals

  • CSI Miami Look

  • Star Wars Transitions

  • And so much more! 

Good For ANY Skill Level

The best part about this course, is it's good for any level! Want to learn Premiere Pro? This is the course for you. You can get started and build with each effect.

Want to master Premiere Pro? This is also the course for you. Learn the areas of Premiere you haven't touched before, and become comfortable with every aspect of the software!

See you inside!


Meet Your Teacher

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Kurt Anderson

Computer Scientist, Multi-Media Designer


Hello, I'm Kurt.

I am a self-taught multi-media designer and computer scientist who has helped bring the creative vision of clients all around the world to life. Having 8+ years of experience in the Adobe Production Suite has given me a strong tool-set to create anything from videos to websites. Along with this, having a degree in Computer Science has given me a strong analytical mind for dealing with complex problems. Through these two disciplines I create a unique blend of efficiency and creativity. I believe anyone can become a designer or programmer. All it takes is practice.

I am also a world traveler and have lived in and learned from many different countries. During a 6 month stay in Japan, I became fascinated with their people's drive and craftsmanship. I try to i... See full profile

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1. 1-1 Introduction : Welcome everyone to this Premier Pro Skill Share course. So I'm gonna quickly go over what we are going to be learning in this course. And then we can just jump right into it. So in this course, we're gonna start off with some introductions, some things that'll help you get started on the course. We're then going to go into the basics. This is going to be teaching you the basics of premier, how you can manipulate the effects. We're then going to move into some beginner affects, some really simple things, but very powerful things will start enhancing footage. There we're gonna start changing the field of footage just as one step farther than enhancements because we're now making the entire footage feel differently. We're gonna have some fun with some animations. We're gonna go over a couple of things to save time when you're editing. We're going to work on at transitions. Then do the audio, the other side of Premier, which is some audio effects between the really, really fun. We're going to end it with some advanced and then 3D effects. And then we're going to wrap up. And that point you're going to do your project, which is going to be based on using affects learned from these 11 sections together to create your own effect. So that is going to be the skill share Premier Pro effect course. I'm really excited for you guys to get started. So let's jump right in. 2. 1-2 Download Files: So for this course, there is going to be a file. You can download this not mandatory, you can use your own footage in the course, but if you would like to follow along with the exact footage that I am using. There is a link on my website, so this is my website. This isn't some side website that can be hacked and have spam or anything like that. This is my personal website and I have a downloaded link right here. So if you type this into your address bar, you'll be presented with this page right here. You go to the download button and you put in this password and you will be able to download all of the footage that I am using for this course for free to follow along with. So go ahead and do that if you'd like to follow along, pause the video right here, and then put it all information, download links, and then you can follow along with me. Or if you don't want to just grab some your own footage and all these facts can pretty much be accomplished with your own footage. So that works too. 3. 1-3 Let's Jump Right In: All right, everybody, welcome to the course. I wanted to just jump right in and show you something. Now, a quick disclaimer on this video. If you can't follow along right now, that is perfectly fine. Just watch me. If you want to see something cool, be created and Premier. Or you can follow along if you would like to create this yourself. As we get in the future, we're going to be starting with a more simple building blocks and this stuff that you will build a fall along with. So if you are an absolute beginner, don't worry, just sit back and watch with Premier can do. If you have a little bit of experience, go ahead and follow along with me. It's a fun thing to accomplish. And what we're accomplishing is essentially creating an effect within Premier by combining a whole bunch of things together. And with those things combined, what we're actually going to do is create an effect with no stock footage. So we're actually have generated our own entire clip within Premier Pro. And this is what we're creating. Essentially, it's going to be like we're passing a son or a big star in space and that's what we're creating. We've created the star field, who created the sun, moving, the movement of the camera. And overall we created a fun effect. So let's get started on this effect. First thing you need to do is create yourself a project. To do that, all you have to do is click New Project, or if it opens up on the default screen right here, like so, I'll save changes. Wait a second, and then if it opens up right here, what you wanna do is click on the new project button. Mine is this one right here. So I'm just gonna reopen up intro effect, but if you click the new project, you're ready to go. Then you need to go up to File New Sequence and go down to this HDTV folder right here. Go to ten ADP, 30 frames a second. That's the one I chose. If you want to match me exactly any of those ones, it works too because we're generating this effect, so it doesn't have to match footage. Once this is all opened up, we need to go into our project folder, which is right here. If, if any of this doesn't look the same, click up here to editing and window workspaces reset to save layout and it should reset it to generally this view right here. If you can't find anything, if you go to window and I say like open up the libraries. If you click on the library's, it'll actually highlight that area. But anyway, Mine is the project here. I'm actually going to move that to the very beginning. I like the project on the left here. Again, if you can't find that, it's just the projects and you can find it if you click it, it'll highlight it. And in here, we're gonna go ahead and I'm gonna create a new sequence as well so that we have the other effect preserved. Click OK. We're going to have this sequence three right here. I'm gonna name this to stars. And now we're good to go and opened it up over here. We're then going to take a black video and we're gonna go New Black video to get that. So there's bottom-right here, nu or up here, File New. And then down to black video, either those works. We're going to generate that New Black video. And we're gonna take it and we're going to drag it in. Now, I am going to drag it to the second spot on the timeline right here. With this, I'm then going to go into my effects. I'm gonna search for generate. And so video effects generate. There's a whole bunch of different things down here. And you see what we're gonna do is we're actually going to go to Generate and then grid and drag and drop that. My bad not grid, cell pattern, cell patterns or we're gonna put on here. So the effects tab has all of the effects within Premier. We're gonna go to the video effects that generate find the cell pattern and stick it on that black video we created. If this is really zoomed out and grab this little dot and just drag it on over and we can zoom this in a little bit. Now this effect is, we're actually gonna be using this to create the star is it's pretty crazy. What we do is we click on the cell pattern up here, in effect controls window. Again, all of this, if you're not following long or it's a little difficult to follow along. Just sit back and watch the effect. Don't get frustrated right now we're going to start way slower than this, but I want to show you the power of what this course is gonna be able to teach you. Anyway, go up to effect controls cell pattern. And we're gonna go to crystals HQ. With crystals HQ, we have these little crystals right here. We're going to take the contrast and we're actually going to take that and bring it down to about 60. We're gonna take the disperse and bring up to 1.50. And what that's gonna do is gonna make them a little more jagged, a little more random. We're gonna take the size, I'm going to bring that down to ten, and now they are small. The next step is we're going to take a, another effect and this is where it's fun. This is what the course is about is taking these effects and combining them, we're gonna get a brightness and contrast and put it on the video. We're gonna take it that contrast and want to go to 98. And so you see right now we've taken this and now we have this really bright star field. And so essentially what I'm doing here is just adding an effects into the effect controls. If you click on anything and drag it over here, it brings them to the top left. You can see I've cell pattern. And then beneath that the brightness and contrast might too. And all I've done is manipulate parameters to generate what I want to generate. The last step here is that we want to take this opacity and bring it down to 1%. Now, you can't see anything at the exact moment, but that's because we need to do something else. What we're going to need to do is we're gonna need to take another black video and drag it beneath. This is going to basically allow a layer for it to project onto. And so when the blackbody on beneath comes on, you now have a very good-looking star field going. The effect is almost over. Now what we have to do is create the Sun. To do that, we're gonna go to the black video. So we have three of these at this point, you wanna start renaming things. The middle one is going to be your stars. The bottom one is going to be, I'm right-clicking on this rename and we're going to name it. I got background. And then the top video up here is going to be renamed to sun. And now it looks a little better. And said a black Video, Black video, Black video with the sun. We're gonna go to effects and in generate, we're going to look for an effect called Lin's flare down here. Drag and drop that on. And now we have our lens flare, but we can't see what's behind us. Well, we're gonna take this blending mode right here. So we'll make sure you click on the top. Europe in effect controls, you're down to opacity blend mode. And we're gonna take that and go to screen. And what that's gonna do is gonna filter downwards so that we can see the stars again and the sun stays right there. So now all we have to do is little animation. And I'm gonna say this disclaimer one more time. If you're starting to fall behind and you know, it's not all click and right now that's perfectly fine. Just sit back and watch or keep rewatching it and trying it over and over. That's how you learn in effect. But we're gonna go up to the position of the sun, so we don't want this position that's gonna move the entire clip. We want the lens flare position. Go to the flare Center. And we're just gonna take this and move it over megawatt there. And then we're gonna click on the flair center, the little button right here, which toggles the animation. And we're just gonna move it over a little bit. Now, that problem is if we move it over right here, nothing happens. So what we need to do is we're going to move into the future. So let's go to ride around the anterior around seven seconds and just move it and over. Now if we go ahead and play this back, you're going to see that we have a moving son. The last thing that I did was I took the stars and I went to the top here, the motion. I went down to scale and I scaled it up to 120. Why they do this? Well, it allows me to move the stars as well. You see I have a little space on each side. So now you can take the Stars and started off on the left here. Let's go back to the beginning of the clip position. And we don't want it to move as much as this. The stars are really far away, so we just want a tiny movement over time. So we're gonna go here and we're gonna move maybe the stars that much. And now what we have is this almost 3d effect, where it looks like we have the star is moving in the background, but the sun in the foreground moving quicker. And you'll see that the dots disappear. That's because it's not fully rendering out. It's trying to play it back at, at full speed. To render it out, all you have to just click the Enter key and it will render all the read-out. I'll give you your final product. And there you have it. We now have a beautiful stars that was created entirely in Premier Pro. So like I said, at the very beginning, this is a decently complex effect. But look at what we've been able to do by combining the effects in Premier Pro. We're not just using them one-off, We have a lens flare going, we have the cell pattern going. We're using brightness and contrast. We're using just the black video to create a background and then we're animating at all and were able to create something really neat. And throughout the course that's going to be doing, we're gonna be using different effects to create things that are really, really neat and fun. So I cannot wait to get started with you guys. So lets, the next lecture, we're going to bring it all the way back. And we're going to start at the very beginning here, where me going over what all of these panels are, how they all work together. And we're gonna be slowly moving forward and building onto him, onto it until you're at this point. By the end of this course, you're going to be able to come back to this video and follow along and it's all going to make perfect sense. And that is an amazing thing. So let's get started. 4. 2-1 Basics Introduction: And everybody, let's dive into our effects. In this section, we're gonna be going over some very basic effects and some basics of Premiere Pro dissection will be slightly different than the rest of the sections. And there might be a little bit of a lecture here in there just so that you understand the grasp of Premiere Pro. But most of them will be effects that we can accomplish and things that you can actually see it happen on the screen. Really excited. So let's jump on it. 5. 2-2 Basics of Effect Controls: Alright, so let's get some building blocks ready before we start diving into all of the effects. The first building block I wanna go over is the effect controls. So that the effect controls essentially what we wanna do is find out how we can manipulate the effects that we're adding. So let's get started by just first-off building out our process. So go ahead and open up Premiere Pro. Get it to a screen that looks like this. So create yourself to project a blank project and then start from here. The next step is, let's make sure our windows are all exactly the same. So go up here to window, go to workspaces, and then click on the editing button. This will set you back to this. It should look basically identical to this. If you have a wide screen monitor that's gonna make it look different. If you have a really small monitor, a laptop, it'll make it look slightly different as well. But generally, all of your boxes should be exactly like this. In the bottom left, we're going to right-click on this and we're going to go to Import. Once we click on the import, we can then go into the different areas and find our footage. It's going to be in Unit one and then stock footage. And we're gonna go ahead and click on the walking to the window, click open on that, and then click this and just drag it on over to your timeline. You now have the ability to view your footage. If you click the spacebar, it'll play it back in real time. And then you can drag this to go forward and backwards. So let's go into our Effects tab right here. And we're going to drag on the color balance effect and the tint effect right here. And you're gonna see this going to turn it black and white. And then we're also going to have some more controls. Now, the effect controls, if we go up here to the top left, you'll see effect controls. We have motion, opacity, time remapping, color balance, tent, and then down here, volume, channel, volume and pan. Or we'll talk about these later on up here or the video ones, these three right here, a default. So the motion is essentially just going to be manipulating the video in this space. So we can move it right to left, up to down, and we can scale it in and out. We can rotate. It just allows us to basically move everything around. If we want to animate it, we can click on any of these buttons, will have lots of tutorials on how to do that later. A very good thing to know is this reset parameter. You click on that, it's going to reset to what the default value was. And so now you see it's exactly what it started out as. So play around with these and you'll see what they end up doing. The anchor point we'll talk about later as well. A lot of effects used the anchor point rather than the, the center. A quick test is if I move the anchor point up here, whenever I rotate it, it'll rotate on that point instead. So as you can already see, that would be very important for something, some sort of effect later on. Also, you've gotta make sure that the anchor point is whenever you reset it, it's going to reset it to wherever the anchor point is. So you gotta make sure that goes back to center if you're gonna manipulate that to get everything back here. Anyway, this is just the motion. Opacity is how see-through it as, so if we lower it down, whatever it's beneath it, we will see if we raise it all the way up, it becomes completely opaque, which means that it's going to be the star of the show. There's nothing behind it you're gonna see in this situation, we have a black screens. All it's really doing is fading into black. But in other situations, like if we put text or something, we wanted to be able to see what was behind this. We would lower the opacity on the text blending modes. We will also talk about at some point as they are important in how this footage will blend with the rest of the layers. Now, let's go to the effects that we added. So we went to our effects, we went to the color correction, we grabbed ourselves tent and then the color balance HLS, the color balance HLS. We have this ability to use the hue, lightness, and saturation for this test, what we're gonna do is we're going to manipulate the heel. Now you can see right here that because of the tent, the hue isn't doing anything. But if I click on this little button, the fx button, it'll turn that on and off and actually have a kind of a fun effect. Your, I can manipulate the hue so that for example, we can meet, I'll make the interior walls a little bit of a brownish color instead of the yellow color they have there. And that's actually everything sort of looks exactly the same. You might actually be looking at some, maybe some unintended greens and stuff coming into here. But that's one use of the effect. Now, what I wanted to highlight with these is that the order that these effects go in is very important. So for example, if I took this tent and dragged it up here, or let's actually drop it down right here. And let's go to this map to black or matte black to, let's just go ahead and make that a red color. You're going to see that there's a red color right here. Now, no matter what I do to the HEW up here, it's just going to make it different shades of red. We'd have no more control. It's now tinted to read. It processes from top to bottom. So the color balance was applied first and then the tent was applied after it. If I take the tent and drag it up here to the top. Now suddenly the hue can be, can move again because first we're taking the tent and we're making it a red piece of footage, then the q is actually taking that red and it's skewing it to whatever it wants. So just by ordering these differently, we now have two different effects. The color balanced on the top, it's just different shades of red, the color balance. And on the bottom we have different shades of really anything that we work with. So that is a very important part of the effect control panels up here is that it starts from top to bottom and there are different layers in here. So whatever effects are at the top is going to be applied than this one, than this one and this one and so on with however many effects you have. So if something isn't working right and makes sure your layers are in the proper order. Also, we wanna make sure that we understand that the effects themselves can be manipulated in different ways. For example, with the, you can cut things out, you can add things, you can animate them with all of this, we're gonna be talking about all of that throughout the course. But just know that there's a lot of manipulation you can do which has a single effect. And that's why it's very powerful to be learning about these effects throughout it. Because once you know all of them, you can combine them to create really anything you want in Adobe Premiere Pro. So the effects have.git control are, get very familiar with the effect controls up here, drag whatever you want and do it, play around with a couple of them. And then let's keep going and start talking about some of the other basics like adjustment layers and black videos and such. 6. 2-3 Black, Transparent, Adjustment: The next thing we need to talk about is the transparent video Adjustment layer and then the black video. Those are three really common layers that we add into our timeline to manipulate the effects and to manipulate our footage. So let's go ahead and create one of each. So if you go to the bottom left down here and you click on this button, or if you go up to File and then New, you have them all right here, you just wanna create yourself a transparent video. And then you wanna go ahead and create a black video and just click through the prompt l it saying it's how big do you want it? And then we can go ahead and create our adjustment layer. So what is the difference between all of us? Will the transparent video and the black videos share the property that they're an actual element within the timeline, meaning we can apply effects to it and it doesn't just funnel the effect down. This one is just a fully opaque black video, and this one is just a fully transparent, transparent video. Now the adjustment layer is special in that all the effects applied to it get applied downwards. Think of it like a master control. So if we had, for example, two of these rate here, and we wanted to apply the exact same effect to both of them. We would put an adjustment layer over the top, like so. And now whatever we applied it, this, we can get crazy with it. Let's go and go Color Correction back to our HLS and change the hue up. You'll see that the hue is the green over here as well as over here, where if we applied it to just the first one, we took this and instead of applying it to just malaria, applied it to the first one, and we changed it over. The second one does not have the effect, as you can see right there. So that is an important step right here is to make sure that we apply the effect to as, as much as we want and we don't just try to individual apply them. There's also held, for example, if we're like, oh, we don't actually want this color. We want it, you know, this color will, if we apply it, copy and pasted this effect in a 90 different ones, we have to change 90 different files where if we just created a single adjustment layer, we just changed the Adjustment Layer and everything changes behind it. Then it's also important to realize these two because some effects are going to change depending on how you apply them. Let me explain that. If I take a transparent video right here and I drag it out over this footage, and I go to our effects and we're going to search for an effect. There's a search bar right here. You can search for anything if you know it by name. Once you start learning by name, it's a very quick way to get to them. We're going to look for an effect called crop. So video effects transform crop. We're going to take crop and drop it onto the transparent video. Now if we drag the left side, you'll notice nothing happens. We're cropping the transparent video. No effects are being applied downwards. Now, if we go ahead and go into our basics here or the project video and let's go to the trends are the Adjustment Layer and drag that on top. Now if we take our effect called crop, drag it onto the adjustment layer. If we move the left, you'll see it actually cuts the video down here because it's cropping this video. Essentially crop is being applied to this which does nothing. And then it's going to be applied to the next one down here, which is our video. So it's cropping off the entire left side of our video because it's an adjustment layer. So that's something really important to understand with, with the difference between the Adjustment Layer and the transparent video is effects will be applied differently. Another sort of example that we can go with here is why would we use a black video when we have a transparent video, certain effects require it. If we go ahead and drag the transparent video in, and we go to our effects and we look for one in the video effects and it's in the generate the four-color gradient. First off, if we applied this to our regular footage, if we had this layer right here, it overtakes our regular footage so we lose some footage, so we don't want to do that. We need something to put it on. So if we drag it onto the black video rate here, you'll notice that it works, that the gradient is applied to this. And now we can manipulate it where if we drag it onto the transparent video, nothing happens because it needs that color in the background to actually manipulate something. So the transparent video actually it is incompatible with this effect. So that is why we would use a black video. And then we wanted to look good. All you have to do is go the blending mode and then use, for example, screen. And that essentially is going to just take the colors and blend it with the background. It, I believe it chooses the lightest and the darkest and blends those together, but we're going to talk about blending options later on anyway. Now we have the effect that we can apply where if we wanted to drag before color gradient on the bottom here, there's really nothing we can do to save that's all it is. It's just going to be the four colors right here and we don't have any footage anymore. So that's really the difference between these three. These three we're gonna be using a lot throughout the course. I just wanted to give you a good basis for them so you understand them when we drag and drop them in, we're going to be learning a lot of properties about them as we apply them to various effects. So yeah, transparent video, Adjustment Layer, Black video. They're going to be really, really helpful in using throughout the course to create certain effects. 7. 2-4 Get Your Effects Moving: So let's talk about masks and animation. This is essentially the basis for animating everything in Adobe Premiere Pro. So what we're going to be doing with this is essentially throughout this course as we create a facts, we wanna be able to control them over time. So you don't want to just have it as a single change to what? We don't want to just change the colour one time we went to go into the change and then come out of it. We want to locate it on one side or the other side of the clip. We want to be able to control it in both space and time, and that is what masked and animation allow us to do. So if we go into our brightness and contrast here, so we're gonna go into our affects, video effects, color correction, and then brightness and contrast. Drag that onto the left footage over here. And you'll see that right down here and brightness and contrast. We have the brightness rate here, which we can drag up and it makes it brighter, drag down, it makes it darker. And we also have the contrast which just makes them go back and forth. So let's say that we want to do something sort of analog artsy. We wanted to start off with normal contrasts. And as we get closer and closer and closer, we wanted to go and do really extreme, or let's do the opposite. Let's say we wanted to go really, really contrast at the beginning. And then once we make it to the window, we want it to be perfectly visible. So if we go ahead and start at the very beginning here and our set, our contrast to 100, we can begin an animation by going over here into the stopwatch, the toggle Animation button. If I go ahead and click on that right, like so, I can then drag this forward and find the space where I want it to be right here. And then I'm going to drag this contrast or I can just type it in by clicking on it to 0. And so now what we have is this transition over time. So you're gonna see as we play this back, it starts off looking like a really high contrast. And as we get closer and closer to the window, it then lights up to the original, kind of a cool effect here. Now let's say that we don't want this to be applied to the left or the right window, we just want it in the center window. We can create ourselves a mask rate here, brightness and contrast. We click this box and it's going to create a mask right in the center. If I drag this mask up the points so that I get a column here, all you have to do for this is just click on it. Whoops, not rotate it. Click on one of the points and you see I go left and right. If I click the Shift button afterwards, it locks it to like certain like 45-degree angles and stuff. So if I drag it up, it'll make a perfect line upwards. So I click, hold Shift, dragged down, click, make sure you click first, hold shift, drag down. And now we have just this column in the center with our masks. We have this thing called feathers, which is what, how much it's going to blend with the edges. So if I take this, I bring the feather way up. You'll see that it blends in with the edge is a whole lot more. We have the opacity so we can see how strong we want the effect to be applied. Then we have the expansion so we can expand it out from the line we drew or expanded in from the line we drew. So I'm going to expand it out a little bit, add a little bit more feather. And yeah, let's go with that. And so now let's go and animate through. And you're going to see that as we get closer, it'll slowly go back into normal. And we have this like interesting beginnings of an effect happening. We can also animate them ask paths or if we wanted to start at the left side, for example, if we click on the animate button here, we can go and click on it and maybe have it start. Maybe over here. And then over the course maybe halfway through, we'll have a sort of cycle onto the other side. Now we have this fun little moving across but also disappearing as you go across it. It almost looks like there's a shadow in the room which is kind of a cool effect if you wanted to keep it maybe at a lower contrast the whole time. For example, if we turned off the contrast animation and kept that 62.3, OK, it actually looks like there's a shadow that runs across the room. Might be good for a horror movie or something like that. But anyway, the basis of this is that we have the ability to create masks by using these buttons. This one allows you to draw. One, creates a square, creates a circle. We have the ability to animate that and with the ability to animate basically everything in Premier Pro and create amazing effects from those animations. 8. 2-5 Keyframe Manipulation: So let's talk about keyframe manipulation. Keyframes can actually be manipulated themselves and it gives us a greater sort of ability to change the motion over time. So let's grab brightness and contrast and just drop it back on here. We'll do a quick one. Say at the Contrast, what's actually the brightness? Let's delete those right here we'll go brightness is going to sort out 100. And then once we make it to the window, we're going to animate it down to, let's say negative 100. So there's a big change here, you can see it gets darker and darker, kind of a cool effect there like the light is what's doing something to the camera. And then as it adjusts, but we just went to negative here. And so you can see that it's a very linear motion. So what I mean by that is if this was a 0 and this was 100, it would essentially just go 1234567. You get to the middle, it's at 50, you get over here, it's at 75. It's very predictable. However, we can make this unpredictable. We can actually add a little bit of fun and flair to it. If we drop this down over here, you're going to see that we have these two menus. One of them over here is the motion and the bottom is the velocity. So you'll see that it has a velocity right here of negative 30 every second. So every second the brightness is going to be, is going to go down by 30 value points. In this situation. I mean, there's no real like unit for any of this, so I just call it a value 0.100 is the highest brightness, negative 100 is the lowest brightness. So it means every second we're gonna go down by 30. So if we go to 1 second in the film, Well, we're at exactly 7100 minus 30. So it's a very linear fashion as a formula for it. Now, we can actually manipulate this and kind of have some fun with it. So if we right-click on this, we can create these sort of auteur defined once like a Beziers, where would a busy air is gonna do? It is going to sort of rounded off. So if I grab this and I pull it over, you'll notice that now we have this sort of S curve here. So what we're going to have is c, the velocity down here, the velocity is going to increase. At some point we're going to be at almost one negative 120 for like that split second. And then it's going to come back down. And slowly gets slower and slower and slower over time. So we have this big change from 100 down to essentially 0 in the first, second. And then after that we go from 0 to 100 in the last, about five seconds. So we have the ability to create something that looks like this. Take a look at this. So you can see it as this quick adjustment and then slowly over time, it goes into the black. And we can actually, if you hold the Alt key, you can duplicate things. So let's duplicate this and just make this back into a linear one so we can watch them back to back here. So I'm going to bring this up to full screen and let's just take a look. So the first one, the brightness falls off really quick and then it slowly goes dark. The second one, the brightness slowly comes down over time. You'll notice that the brightness is about halfway, maybe three seconds into it while the brightness gets to that point right here at just the first step, right when that person's arm comes in, while in this one, you'll see that when that person's arm comes in, it's still really bright in here. So keyframe manipulation is important. It's something we're gonna be talking about throughout the course and we're actually gonna create effects using it. But understand that these are here. You don't have to do a linear change over time and you don't have to animate the change over time either. Like for example, you don't have to keep putting keyframes down here and make it go quick and then slow and quick. You can do it all from right here. 9. 3-1 Basics Introduction : Now that we've got a good foothold on Premiere Pro, let's go ahead and start tackling some beginner effects. Let's get started. 10. 3-2 Rotation in Premiere Pro: So the first effect we want to cover is a very, very simple effect. And all it is is how to rotate a video. So if we go here and we hit right-click and import, we can go unit to stock footage and then people walking. That's the one we're working with here. Drag and drop that in, and you'll see that it's over here. Now let's say that your sequence or our mind, your workspace looks a little bit different. Maybe it looks something like this, and you wanna get it back to default. You can always go up here to window. And then whoops, not that button. Always go up here to window and then workspaces and then reset to save layout. And all that's gonna do is it's going to reset everything back to the very beginning. And essentially the workspace was saved as well. If we click on, for example, graphics, you'll see that it adds a graphics panel over here. And if we do all of this again and we removed the graphics panel by closing it and we wanted to reset it back to what the graphics was. We go up to workspaces, reset and it's going to reset it to what it was, were working editing. So make sure you're clicked on editing up here. If this window has gone as well, you can always go up the window workspaces and click editing right there. We're going to click that. Someone's going to drag it over. And you'll notice that rotating a video is very, very simple. All you really have to do is just go down to motion and then rotation. And you have the ability to rotate the video. Now if you wanted to do some fun effect with the rotation, for example, you want it to spin. You can always animate this as well. So if we go and click on that and go up to, for example, five seconds and then rotate it. Maybe 23. Let's go three times. Now when we play it back, you'll see that there's actually an animation behind it. A little bit more of an advanced way to rotate is we don't have to use these controls. If we wanna do this to an effect, we can actually do that. So if we go to our effects and look for the video effects to store it, transform, and drag that on. You'll notice that we have all of the different things down here as well. One of them being rotation. Why would we want to do this? Well, transform can be applied to a Adjustment layer. So if we go up to how to rotate a video, click new Adjustment Layer, create that Adjustment Layer and put it over here. If you notice, if we rotate the adjustment layer, nothing happens beneath it. So what we need is the effect. So now we can actually go into our facts and look forward, transform, drag and drop that on the Adjustment Layer. And now when we rotate, you'll notice that the bottom rotates. So we can actually have footage that rotates wit over time. We can actually multiple pieces of footage rotates. So for example, if we created just a duplicate of this using the alt button. And then we do the transform rate here. And now all we have to do is we just click on the rotation animation and we move across the cut here and we keep it rotating. You'll notice that the rotation stays and right there, that little cut there, it changes. This is a way you can rotate everything. So that is just another way that you can add rotation. Like I said, rotation is a very, very simple effect in Premier Pro, but it's good because now you understand that as a transform as another way to add it. And we can actually do multiple different effects later on with this basic effect. 11. 3-3 Flip Footage in Premiere Pro: So let's talk about how to flip a video. We're back here at the main page. We're gonna go has edit, create ourselves a new project right here. Click on that. I'm in it too, then flipping video. And you'll see that we actually have different settings in here if we ever wanted to change those settings up. But for right now we're not going to touch them. Just know that they're here. Click OK to create a new project and then we're back to this window. Let's say again that for example, maybe the last time I closed that project panel and now I want to get it back as always, window workspaces reset and then also always look for the keyboard shortcuts. You can see that it's Alt Shift 0. You can click that pretty quickly with your fingers and you can start doing that to reset the workspace. So you don't always have to go up there and look for it. I'm going to right-click here. Click Import weren't gonna unit to stock footage and then cars driving. We're then going to take this and want to drag it over to this empty space. Now what are we doing when we create this? We're creating a timeline. What exactly happens though when we drag it over like so what happens is we create a timeline with the exact specification of the footage we add to it. So for example, this footage is 60 frames per second. The more frames per second, the smoother the motion, the more data there is. In this instance, we created 60 frames per second sequence. That's good if all of our footage is 60 frames per second. However, if we wanna export to a more cinematic quality, we 24 frames 29.97, then we actually need to create our own sequence and then drag footage into it. To do that, we just got File New and then sequence. And we can actually choose our presets here and change stuff around like for example, a 29.97 frames per second. So understand that I'm doing this drag and drop thing. But you can create your own so you don't have some, an unintended consequence like your frames per second being a little bit too high. And then if you add a 30 frames per second to it, it looks jittery, stuff like that. So I'm just gonna go ahead and do what I did before. And again, we're just touching on that right now. We're going to talk about that more later throughout the course. I'd like to introduce the topics early on. And then we're going to keep reinforcing. That's what this course is all about, is building blocks. Building blocks over building blocks. So now we're back to the car's driving. I'm going to click on this and we want to add an effect that's very, very simple. All its called is horizontal flip right here. If we drag that on over, you'll notice that the footage flips. What am I doing this for? Well, you can see that the left side of this car's driving is cars driving forward on the left and then backwards on the right. That suggests they drive on the left side of the road. Probably somewhere in UK, Europe, somewhere that drives on the left side of the road. What we want to do though, is we want the footage to look like it's driving on the right side of the road. Why would we want that? Well, let's say that we want to try to drop this into a foot piece of footage and make it look like it's somewhere in the Americas. So to do that, again, we need to make sure that we flip this footage. If we drag the horizontal flip over, we get just that, which is a quick drag and drop. It now looks like we're somewhere in the US. If of course you don't look at the license plates, it looks like you might be somewhere in the US and with a quick hit, it won't throw your viewer, audience off. It looks like we're driving on the right and they're driving back on the left. It's very easy to find Video FX transform horizontal, and we also have the vertical flip if we wanted to make it upside down like so. If we click on this and we go to the effect controls, you will see that the horizontal flip, all it has our waste a mascot. So if you wanted to create a mask, you can actually create sort of a mirror effect. If I take this and I drag it out to this center here, like so. You'll see that with a quick little button right there. We've actually created this sort of mirror effect because we're applying the flipped to one side and not the other. So it creates a, both the same information in opposite directions on each side anyway, and that is how you flip footage in Premier Pro. 12. 3-4 Adding Text: So now let's go over how to add in text. There's going to be advancing the course into a new area, which is the graphics. So we're gonna go ahead and hit Create or two here and then adding text. I'm going to go and right-click over here and click import. And I'm going to import my footage as normal. Now if you'll notice over here on the right, I have a new panel open. This is the essential graphics panel. I'm here because I'm in the graphics workspace. We are typically in the editing workspace, but I clicked on the graphics because we're actually using graphics as time. So having this open, it's helpful if you don't see this attentional graphics panel. You go to workspaces, go to graphics here, or you can just open it up individually by coming down to a central graphics and turning it on right there. And if we take our footage and Dragon over, you're going to see that it's just the same footage as last time. However, what we wanna do is add text. So we're gonna go over here to the tools or to look for the Type Tool. And we have two ways of creating text. The first is to draw a box. The good thing about a box is that it's going to make sure that you create text only in the area you want to create text. It's not ever going to get away from you. The bad thing about a box is that you'll see that it starts cutting things off. So we are no longer allowed to really just create whatever text we want. We have to try to fit it inside here and you'll see that we don't look at it properly. So we don't look at it properly. It cuts off and we can actually render something out that doesn't have the texts that we want. So if I delete this the second way to create texts, it's just the click. And then to type out your text and it will adjust if I click the Enter key, it'll go down another layer like so. So you can see that with this, it's very, very expandable. I can make it larger and smaller and the box is going to move with it. So depending on what you wanna do, you need you have two options to create your text. In our situation, we want that adjustability. So I'm going to click here and I'm gonna type, for example, London u, k. And then if I wanted to make it larger, I'll have to do is double-click here and drag this up a little bit. And you'll see that what we have is it's just a touch larger and now it looks pretty good over there in that corner. But why did it disappear? That's because what we've done is we've created a Graphics Layer. Essentially what that means is that this Graphics Layer was added here and then the effects for that Graphics Layer, or over here, it actually has two layers. We can add effects to it from the effects controls like anything in the effects panel. We can add over here like a normal piece of footage, or we can do the special graphics effects over on the right here and the essential graphics. If I click on this text, you will see that I have all of these effects and we'll cover these as the course goes on. Things like line height and the width between the spaces, the different texts that's all in here. And the size though, is really the one that you want to look at for right now. And then also maybe you want to look at something like changing the text up to a different one. Also, color, stroke, background and shadow at the bottom here. If we go to the fill, we can change the fill to anything we want like black, and you'll see that it changes the fill in there. If the stroke is the outline, you can see there's a white outline here. If I wanted to, for example, add a red one, I can do just that. We have a lot of different controls within here. Now if we create two different pieces of tax, so this is the second piece, right? Like so you'll notice that it all it does is it creates another layer in here, but it does not create another layer over here. This helps keep the timeline clean. If you want to add different effects, for example, anything in here to different texts layers, then you need to make sure that you're creating separate graphics layers. Otherwise, it's going to be applied to everything within this individual graphics layer. We can also sort of order these. So whichever ones on top is going to have the you'll see that it has the I don't know, I guess you would say the priority. So it's gonna look like it's on top of the other. You'll see if I drag it down. Now the second comes out and it looks like it's there in the London goes behind. So the order is really only relevant for that. You can also create groups and stuff to organize your, your layers up here. But that is the basics of how to add text. Note that the main parts of this is that you click the text view, drag it. It's going to be a set. You click it and type. It's going to be adjustable, it's going to be flexible. And then make sure that you look in the essential graphics panel because that's where a lot of your effects are going to be for manipulating the text within. Here. A quick prototype, by the way, is effect controls. You can also see the text is over here you have a couple of quick sort of things to do over here. You can use the size and the texts and all that over here in your effect control so you can adjust some of this stuff from two places, but a lot of the stuff like a lion and transform will only be in your central graphics panel. So now we've covered the basics of texts. In the next lecture, we'll actually be animating this text a little bit and maybe making it type in like a typewriter effect. So that'll be a neat sort of addition to what we've been doing. And we'll keep working on the essential graphics and typing. 13. 3-5 Typewriter Effect: So now let's discuss animating via text. So that's gonna be our next effects, how to animate text. So let's go ahead and first I'm going to go ahead and reset this and something more visible, just a white text. And then I'm going to undo the fill here. So now we just have this plain white text and let's say we wanted to animate it so that it comes in with an animation like it's being tight, like a typewriter effect. To do that, all we need to do is go to the text and then go to the left side over nor effect and trolls go to our text here, drop that down, and then look for our source text. You'll notice that we have the toggle Animation button over here. So in the last lecture we edited the tax on the right side. But whenever we want to do things like that, work with the time or wheel and to add effects to it, we need to look on the left side over here. And the effect controls so that we can actually go to the animations. So I'm going to first do is I'm going to click the toggle animation and I'm going to erase everything except the L and then go into move forward five frames. You can look the frames rate here. So you can see 12345. And you can see there's, we're now at the fifth frame. And I'm going to go in here and get to the end and then type in o. Go five more frames typing in. And this is a bit tedious, but it does create the animation. A quicker way to do this is if you hold the Shift button and then click forward, it goes ahead five while you do it. So this will save you a few clicks right there. D o n comma u k. So now what we have right here is the animation. So let's go ahead and just play this back. And you'll see that right there. It types out from beginning. And of course, if you move this forward a little bit, the reason you start with the L is because it's going to pop in with the L. So might as well have it start off with a letter so that the beginning of this is the actual beginning of the effect. And there we have it. Now we have a very nice animated text right here. And we can actually un-annotated out. So we've done the animation inward and we can just do the exact same things outwards. So maybe right about here, start the animation is still going. Now whenever you're doing an animation on the reverse side, what you want to make sure you do beforehand is go up to here and add another key frame rate before you begin. This is going to make sure that whatever happened rate here, this last key frame right there is going to maintain throughout it. Because if, if you start editing right here, it's actually going to try to basically change over time from here. Let's say you're changing the color or the size or something. And something is really large here and you wanted to start shrinking. Well, if you begin shrinking here, it's going to go from large and then slowly go to small as it gets here. So you want to lock in that large again so that you can begin animating it from that point onwards. So that's what we're doing. We're just making sure that we're locked in right there. We're going to move forward. Five, delete, five, delete, five, delete, delete. And you'll notice that a lot of stuff in Premier Pro is tedious. Editing can be a tedious thing. However, the TDS ness is what creates the neat effects. Now, again, with this, I could make it disappear, but I want them to just go with the, just end on the effects. So I'll just bring this back to here. Or actually I need to go I believe forward five. Let's see. So yeah. Okay, so I deleted that keyframe there. I think I hit controls either. So I wanna go forward five and then delete it right there so it sticks with the animation. So now we can just take a look right here and we have come in, go stays for about three or four seconds and then it undoes itself and then it's gone. So that is how you animate text. It's a great little thing and this is just one of the things you can animate. You could animate the color over time. You can animate, for example, changing the text to different things. There's lot of different fun effects that you can do with this, but this is the most basic way to animate your text. 14. 3-6 Color Ramp Effect: So now let's create a video overlay on our video and we'll go over a couple of new effects with that. So first off, I'm gonna go ahead and click import and I'm going to import the beach in our stock footage folder. I'm going to drag that over and just let it generate a sequence for me. Now you'll see we have this beautiful shot of this. What looks to be this girl sitting in front of a beach. But we want to change this style. This is looking a little bit like a cool sort of feeling to it. And instead of that, what we wanna do is want to make it feel a little bit more summary. So we're gonna go into here and we're gonna go click on the new item button and look for an adjustment layer. You can also go up to File New adjustment layer, but make sure that you have this box selected if you're clicked on, for example, the timeline and you go file new, you'll see that it's actually grayed out and you can't click on it. So you always have to have the project selected so it knows where to put the adjustment layer. So we're gonna go click on that new item button, a new adjustment layer, click OK, and then drag that on over an extended the length of our clip. We're then going to click on the Adjustment Layer, go to our effects. And we're going to search for an effect called and ramp. We can find that in the video effects if we go down to, I believe it is under generate and then ramp right down here. We're gonna take that and we're gonna drag and drop it onto the top footage, the Adjustment Layer. And now you're going to see that the bottom sort of disappears here. So what we wanna do is when a take the stark color, the ramp, the top color, and we want to change that to a red. So I'm gonna go like I'm gonna be a reddish orange somewhere in here, like right there. And the bottom of the ramp, I'm gonna make it more of a yellow, a nice bright yellow here. What we're doing is we're gonna be taking these colors and sort of blending them downwards. We're then going to look for the ramp shape. The ramp shape is fine. It's either linear or like a center sort of ball which can be cooled as well, but we want that linear. And then now we have this blend with original. So all we wanna do is we just want to blend this a little bit with the original. So in this situation, I'm gonna blend it may be 90%. Maybe 85% looks pretty good. And what we have here is now a quick sort of adjustment to it. And now it looks a little bit more summary. And of course we can mess with this more C If we add a stronger one, if that helps, We can also maybe add, for example, if we look for contrast, brightness and contrast, we can drag and drop that onto the Adjustment Layer and see after we add the ramp, let's see if we add a little bit of contrast to sort of bring the colors out, as you can see, it looks a little washed out, so we're going to try to bring some of that in. And then now let's make sure that we're on full here so we see the full effect of it's being rendered. And there we go. Just a quick sort of Button. We'd added an overlay to our footage and change the feeling of it just a little bit. You can see that here it's at cool, sort of it feels like maybe you're in Iceland or something, or when you turn this on, it feels just a little bit more summary. It fits that summer vibe like maybe at the very end of a summer day. And with overlays, we have the ability to sort of manipulate and change all sorts of things. And this is just a very basic ramp overlay. We could do a 1000 different effects on the Adjustment Layer and we'll be doing that throughout the course. But I wanted to introduce the idea of overlays and the idea of changing the footage with your overlays. 15. 3-7 Watermark Effect: Now let's go over how to create a watermark. So we've actually, I've already created a project, so we're going to jump into that one. I just want to show you that you can always jump into a project that is down here. So if you click on this Double-click, it'll open it up. As you see, h is a completely blank project, so there's nothing special about this. Just go ahead and create your own project. Get to the blank project and then follow along. Right-click on this. Go to Import, grab the beach scene from the import. Drag over, create your sequence. You're beginning steps. Now once we are here, it is time to create the watermark. The watermark is very easy to create and what it does is it allows you to share your footage without worry that someone's going to steal it and like maybe sell it behind your back because all you're doing is sharing a ruined version of your footage. It's not gonna be completely ruined where they can't see the stuff that's happening, but you could never put it into a full production. So let's first go to our text tool. We've used their textbook before, type here and then type the name of your company or your name or anything that you want right here. And so Adobe masses is my Online YouTube channel. So I'm just going to type that in. Let's say that I filmed this and I don't want anyone else to grab it. I'm going to then make this large M. You see that if we're clicked and here, it's only gonna make what you're highlighted, what you're currently hide out lighting larger. So we can go ahead and click and then highlight everything it keyboard shortcut is control a or on a Mac command a, that'll highlight all the text inside. I'm gonna just gonna make this bigger. And now I need to add a copyright code to the back. To do that, you can go online and look for the copyright code. All you have to do is a quick Google search for copyright code. And you'll see copyrights and symbol. And you can see it right here. And you just gotta find it highlighted right-click copy. And then you can paste it right here. Makes sure that the text of this thing that's selected. Actually I think I've got the file haste or edit paste right there and you can paste it. Now I always use keyboard shortcuts. That's why it took me a second. Find it. Control V is paste and Control C is copy. So you can use both of those for copy and pasting. Another way do that is the alt code, which involves you just holding the ALT button down. And then if you have a NUM pad, you type 0169 and release the ALT key, and it'll create the copyright code as well. Once you have this built, you're just going to position it where you want in here. And I'm gonna go ahead and add a black stroke to this. So I'm going to click the check mark button over here in the central graphics pain. And then I'm going to make it stroke just a little bit larger. Like so. And then basically this entire effect is going to be taking this, making sure it's dragged over the entire footage and then just grabbing its opacity and reducing it a little bit. So we're gonna grab the opacity and maybe make it want to start at the very base, something like 8, 9%. Maybe if you're really good footage or something and you don't want it 12-13 percent, something a little stronger, but you can see what this does is it waters the background. There's no way that anyone can remove this from a clip unless they have really advanced software. I think there is something out there that can actually sort of have that what it is. They can try to remove it, but even so it ruins it, it could never be used in anything, you know, very important. And of course, if you wanted to see it, you can always put it up in the sky. That's not going to change things. You can bring it down here. It just is wherever you want. And a fun thing you can actually do is if you download any inner like image off the internet or if you have a company symbol, all you have to do is just drag and drop that in. And you can reduce the opacity on that and make a assembled one as well. So that's how you create a watermark in Premier. Very simple effect. All it requires is just a text layer and then using a bit of the opacity to reduce it so that we can see through it. 16. 3-8 Rolling Text Effect: Let's create a really fun effect with what we've been doing, all the stuff that we've learned. It might not feel like we've really learned a whole bunch, but we have learned a lot about Premier Pro and we can combine them to create some more advanced sort of medium level effects. And this is going to be one of them. One of the effects that we use just a couple basic tools and we have the ability to create something really, really fun. So let's go ahead and do just that. So I'm gonna hit New Project and I'm going to be creating, it's gonna be eight text reveal. And you're going to see that what that is as we create it. So we're gonna do, is we do want to be in the graphics, the central graphics workspace here, going to right-click, I'm going to click Import. And now we're gonna go to sunset in our stock footage. Now grab that. I'm going to drop it over here. And you can see there's just a very beautiful looks like a drone shot over a sunset in kinda hard to tell where it is, maybe somewhere in the Mediterranean. That's kinda where we're just going to think of. I'm just going to think it's in somewhere like Greece. And so we're going to work with that notion. So I'm gonna go to Text right here. I'm going to click outwards and I'm going to write maybe Athens, Greece and then a year like 2020 or something like that. If I highlight this, I'm going to then make it a little bit larger. And that's about as large as it'll go for this piece. And then go here, well, it's as large as this thing will go. You can make it go larger. If you type in 500, there's just the bar only goes up to 400. So you have to type in numbers after that, a little pro tip there and drag that here and then maybe make the stroke like 20. Yeah, that looks pretty good. Now what we wanna do is we want to take this footage right here. I'm going to drag it out so that it's the entire length of the clip beneath it. And then going to hold the ALT key. Hold the ALT key, click and drag up, and that's going to duplicate it. Another way to do this is right-click, go to Copy. And then you've got to select V3 over here. So make sure there's unselected. Go to their beginning, right-click and click paste, which can be a little bit tricky to bring up. So just edit paste and it'll paste it right there. Keyboard shortcuts, Control C, then control V. And I'll do the exact same things. All we wanna do is when I create a duplicate, you can even just drag another one. Or actually you can't because it's the graphics layer. So you had to do one of those methods, control C, control V, hold Alt and drag up or just right-click copy, right-click paste. So now anyway we have the footage here. So these are exact duplicates of one another. What we wanna do is go to this bottom footage and bring the opacity down to something like maybe 17%. What we're doing down here is we're creating a guide layer. So we're actually going to rename this just so it's easy to see this our guide layer. When we reactivate the top, we're going to take this. We're going to delete off everything from that point onwards. And now you can see the guide layer. We're going to essentially do this one word at a time, but we wanna make sure that we line up the word so that it looks natural. So what we're gonna do is we're gonna create the app ends are going to copy and paste it in right Greece and then line it up with the bottom and then the 20-20. Once we're all done, we'll delete the guide layer. The effect that we're creating is to have the text come from bottom and then slide into view, but make it look really professional. Something you might see on like HGTV or some other sort of professional TV channel. To do this, we're first going to look for an effect called Crop. This as a new effect. It's in transform crop. It's very simple. All it does is it crops out the footage. I'm dragging it onto the Athens layer. So we're going to take this and we're going to go from the bottom. And you can see if I drag it all the way up, that it starts cropping out the layer here, what we wanna do is we want to position this somewhere like maybe right here, this is where the text is going to come from. So I'm gonna go down to maybe 28%. I'm just guessing here, we're got to adjust this a little bit to make sure. Then we're gonna go into the Athens layer. We're still in the Athens either crops up here at the top, I'm going to drop down, or I'm gonna go down the video motion. And then I'm going to use the position here. And you'll see that the problem is that the position right now is below. So we're going to actually take this and we're going to go up to the vector motion of it. And we're gonna use a position here. If we use the position of the video, it takes the entire video and moves it down, which means the crop goes with it. So as we drag down, Athens comes down and the crop, whatever ratio it is, Well maybe it's sitting here, it comes down with it. We want it to stay still. Seward is going to move this text itself. We removed the text and you'll see that it hits the crop right there. That's perfect. We're going to drag it right beneath. So right when it disappears right there, we're at the very beginning, our footage. We can we could go and maybe a little bit, maybe we want to start this at like 1 second. So we'll start the effect at 1 second. We're going to click on the position toggle animation. Now we want to move forward maybe, maybe 2.5th. So we're looking at about 20 frames here. I held the Shift button when I clicked, so that was 20 frames forward. And then I'm going to go ahead and just drag this all the way up. And I want to put it right back into where it was. So we're gonna go right here and line that up like so. And now you're gonna see that we have this sort of reveal. The extra rule is going to come up, but it looks a little bit clunky. It doesn't look full on that, I have that. So we can get this at real-time. It looks very basic. So the next thing we're gonna do is right-click on this keyframe. Temporal interpolation. We're going to easy out this one, right-click temporal interpolation. Easy n, this one. Remember when we talked about Keyframing population, well here's what we're gonna do. We're gonna see that the velocity of this is essentially going to increase as it comes up. So we have that, but we wanted a little bit about the opposite. So I'm gonna do is I'm gonna expand this a little bit. If you drag this inwards, it expands that out. And I'm going to take this and I want there to be a really strong velocity at the beginning. And then I'm gonna take this and drag it down. And then sort of just slide into place at the end right here. So now let's take a look at this. That, that looks a lot more professional. And I actually want to try to bring this all the way down, so it comes to a nice slow stop. There we go. That looks like I said, a lot more professional. It looks like something that anything would use. It has a very smooth sort of feel to it. And so now we've actually created something pretty fun. What we wanna do now is we just want to have the rest of this come in Greece and in the 2020 and we went to roll it in. That's why it's a rolling text. So we want the first one to come in and then right about here we're going to have the grease come in. Then write about, you know, when it's there, we're going to have the 20-20 come in. So let's figure out how far along the animation we are so we can get the timing's right. So we are one to five. So we wanted to the grease to start ten frames in front. So we're going to do what we did before. We're going to drag the Athens layer up. Except now we're going to click on it. And we're going to rename this to Greece. We're then going to take this layer and we're going to move it over. If we affect the text, we lose the animation that we created. We don't want to lose the animation that we created. So we're gonna do is we're gonna go down to the video motion and we're going to move it from there. Just going to drag it over and we're just going to line it up. So right about there. And when we rely on this up, we want to make sure we're at the beginning or at the end, my bad of the animation. So we just want to make sure that the, the ending of the animation is where it ends at our guide layer. And so now we have them both come up. We however, want to offset them a little bit. We can do that one of two ways. We can move the keyframes forward, or we can move the entire frame forward. I'm going to move the entire frame for it. So I can actually see it on my timeline. So I'm gonna make a cut here. Now this is the first time we made a cut in Premier Pro. Use the C key to change the Cut tool or you just click on the Cut tool up here, the eraser tool, and it'll create a cut within and basically just separate the footage out. You could also drag it forward. Now when you do this, if you start selecting things II and you had to hit the V key or go back to the selection tool. Just a way that you can edit different things. Now what I wanna do is I want to move this forward ten frames. So I'm gonna just go forward one. Make sure you out 1-10. Drag this over. And now we have the two sort of lining up. I actually think that I kinda want the Greece to come in just a little bit sooner. So maybe we're gonna go six frames. Let's see how that looks. Yeah, that's looking how I think the original effect should look. And now all we have to do is do this one more time and remember the timing signature. We changed it up. Sometimes you have to change the volume, make it I thought ten would look good. Six looks the best. So when we create the 20-20, we wanna make a six as well, meaning that we want to go to 112. So we're just gonna do the exact same thing one more time. I'm going to take this, I'm going to drag it up using the Alt key. I'm going to make sure that we're at the end of the transition here. Click on this, click on my text tool. Go to Greece, rename it to 20-20. Click on it. Make sure that works. Collected on the 20-20, not the tax motion, not the vector motion. We wanna go down to the video motion. Drag that position over, line it up with our guide layer. Now let's see how are at looking great. Click on it. So back to the selection tool. Make sure were lined up at the 106 and then now we want to go to the 112. Again, I'm looking at this rate here at The math is done right here. Lot of times I have a notebook and a pen and pencil right next to me and I just write this stuff down so that I can keep things looking good. It's all about the timing when you do stuff like this. If one of them seven frames, one of them's 13 frames, it's going to look off. So you just wanna get those correct. It's very simple math and it's just as where like the detail of the, you know, the I guess overall quality comes down to the little details. So now we're just going to take a look at this. And now we have a great little texts trivial coming to clean this up. And I don't wanna do is I want to go to the 1 second mark and I want to just drag this in. Now we have very easy to see timeline working here. We have Athens in Greece than 20-20 comes in. We can go ahead and delete our guide layer, or if you click this button, it just hide the guide layer. And let's play back our final effect. And there we have it. We have created ourselves a rolling text transition with, like I said, nothing really more than what you've already learned, which is five or so effects. And then we added in the crop effect for this to just give us a place to come in, but all just basic fundamentals combined, you can create a very professional looking graphic and introduce any point in the world or something with this professional graphic. 17. 3-9 Social Media Callout Effect: So now let's work off what we've been learning and create another fun effect called the social media call out, or social media call to action. Essentially it's going to be a little thing at the bottom that says, follow me at whatever your handle is. So let's go ahead and do that. I'm gonna go ahead and import anything really hear me at the beach or cars or one of these all it has to be some footage. I'm gonna go ahead and go at the beach on this one. Drag that over and create ourselves a composition. And then what you can see, the footage is ready to go. Now all we're gonna do is go down here, click on our text tool and we're gonna create texts like we did in the other tutorials. And it's just going to be something simple. Follow me. And then at whatever your symbol is right here, just follow me at Adobe Masters, a little bit large here. So I'm gonna take this and just drag it down maybe right about here. And then put that in place. And then now what we have to do is we need to import the Instagram symbol. I'm also gonna make sure that this is the duration of our footage of the bottom. We don't know how long the effects is going to be, so I'm gonna make it this and then we'll cut it down later. And so let's go back and import our footage off. I import Instagram right here. It's going to import it into a layer. And then if I drag and drop it on here, I can do all the manipulations, I can create the effect. However, we also want to cover something really, really important. And that is going to be how we can take this and save it for use over and over and over again. So let's go ahead and just take that, make it disappear. And then now what I'm gonna do is I'm going to click on this. It'll open up the essential graphics panel on the right here. And then I'm going to click the New Layer. And then we're going to say from file, click on Instagram and open. And you'll see that it actually imports and Nuan rate here and puts it right up here as well. And now it's actually a essential graphics layer. So you'll see that it's not a layer in here, it's just within our essential graphics layers. This is going to be very important later on whenever we tried to save it. Anyway, now that it's like this, we can go ahead and put it into position. I can just drag it down, make it a little bit smaller, and then fit it right over here in the corner. If you are having trouble getting over there, you can actually just bring this up to a 150% like So with this drop-down and distribute them over here and allow that to be easier. Another way also is to go into the effect controls, find it, and then use the position things over here to fine tune it. Rate here though looks good. So now we have basically the beginnings of this. This is the static version. Now it's time to animate it. So I'm gonna go into effect controls down to clip and Instagram. And what we wanna do is uncheck this uniform scale. So when it's checked, it scales up and down, like sell, it just scales naturally. What we want to do though, is we want to be able to scale the left from the right. So now when we uncheck this, we now have a horizontal scale right here. And essentially the scale at the top becomes the vertical scale. What we want is we want to take this and there are two ways to do it. We could have it come out like this, which is a cool effect, or we could have it come from left to right. But you see you that if we wanted it to come out from the left. It starts in the middle here. We don't want that. We want it to start at the left over here. So that's where the anchor point comes. And I talked about anchor point at the beginning of this lecture series. And the anchor point is very important for effects like this. So let's go ahead and just zoom the footage back in and let me show you how to move the anchor point. So this is the anchor point right here in the center. Wherever this is, the effects are going to center on. So when you rotate it, it rotates it around this, when you scale it, it scales it from this. So we just want to take that and we just want to drag it over here. Put it right about on the left, middle dot right here. Now when we do horizontal scale, it actually scales out from here, which makes it look really, really cool. So that is going to be, yep, that looks good. So now let's create our animation. We'll start at the very beginning. We'll click on the horizontal scale and remember the number 15.2 when it goes 0. And then we're gonna go forward about, let's say ten frames. And we're gonna do a little trick that lets things look a little bit more flashy, a little bit better, is instead of 15.2, we're gonna go to 16-point deal. Or maybe even a little bit more. We're going to stretch it out just a tad bit rate like that, and then go forward two more frames and bring it down to 15. What does this do? It creates a little bit of a pop, a fun little pop to the effect. And if we go to fit right here, we can see that it's looking good. What I'd actually do though, is as you make effect, sometimes you've got to work on the timing. This is a little bit faster or a little bit slow. So instead we're gonna go to about six seconds and do that back animation at six seconds. That, that looks a little bit better. And you can see that little pop just makes it a little bit, you know, sort of fun. Now with the texts, we're just going to animate that as well. So we're gonna go down here and find the text over here on the left. So that's the clip Instagram. This is the text. We want to hide that source texts and find the transform part of it. And then we're just gonna go to the opacity. We're gonna go to the very beginning. We're gonna start the opacity at 0%, and we just want to make it to the very end here, right there at that key frame at number eight and go up to 100%. And now we've created is a little sort of fade and pop effect. Now, you can also sort of time and a little bit like right when it starts to oversight, you could even have it fade and right there and just make it a quick fade-in. It almost looks like it's sort of flashed in there. So maybe we drag that out. And it's all about just fine tuning this and make it look good. Yeah, right there. I like that timing. So I went at let's see, it's framed. Well, it's actually in between frames. Let's drop it to frame three and then framed tin. So three and tens of A3 is 0%, 10 is 100%, and that looks like a good effect overall. So now all we have to do is just animate the backside to animate it out. And let's say we're gonna do that after five seconds. So we'll high fast forward rate here at about five seconds. Move forward. I'm checking the second right here, that's high. Drag it and I check, you could also check right there. And we're just going to reverse this. So we're going to take the position. Move to are not my bad, not the position. Delete that keyframe, go back to five. We're going to go into clip Instagram. We're gonna go to the horizontal scale, create one, go to Ford, and then go up to our other value, which was 19.2. So we're gonna go to frames forward, bring it up to 19.2, and then take six frames, 23456 to bring it back down to 0. And that's going to have it basically just do the reverse of the animation here, like that. And then we're also going to just do the exact same thing with the text and animate that back out. So we're gonna go to the capacity. How now here we want to try to make it as close to the beginning as we can. So let's see, it was how many frames across? Because we kinda went a little bit, 234567 frames. So we have a seven Frame animation starting at frame 123. So we want to do the reverse to that. We wanted to start fading out a little bit beforehand. Laid a keyframe there, 1234567, bringing opacity down. And that looks good. And you can manipulate as all the timings and stuff were just what I created. Have fun with this and create whatever you want. But the important thing is we have an animation in, wait five seconds, we have an animation out. So now that we have both of these created, all I need to do is just finish this off by trimming this down. So I'll grab this, I'll just trim it wherever my cursor is. And we have this 5 second clip right here. Now, here's the really, really fun part. Let's export this and make it so we can use it forever in the future. So if I go up here to graphics export as motion template and make sure you have this selected. The current motion template that you're working on. Click Export as motion template. It's going to find it. You can give it a name. I'm going to put it in a local Templates folder. And that sounds great. Or I could actually just put Instagram at Adobe masters. Click OK. It's going to do the whole export process. And now I can just delete this off all of our hard work. Go to the browse and search for Instagram. And you'll see right here we have Instagram at Adobe masters. So now I can drag and drop this anywhere in the footage. And I just have my little effect down here. So now every time I'm working on a production, all I have to do is just grab this and drop it in and run production if I want to create a social media call out, This is how you improve the times of YouTube videos and things like that. Because you don't have to create the affects every single time you create it, once, you save it as a motion template and then you just drag and drop it whenever you needed a and this is as many as you want. There's no limit to what you can do with this. It just going to keep creating them in the bottom left over there. And you can see, now what's cool about this is if you don't want it in the bottom left this time around, all you do is click on it. Go up to the the motion of the entire clip right there. And you can just drag it wherever you want. So you can just put it at the top. And what's cool is as long as you touched the motion of the entire layer itself or the entire like the footage itself, instead of like an individual tax or an individual clip, then the effect works with all of its animations anywhere you want. So that's how you create a social media cola and then make it salable. 18. 3-10 Working With Multiple Video Sizes Effect: So now let's go over a more of an informational video which is going to be sort of the abnormal of this whole series, is only going to be a few informational videos. This one's going to be on working with multiple video sizes. So let's just get started on that. If I go right here and import, I'm gonna wanna import 4K typing and then any of these other ones, or we can even import all of them and put them all into the editor right here. And now if we zoom this over a little bit, we can see that their sizes are actually different. So just find the video info. You see that the 4K and the sunset are both 4K. The car is driving and the people walking are 1080 P. What is this? Well, this is the amount of pixels that's in the video. This is CRISPR, it's clear, it's a bigger file. It takes stronger computers to work with, but it's sort of the way that media is going. Ten ADP is something that's been around for probably 20 or so years. It's HD quality. It's what most, Whenever they use the word High Definition, this is where they were kind of talking. Nowadays, we're getting up to 4K, which is basically four times the amount of pixels as HD. And then there's 8K, its probably gonna go to 1632 K as time goes on. But there are different sized videos. That creates an editing problem for us. Let's say that I take this ten ADP footage and I drag it in and I create a composition on it. Everything looked perfectly normal up here. But if I take the sunset and I drag that in, you'll notice that I'm very, very zoomed in. If I click on this and I grabbed the scale of the effect controls and I scale it back. You'll see how far away that it zoomed in. This rate here is about 51% where if I go 100, this is what it put it in. So these two are mismatched. The scale sizes are different. So what do we do in a situation like this? The most important thing to do is you want to scale down, meaning you want to choose whichever number is the lowest and work from that. If we had 720 P, then we probably want to work in our sequence from 720 p. Now, understand this also means that whenever we render the footage out, whenever we try to export and actually create the footage, it's going to be 720 p. It's not going to be 4K footage. However, if we're working with 720 P footage and we want to try to scale it up to 4K. It's going to look horrible. So that's why we scale down is because for Kc and scale down to 1080 and it can scale down in 720 and look perfectly fine. However, if we try to scale it up, we'll get a blur. We can see that very easily if we go in here and we create ourselves the 4K typing, you can see it looks good. It's, it's just a normal footage here. And now I try to drag in that cars again. Like so. You'll see how small it is and for it to even get inside of this, I'm going to have to scale this way up. And now you'll see that there's some, it looks blurry. It looks kinda like a bad YouTube video. Now instead of actually being clear, there's definitely some blur around the edges of some blocking. This rate here we have this line is no longer crisp down at the blurry parts are way more distorted than they used to be. It just looked a whole lot worse. So that's the first step is to make sure that you always scaled down and you always choose the lowest one. And if you don't want to drag it over, if you want to choose things, of course, you can always go File New and then sequence and build it from here. Just go to your settings and you can choose the frame rate and then the frame size right here as well. So then let's go back into this and let's say that we want this to happen automatically. What we can do that as well, we can drag in, for example, let's go back to our cars driving sequence right here. So this is the sequence. We open up the sequence and let's go ahead and drag in our 4K footage. Now instead of us having to do it, instead of us having to scale this down, where we can actually do is scale it automatically. And what we do here is we go to, we click on it. We go to clip Video Options and then either scale to frame size or set frame size. These are very different, but sort of important ways of how you want to do this. Scale to frame size is going to basically ignore. The scale over here is just going to fit it to whatever the frame is. Now, this is a little bit dangerous because we don't know if something is scaled up or down. The scale number over here still reflects 100. So what I like to do is I actually like to click on this, go to clip video options. And it's set to frame size and you'll see that it actually adjust the scale for us to see. The other one is I guess useful if you're thinking that you wanted to maybe make something go up from 100% to 125 and then back down. If you do this, suddenly the math gets a little more difficult. However, I'd like to know what's happening to my footage. If it's being scaled up, if this number of flexion or 182 or something like that. I know that that footage is probably blurry now and that I need to find a better way to do this. So I always like to use set to frame size and let me just make sure I'm saying that right. Its clip. Whoops. Not speeding duration. Clip. Video options. Yes. The set to frame size, the bottom option. So that's the one I typically like to use. Now then what if you have a whole bunch of footage and you don't want to have to right-click and do that every single time, we can actually do something else as well. And what we wanna do here is we need to make sure that nothing is important before we do this. So I'm just going to clear out the, the footage right here. We're gonna go to Edit Preferences and then down to media. Wait for that to come up. And you'll see that right here we have default media scaling. And what this is gonna do, it, it's going to scale all the media based off of the sequence that's being created that you're putting things onto. And so I'm gonna go here, I'm going to hit set to frame size. And then I'm going to click OK. And then now whenever I import the footage, it'll have this basically attribute that whenever I put it into a sequence, it's going to automatically set the frame size. You'll notice that I made a little mistake here and I deleted my timeline. Well, that's really easy. Workspaces reset to save layout back to where we were important. Gonna import all of them again, I'm holding the control key here and whoops, I dragged a little bit and actually copied everything. Mistakes happen while you're editing all the time. So let's go ahead and drag in our footage here. This one's ten ADP. And now watch when I drag in the 4K footage, it's automatically scaled and our scale is set right here. So now it's very, very easy to work with all of these different sizes. We have small, we can have large as long as we create our original sequence to the size that we want, we can drag anything that we want in and it's going to fit into our thing perfectly. The sun, which is also a 4K, looks perfect. And so that's how you work with multiple file sizes. In Premier Pro. It's not the hardest thing in the world, but there's a couple little tricks you need to know. And then it doesn't really matter what file size that you have. It's all really, really simple to work with and really fast to get editing. 19. 3-11 How to Render Videos: So let's go ahead and quickly mention how to export your video. So say this is your finished product right here and you want to export it out. We'll go up to File John into export and then media controller command ends a really quick way to get here. I used to do H.264 and that's because I work online depending on which codecs are installed in your computer, you may or may not have the H.264 range or the H.265. If not, I would recommend probably going with AVI that'll create a slightly larger file format, but it is a pretty good one. You don't wanna do uncompressed. Uncompressed is gonna make it ungodly. Huge is just going to be absolutely massive. But it is good if you have really high-quality footage and there are more steps to your production, you want to go ahead and render it out uncompressed so you don't lose quality everytime you render it out. But in this situation, I'm gonna stick with H.264. If I want to change the location, I click on people walking. And for example, I can choose anywhere to save it into and then give it a new name. All of this is essentially the presets here, so I can select the news is going to change everything down here. I usually just do match source high bit rate. That's gonna make it a pretty good compression for uploading online, which is going to further compress things. You can choose something else, like high-quality 4K, for example, would be a stronger one than the medium or the match sources. With these different settings on here, we can apply some post stuff with the video. We're able to change the width and the height than the frame rates and things like that. It's all usually set for you. Will, you can uncheck these and change them to however you want. For example, if you wanted a slightly better thing, you could do two passes and higher target bit rate and stuff like that, which might make it slightly better, but it also is going to definitely raise your estimated file size. Down here you see I've gone from 17 megabytes up to 85 megabytes. Just by affecting that, I do typically like to increase the maximum bit rate just a tiny bit. Just so if there is something that could be higher-quality, it allows it to be higher-quality instead of compressing it downwards. We also have the ability to change the audio in here, the sampling rate, 4800 hertz is usually a pretty good thing to go if there's not usually a lot of things as high-quality audio, back in the day, maybe this was more important, but nowadays you just kinda go with the highest quality audio because it isn't that big in terms of data. We have also things like use maximum render quality. It gets better quality scaling but increase the opcode time essentially is going to make it slightly CRISPR If you really zoomed into it. It's kind of negligible if you're watching it on any normal other platform. But if you're a lantern, like blow it up really large, this is kind of a good thing to turn on. Time interpolation. If you're slowing things down and speeding them up, you wanted to switch them depending on there. And over here you can just see what you're gonna be rendering out. You can cut this short or bring this up to change what exactly you're going to render out. If you only want to render like five seconds or something, then you can cut that down to render those only five seconds. You have two buttons down here, exports going to begin exporting immediately from here. You'd want to do this if you're just exploiting a single thing and you're not going to want to work or you're not going to want to do other exports, you click on this. It's going to basically lock up the program and it's gonna start rendering it out. And you just gotta wait till it's done. If you click the queue button, it's gonna send it to the Adobe Media Encoder, and it's gonna essentially put it in a big queue. You can then go and open up all your projects. Keep clicking this queue button I'm going to line up in Adobe Media Encoder. You click the Play button there and they'll render him out in sequence from there. A lot quicker to do. Basically to go to all of your different projects, open them all up, put them all in here, cuz let's say you have 30 of them and then click the render button and then go do something and they'll all render one after the other. You don't want to keep coming back and opening up new projects and export in them one at a time. You can go do it and your computer will do the work, you come back, they're all rendered out for you at the very end. Anyway, a quick overview here. If anyone has any specific questions on this, go ahead and ask them in the Questions section. Also, I would like some more focused area on here, but I don't know exactly what direction a lot of people want here, so ask them specific questions in here and I'll make some videos and try to go over some of the other settings in here. 20. 4-1 Enhancements Introduction: Now we've got some good beginner effects. Let's start manipulating the footage a little bit. Now we're gonna be going over enhancements and ways to make your footage look better or maybe just slightly bit different. It's a really fun set up tutorials in here and you're gonna learn a lot about Premier Pro. 21. 4-2 Lumetri Color Introduction: So let's go over enhancements. That's what this unit is going to be all about. It's enhancing your film. In the last unit, we were basically covering some fun effects and things to add on. However, I want to fine tune it down to only cover enhancements in this set of lectures. So what that means is we're gonna be doing things like color, correcting our footage, color grading our footage. We're gonna be adding different tones and enhancing the night footage, stuff like that throughout this, it's going to be a really fun section. You're going to see just how powerful Premiere Pro is. But before we do that, we need to understand what luma tricolor is. Luminary color is the inbuilt color correction and color grading suite in Premier Pro. It's very easy to get to. So let's go ahead and import some footage so I can talk through it. I'm gonna go to Unit three stock footage and grabbed the waterfall. Click OK, drag it over to create our sequence and we're ready to go. Now, I'm in the color workspace. So the color workspace is a different workspace. Remember, we started at editing, we worked into graphics a little bit now, or in the color workspace. That's going to open up right over here. The volumetric colour panel on your right luminary colour panel is going to have all of your affects ready to go. If you want to work with it differently, maybe you don't want this tab open or you want to overhear and the effect controls, you can do that too. Quick note if you don't see the geometry color and you want that it just under Window. And then down to luminary color. You click on that, it'll open up and you can drag it anywhere you want, if you want it over here. And the effect controls, all you do is search for the effect luminary color. You need to make it past the space and to see a lot of things jumped into the namespace here. So just control and in spacebar c, and you're into the elementary color, you drag and drop that on, and you'll see that it actually pops up over here. And all of those adjustments are over here. And a slightly more condensed fashion, but also in a fashion that allows animation. Anyway, let's get back to symmetry color on the right. This is where I'm going to be working with. And we're going to just briefly brush over all of these. And then as we move forward, we're going to cover them more in depth with different effects. Basic correction. This is the stuff to correct your film. Things like exposure, contrast highlights, shadows, whites, blacks. It's basically just taking how your film was filmed and trying to make it a little bit better. Maybe it was little underexpose, maybe you want a little more contrast. Maybe the highlights of the whites are really strong unum, bring those down. You can do all of that here. We're just sliding back and forth is really simple to do. And it's a quick way to correct your film. With creative, we have the ability to sort of start grading our film. We can actually choose, looks like you can see that right there. I just actually with a really nice filter. But we can choose the looks that we want. We can choose their intensity is faded films. We can change the tense of everything. We have a lot of fun in being able to do that is where you start grading curves, you get a little more in depth. You can actually choose a different color areas and apply effects to them using the curve right here. Fun way it like you create points and this is just sort of showing you how the points are gonna be affected throughout the color scape. So in this situation, we're actually taking the whites here and we're blacks and we're crushing them a little bit, sort of putting them, anything that was near black is now pure black. And then up here we're bringing up the highlights a little bit. It gives it a punchy vibe. Now if we go and drop the curves and we go to the color wheel, this is where you actually start like manipulating the different color spaces for the shadows, the highlights in the mid tone, you have the ability to change the colors in them. A fun thing that I like to do is if you grab the mid tones here, go just a little bit into the warmer side and then grab the shadows and go the opposite direction. You can actually very quickly create some fun stuff, as you can see right now, we have a fun filter being applied to this and it makes the footage so much more interesting than the basic footage. So you can actually turn it off over here. And you can see that this looks, I think, substantially better eye. It looks like you've actually put some work into it and it's edited footage. Take a quick look at that again. Yeah, so I love doing that, that little quick thing, adding a little contrast and then moving the mid tones and different directions. This of course, can be really anywhere in any direction that you want. Just gotta make them opposites. And you get some fun quick effects out of something like that. In the HSL secondary, this is hue saturation, luminance secondary. Essentially, we're gonna be able to choose colors and manipulate them. So you can choose the yellows and say you want them to be a little bit, or this is sort of the range are doing here. And you want to take that range and you want to make them, you know, a little bit redder. And then now with this, of course, you had to clean this up a little bit, but already it looks more like a fall day than it does a summer day, how it started. So that's something we're going to be working with. And then the vignette, the vignette is just the outside. Basically you can add a black or white vignette. A black one sort of focuses you inwards. Look at the middle of the footage instead of the outside of the footage. Good for if you want, if there's a lot of distracting stuff around the edges and you want the people to focus on the center. That's a good way to do it. The opposite way, really, the only thing I've seen that goes with this is you want something look happy and airy or like a dream sequence. You can go the opposite direction for the vignette. But that is luminary color workspace, really easy to get to, really easy to work with. And we're gonna be using that as well as combining it with different effects in Premier Pro to accomplish a whole bunch of different really fun tutorials and affects. And it's going to be really fun. So let's get started. 22. 4-3 Enhance Night Footage in Premiere Pro: So let's go over our first enhancement, which is going to be a fun little enhancement to night footage. So it's a little technique that you can use on night footage at. There's some lights in there to improve it and add a little bit of ambience. So that's what we're gonna do. Let's go ahead and import our night scene from unit three stock footage, open that up and put it on the clip. You'll see that this is a nice time-lapse shopping. I believe it's a downtown Nashville is what this is. But it's a very nice shot here, top to bottom. And you just have a lot of fun lights and change in action. And so that's what we're gonna be working with and we're making this look a little bit, I think better, a little bit more. I don't know, lively and the lights are going to carry a little bit more. So that's what we're gonna be doing. This is a fun effect to apply and it's not that hard at all. First thing what we gotta do is create ourselves a new adjustment layer. Click OK on that Adjustment layer, and then drag that onto the footage and then make it the length of the footage. Basically a typical way of applying and adjustment layer. Once it is the length of the footage rate here, we're gonna be doing a few effects to it. The first effect we're gonna be using is an effect called find edges. So we're going to look for it over here. In the effects. It's going to be under video stylized and then find edges. We're going to take that and drag it onto the Adjustment Layer. And you're gonna see we instantly get this crazy effect. So what's it doing? It's essentially highlighting in a dark color and then grabbing a little bit of the light in-between it. But it's highlighting in that dark color the edges of the film. How does it find this? We'll look for points of high contrast, high-contrast, and the world is what edges are. It's where the color quickly changes to a different colour lighting changes. So when the high contrast areas are shown here, all this little algorithm does, it finds all those and it highlights them in this color. Now when we click the invert button over here, this is when it becomes powerful because now you can see we basically have the original footage, but we have control over all of the little highlights of things. So if we're trying to affect the light, will, might as well grab the points where the light reflects the strongest read the edges of stuff. And so that's what we're gonna be using for this effect. You can see as we blend it with the original, that's the original as we come back, it just creates this strong effect here. And we're gonna take that and we're actually going to make it work for us. So the effect to do that is going to be the tent effect we've worked with this one before. It's under Video FX color correction. And then we're going to drag and drop that on. And now you're gonna see it creates this sort of black and white. And if we go forward, it actually makes a macro black and white actually looks really good here, but that's not our goal this time. Our goal is actually going to be to take this entire layer that we've created and to blend it downwards so that all we see is the changes with the white here. To do that, we're gonna go blending mode and then screen. Essentially what that's gonna do is it's going to grab all of the darker areas and divert downwards. So anything that's darker, the night scenes gonna take over, anything that's really light. We're going to have control over. And now you see we're pretty much back to the original footage like this. We're then going to take the white that we've manipulated. So the edges here and we're going to change their color. So in this situation, we're going to go to a maybe a deep purplish red somewhere right around there. And we're going to have now the original footage, but everything that has an edge is this purple color. This again, at our it's still looks too extreme. It doesn't look like an enhanced minute, looks like a very stylized fact, and it kinda looks worse than when we started. So this is where we're going to need our third effect to pull this off. And that's gonna be a blur. So we're actually going to look in video effects blur and sharpen and want to grab the camera br, blur. There are different blurs throughout here like Guassian and directional. Directional is fun if you wanted to really add a big effect. This it, what it does is it blurs in a certain direction. So you go like 90 degrees and then go up and down like that. And it kinda gives you a little bit of a Saturday Night Live intro vibe to it. But that's not the one we want to do for this particular effect. When a grab camera blur and drop that went on. And now you're going to see that the purple that we've added has actually sort of dissipated into a nice ambient glow. The blur is still, in my opinion, just a tad bit on the sharps are a little bit too blurry. I went a little bit more color on the edges. So I'm gonna go down to 0 and then bring it up to where I think it looks the best. And actually I'm wrong. I actually would like a little more blur. I like the 31 range here. Now what I also want to do is I want to blend this with the original little bit up here. So we're gonna take this and make it about 15%. That's going to blend the original colors and just a tad. And then we might want to take the opacity of the entire effects of the capacity is everything the Adjustment Layer is doing. When it take that and start at 0 and just drag it up until we get the field that we like. So I think just a nice soft glow, maybe around 72% looks the best. And so you can see this is what we've done so far. We've taken the footage, which is a sort of a great piece of footage, but we've enhanced it a little bit to add some more color and a little bit more vibrance to it. As you can see right there. Now the next step is we've covered the purples and the reds, the blues, the reds, we've covered that color sort of an accident it out a little bit, but there is a lot of yellow in here. So we can actually add the yellow into. What I'm gonna do is I'm gonna take this and I'm going to copy this layer upwards. Quickest way to do this is called the alt key and drag up. But if you want to do it in a different way, you can go ahead and just highlight this one. So you gotta unhighlight these. It always takes precedence of the highest number. So you need to make sure that only V3 is selected. And then we just click on the Adjustment or Control-C, Control-V. It'll copy and paste the layer up top. We're gonna go into this adjustment layer. So make sure you're on the top adjustment layer, not the bottom one. We're gonna go down into the camera blur. We're gonna delete the blur. So now we've got the strong central coloring again. We're then going to go into the map color and we're gonna make this maybe a deep orange or something that's similar to this yellow over here, so it gets slightly higher yellow color. Those are sort of looking the same. Maybe a touch on the brighter side and click OK. And now you can see we've got that still that purple glow in the center there, but we also have added a yellow to the top of it. This is way too strong. So what we're gonna do is we're gonna take this opacity and we're just going to add a little bit. We're talking like under 40% here. So 0, add just a little bit of passing AB, like maybe exactly at 40. And now what we've done is we've added a little bit of that yellow back into the scene to add or to make it fit a little bit better with the scene. If there were a whole bunch of green lights here, maybe we want to do that with green. If there are a whole bunch of any other color lights. That's sort of what we're gonna do with that secondary adjustment. So now with our first adjustment, we have created the ambient purple glow. And then our second Adjustment, we've, we've added a little bit of brightness and yellow to the scene to accent all the yellow car lights and the yellow signage. And so overall, this is the effect that we've come out with. We've taken this footage and we've made it look like a very lively night scene instead of just a typical night road. And this would be great for any sort of transition in a movie. Or if you're trying to set the scene, adding something like this just makes it look a little bit more fun, a little bit brighter, a little bit, maybe happier if, if there's like a romance seeing going on. I could see this being a really good introduction shot to it. Anyway. That is a fun little trick using three new effects, or I guess too, if you count the tint we've already covered, Find Edges and blur our great effects. You can add them together and create some really fun enhancements with them. But overall, that's what we've done is we've used just a couple of facts and we've actually enhance footage with it. Let's keep going and learn about some other effects that we can enhance. Footage width. 23. 4-4 Reduce Vignetting in Premiere Pro: The next enhancement we're gonna be working on is vignetting. So let's work on adding a vignette and then fixing a vignette. Why might we want to fix the vignette? Well, a lot of wide angle lenses can come distort the light near the edges and it'll create a vignette. So we want to be able to counteract this just a little bit to improve the overall quality of the footage. So let's go ahead and import R2, which is going to be vignette and no vignette. And the first one we're gonna work on is if the footage has added a vignette. So for example, let's say you film this and there's this darkening Vignette around the edges that we want to fix. Very simple to try to fix it. Just go into LU metric colors for your color, make sure you open up the geometry color panel, go down to vignette and then make your amount go the opposite direction. So try to add a little bit of light to the edges here. Now you don't wanna go overboard because you can actually add brightness that way. But if you need to, maybe you go overboard and you just touched the exposure down a bit to try to fix the footage. But you can obviously see there's a white sort of area around here. So we do want to bring that down and try to make it blend with the original while also fixing that darkening of the edges. So overall, this is probably a good place. You can actually check on and off the box to see it. So we've taken the dark and vignette and we've added just a little bit on it to try to counteract it. Like I said, it's not gonna be perfect, but I think it definitely recovers the film nicely and it adds that brightness that the entire shot had already had to it. So that's sort of an use case to go the opposite direction here. Now, if we want to add a vignette, we can grab the no vignette here. And you can see this is the original footage. I added a vignette and then export it so that we could work with it and I can show you how to fix it. This is the original footage without a vignette. If you wanna do Ativan yet, it's just a simple, you just gotta symmetry vignette and you just drag it the opposite direction, this direction here. And you'll add a little bit of a vignette to it. You don't wanna go too extreme. Lot of times like when you're editing, it kinda feels good to go extreme. It feels like, you know, makes it look really intense. But when you render it out and when you show it to people, it can look a little bit intense. So you just want to add a tiny bit. If you're trying to add a vignette, maybe somewhere around the one range, just a little focused inwards. You can see that it's jumping back and forth as we do this and we get the full button here. It'll help so you can actually see what you're doing instead of letting go and then the colors changing to something else. So with this we may wanna go, yeah, just fly around one, I think looks good. Dropped that back down so we can play it back at normal speed and we can see that it's looking pretty good right here. So it's very, very simple tutorial on how to do vignetting, but this is how you add it and how you can fix footage with vignetting. 24. 4-5 Enhance a Silhouette in Premiere Pro: So for our next enhancement, we're gonna be going over Adding a silhouette or really just enhancing a silhouette that was already shot. So let's import the footage so we can talk a little bit more about what I am trying to discuss here. So first off, let's go to Unit three, stock footage, silhouette, and import that footage, drag it on over to create ourselves a sequence. And you see we have the footed right here. Now this boy right here is what we call silhouetted. It means that he does not have a lot of detail or brightness to him. The background is what sort of is our detail? It's, it's what we're trying to look at. However, what we see here is an outline of something. Usually it's a person and it shows the person in the scene without actually showing the details of the person that's like a typical silhouette. Now, the problem with this silhouette is with most silhouette shot on a camera is to get that perfect black silhouette with a clear background is very difficult to do with the camera itself without a lot of lighting enhancements. So we can actually do that in Premier Pro pretty easily when that's all going to be doing today. We're gonna be using the blacks and then the curves to accomplish this with actually just a couple of clicks. So let's go and get started. Over here in the limit tree color, we're gonna go down to our curves. Remember, geometric color is also available on the effect controls on the left. By searching for limit tree color in your effects. Or just go to the color workspace, go down two curves, and then look at these curves right here. So I'm going to select my piece of footage, and this is going to be the luminaire luminance curve, which essentially is just like the lightness, the exposure of the footage. Now what we're going to do with this is what a take the bottom and bring it down and not affect the top. So this goes from darks, highlights, mid tones. And essentially what we're telling it to do is we either brighten them, lower them, or keep them where they're at. So if we took this top one and drag it all the way down, you see it's just taking out all of the brightness from here because we're taking the bright and we're bringing it down. Now as we get on further, we start to affect the entire composition. This is the original, this is where we're at. We go farther and farther and farther and farther. And if we go all the way to the bottom, then it's taken everything and it's put it down to black widow. Of course, don't wanna do that when I keep this up here, we're going to do though is take this bottom quadrant right here, and we wanna drag this down a little bit. This is going to be, our Blacks were going to be doing something that's called crushed the blacks essentially means you take the blacks and there's all these little different shades of black in here, shades of black to gray. And we're just taking those were saying No, everything from black to this certain shade of gray, we want to be pure black. And so if we take this and we drag it down like so, you're going to see that this has become almost pitch black. The opposite side of what we're gonna do here is we're going to grab this middle one. And we would just want to correct this a little bit. We want to bring this back to the center so we're not affecting so much of the rest of the footage. The closer we bring this here, we're actually going to kind of get this inverse effect where this, we're gonna get a little bit of brightness up here. But it shouldn't cause too much of a problem because right here is our highest highlight. And as long as this doesn't move above, it's not going to become blown out. So we're getting a pretty good curve here and we actually have a fun effect. We brightened up the background and we've really crushed the front, the foreground, with our silhouette. And we've actually enhance the silhouette and see what you see what this simple curve we've taken it from. If we go over here to our effect controls and then the effect on, off button, we've taken it from this, which now looks a little bit dull. It looks like a great shot, but it looks on enhanced. We click it and now we have this perfect silhouette of this boy here, which can fit a piece a whole lot better than the other one with all the detail. So that's how easy it is to affect it. Now, if you, for example, think that there's still a little bit too much detail, we can go into basic correction and dropped the black has a touch more. It's not going to really affect the rest of the footage. It will bring this dark side over here in a little bit. So we're going to have some sort of work with that if in the future, if we wanted to keep the detail over here or maybe we'd have to cut out certain sections and color crack different sections. But for a quick sort of fix here, if we bring this blacks down a little bit, it's just going to bring a little bit darkness here, but sort of destroy the rest of the detail in the silhouette. So that has really just how you enhance a silhouette in Premier Pro. It's pretty simple to do and it introduces you to the curves which are really fun because you can do things with like for example, the reds, where you do the exact same thing. You drag down the reds and you bring up the reds and the highlights, which sort of start to add purples and green. You can do the same thing, you know, maybe the opposite with the green. And suddenly you have this fun filter being applied to everything. Curves are really, really fun to mess with and this is a great introduction with them. 25. 4-6 Draw Attention to a Spot in Premiere Pro: Let's go over how to highlight an area in Premier Pro. So this is a fun fact and it's a great effect to use if you make, for example, YouTube videos or if you have footage that you want to show someone, but you want to highlight what's important about that footage. Not something you'd probably use in like a professional production, but in YouTube, the casual creation space, this is a great little technique to now. So what we're gonna be doing is highlighting this plane as it flies across. Do you know, sort of just direct us towards that we should be looking at the plane. Maybe something's going to happen. Maybe it has a little like an engine trouble or maybe it doesn't cool maneuver and we want to see that maneuver. This is a great way to show that off. So first thing we need to do is go to geometric color over here. Now we actually need it over on the left side so we can search for the effect and drag it in, or we can just go up and then back down. And essentially what that's gonna do is it's going to take that and then apply it over here. It's a quick way to get it over there. We're then going to elementary color. I'm going to click this circle button. Now with this where we just got to take these and just sort of make them the size of the plane, like so, and then drag it so that it pretty much centered. Then what we're gonna do is we're going to take this and we have a choice here. We can either invert this or not invert this. What that means is if I take the exposure, you see it just highlighting the center here. That can lead to sort of overexposing whatever we're looking at in here and it will actually make it a little worse off. So what we wanna do is we're gonna take the exposure and we went to drop it down, but we don't drop it down in the center. We want to drop it for the rest of the clip. To do that, we just go to exposure, we drop that first. So we're taking this from 1.4 or 0 to negative 1.4. We then go over to our mask and we take this button and click invert. And what that's saying is that we wanna apply this to everything except the mask. And so now you can see we've highlighted the thing that we want to see. Now the problem here is we're going to need to animate this. So if you can see at the very beginning here, it's not particularly centered. And of course, if we go over here, it's gonna come out of it. So we just gotta do some animation. Easy thing to do for that is go to luma tree, find your mask and then click on the animate button, go to the beginning of where you want it to start. Then when you click on the mask here though, the one it should come up, just Center the footage. And then I would say that with something like this, it doesn't need to be perfect. So we don't need to go frame by frame. I go about every second. So second at one rate here, we just move it again so that it's in the center. And this is tedious, but this is a lot of what production is, is just correcting things like this. There isn't really any smart enough program out there to do it 100% unless you're in like aftereffects and even then it's a little bit, you're going to have to do this where you're just manually adjusting things. I'm also holding the Shift button as I go forward to go five at a time. So I can just go second to second to second. And so this is what we just have to do is just as we go, it doesn't take too terribly long, would just keep recenter again. If the footage isn't moving a lot like this one isn't moving too terribly much. I could probably get away with two seconds. There may be a little bit were parts of it aren't actually centered where it should be. But again, if we're doing like a quick youtube video, it's not, does not need to be perfect in the latest. And if we're debating how many videos we can get out versus the slight quality change, then maybe it's smart to do it every two seconds. But we're almost done right here. And we are done. Okay, so now let's take a look at this. Click away, and then let's just play this footage back. I'll bring it up to big motion. And now you can see right there that because we've done this essentially every time we move it, it's going to be tracking that one place. So if we didn't want it to be moving back and forth like this, we could do it every single frame. But generally this is working pretty well. And it would definitely work for or the situation like if we wanted to point that this is what we're supposed to be looking at. Animation, all it's doing what the animation over here, whenever we do this is whenever we create this keyframe, here, we go 1 second forward, which I think it's 25 frames per second as this footage. Yes. So every Twenty-five frames, essentially, we've created ourselves and new waypoint, a new key frame for it to follow. So all it does is it just moves it from keyframe to keyframe. So before we are right here, and then at the 1 second mark, which is the next keyframe right here, we are just a little bit over, so it just generates all the movement in between there. Let's say it starts here at this cloud. I don't want it to move over here to this cloud, will essentially, it's going to take this, divide it by 25, gets how many frames are in-between edges going to do the, the motion for us. So we don't have to create 25 keyframes. It just adjusts and it moves over between them. And we've just done this the entire length through, and that's what allows it to track. Now, over here you can see that I've actually missed one between here. So we can check Y, we can go right there and yeah, I just missed a click there, so I just got to readjust it and it creates the one in there. That's a quick way to see your keyframes over here is if there's a space in there, you've probably missed it somewhere. And that was it little bit noticeable when we checked it out. And again, if you wanted to make sure that it was falling it even through those little camera movements, you could do it every single frame. But this is a very, very simple way to highlight some footage and to animate through that footage to keep the mask there and to keep your affect going, to draw the audience to where you want them to look. 26. 4-7 Blur a Face in Premiere Pro: So let's talk about how we can enhance what we did in the last tutorial. And the last tutorial, we highlighted a specific area, but we had to hand animate it. Well, you can actually use a bit of premier prose sort of processing power to help you with this. We're gonna be doing that today by blurring a face. So let's go ahead and import our video of people walking file. Drag that on over and you'll see that it is just a video of some people walking. Maybe it looks like it's in Europe somewhere. But what we're going to be doing is really trying to blur a face here. So let's go ahead and choose a face that went to blur. Let's say that we didn't get the permission for this guy right here. And we need to blur is faced throughout this production. Well, we can do that using Premier prose, actually inbuilt ability to track the face or to track relieve anything in motion. So to start this off, what we're gonna do is we're gonna go over here to effects, and we're going to look for an effect called camera blur. So we type that in. Maybe if you just type them blur, I'd probably get you there may be a little quicker, but camera blur is what we need to look for its owner Video FX, blurring, sharpen camera blur. We're gonna take that and drag it on. And you're gonna see it's gonna blow the whole thing. We don't want that. So we're going to click the little circle button here to create the mask like we did in the last one. And we're just going to try to center it on this person's face right here. Little bit smaller. And this, this technique is great if you do need to blur a phase because you have some B-roll footage and you know, you don't have someone's signature signed off on something. It's a great thing to know how to do. Okay, so now we have the blur going. I think that's a little bit harsher. Let's go maybe about 12. And that should be good enough for what we're trying to do here. Now, instead of actually going point by point by point, what we can do is we can click this track selected mask forward button. And what it's gonna do is it's going to try to track for us. So let's go ahead and click it. You're going to see it go into progress here. And we're just going to let it go for a little bit. This can take a little while, so we're gonna go for a little bit and see how it's doing. All right, I'm going to click the stop button right there. And you're gonna see that it tracked it pretty well up until this point, it lost that because it went behind the face. So that means all we have to do is just a little bit of adjustment. So we lost it maybe about here. It's already saved us a whole bunch. We're going to cut off anything in front of that credit keyframe. And then now we're just going to move forward until his head comes back in. Or we could even hide it right now so we can go here right when it goes behind. We can go ahead and just take this and maybe trim it real quick. Or it's not as, as, as the effect we want to do is when animate it. So we're gonna go with the mask opacity, go forward one frame and drag that down to 0. It'll make this disappear. Move forward till I see the face again right there. And then this is sort of a good technique to know, is now we're going to click the button for the inside. And so we've, we have, think of it like this. We have four points, we have a 100, and then we get to the inside portion and we immediately go down to 0. So that hides the effect. Now once we are going to start up the effect again, we need to drop a keyframe for 0 and then move forward one frame and then bring up a keyframe for 100. Now why do we have to do it like this? Well, if we just did, we dropped the Zero Rate here. Let's zoom in a little bit. If we dropped a 0 right here and then made this 1100, it's going to start adjusting between that. So it's going to be like 1015202530, all the way up to 100 here. We don't want that, we don't want to slowly fade back in. We want it to just be an on-off switch. So we go 100 and in the next frame, 000000, and then the next frame 100 to knock it back on. So then we're going to just go ahead and take the mass path. And when it reappears, we're going to have it center back on the face over here. And then maybe we might need to animate a path or two here. So I'm gonna go forward one key frame maybe, and then just keep it there. And we're gonna, it's gonna move it manually. And then with that we're going to hit the play button again. And so we're going to hit the play and we're going to let the progress go for a little while. And then we're gonna click stop and then see how it's doing. All right? And as you can see, it's gone off the edge here. And overall is doing a fantastic job as you can see. So now we have the blur going here and it's blurred out the rest of the face. And then right when it gets to the edge over here, we're going to need to manually touch it up again. So it gets to here. We just want it to continue off with his face. So we're going to animate just one or two more, go to frames forward, drag it off, and now we have our effects. Let's, let's play this back. So we click play. It's got face blurred all the way through, right? When it gets behind their we'd make it disappear. We haven't come back, it keeps going. And then we have it disappear. But it looks like we need to, so we animated it out. But there was some additional keyframes after that. So we just need to make sure that we believed those keyframe. So let's track this again. Okay, that's where we animated it out right there. So all these additional keyframes we don't need. We just need the one to animate outwards. We gotta make sure because it's going to draw a whole bunch of o if you try to manipulate in the middle, it's because going to jump to the next one and undo your work. So now let's play that back. And there it goes. Now it walks right off that and we've successfully blurred the face. So what we learned in this tutorial is essentially, we've done exactly what we did in the last one, what that whole mask thing, and then making a circle and tracking it. Except this time we use camera blur. And on top of that, we actually used Adobe Premier prose built-in algorithm to help us. As you can see, it's not perfect. It's you're still going to have to do manual adjustments. However, it's pretty good at what it does. As you can see, all we needed to do was sort of adjust at when it disappeared for a little while and then adjust it at the end. And it did the rest of these keyframes. I mean, it probably did up to 50-75, maybe a 125 keyframes for us, which helps us out a lot and it speeds up the entire process. 27. 4-8 Blur a Color in Premiere Pro: So let's talk about how we blur a color in Premier Pro. This is pretty fun. We're gonna learn some new effects with this. So let's go ahead and get started by importing are tall buildings. And let's say With our objective here, what we wanna do is we want to blur the highlights of this, the blue highlights. That's the objective that we're trying to do. So to do that, it's actually pretty simple. What we're gonna do is we're gonna go ahead and search for an effect. We're gonna be doing this two different ways when you're doing this manually. And then with a little bit of assistance with an effect where do the easy way first by going and searching for aid effect called channel blur, or to take channel blur. And we're going to drag it over to tall buildings. We're then going to take the blue blurriness. That's what we wanted to blur. And we're just gonna bring that whatnot, the alphabet, the blue blurriness. We're gonna bring that up a little bit and you're gonna see it's gonna yellow the edges here. So we're gonna go ahead and just undo that. And then we want to take this and go horizontal. And you're gonna see we get the sort of effect that we want. The highlights are blurring left and right a little bit. The problem is, is we've yellowed our footage out a whole lot and we've manipulated it in a way that we don't want to do. So instead, we're going to delete this off and we're going to start this from a different direction. We're going to duplicate this footage up and create a second identical layer. And we're just gonna do that entire process over again. Take the blue, bring it up to like 300, Repeat the edge pixels and only go horizontal. Now you see, of course the yellowness is still here. That's because we're essentially just did the exact same thing on the top and this is the only thing showing it doesn't matter if we hide or show the bottom layer. It's just the top layer here. So what we're gonna do is we're gonna change the Blending Mode to lighten. This is essentially going to take just the blurs that we've created and filter them down. So the bottom is the original footage and then the top is just the blurs. We're going to filter those, those blurs down and we're going to get the blur effect that we wanted without all that distortion. And you can see that we have a pretty neat little effect right here. Now, if we wanted to do this manually, we have that ability as well. Why would we want to do it manually? We just have a little bit more control over it. So let's set this back to normal and delete the channel. We're off the top layer. We're then going to go to RGB curves and we're gonna go search, or we're gonna go right here. And we're just going to drain the color out of everything that isn't blue. So the reds, we're gonna make that all zeros and the greens make it all zeros. And now you can see all we have selected is this blue footage. We're then going to take the blue and we want to select just the highlights so we can manipulate this even we're gonna drag the darks down and we're gonna bring the highlights up a little bit. And everything that's black is not going to be blurred. Everything that is this, basically the light blue is going to be blurred. So then we're gonna go to our effects and what to look for directional blur. Wanna take directional blur and we're going to drag it onto the top one. We're then going to take the direction, bring that up to 90, and then bring the broiler of length up. I don't know, we'll see how much we want to do just a little bit here. Now, of course, this is an unusable piece of footage. So what do we do? We do the exact same thing. We go here and we click lighten. And you're gonna see that what it's done is it's created the effect here, maybe a little bit more on the blur length, right? Like so. And we've specifically selected the highlights just a little bit more in this one, you can see we're just adding blur still on there, but the highlights are a little bit more selected and we're not blurring the low light blue like the sky like we were with the last one. So we have just a little bit more control and it creates the same general effect. But again, we have more control over all with it. So that's two ways to do the exact same effect. And we learned a whole lot. We learned about how the channel blur works. And we also learned how to use directional blur and the curves together to create this effect as well. 28. 4-9 Blur Highlights in Premiere Pro: Let's keep building on the blurs that we're learning and let's talk about blurring, the highlights, blurring the highlights of the essentially you are going to be pretty much the same process as blurring a colour. But in this situation, we're actually just going to blur the highlighted portions of the footage showing. In essence, this part should be blurred. The White on here should be blurred the top of that. And then of course, up here. So let's get started on this. I'm gonna go ahead and mute the bottom track here just so we don't have to listen to it if it does start playing. And then I'm going to do just duplicate this footage upwards. Again, I'm holding the ALT key to accomplish this. Or you can control C v by selecting v2 and pasting it right there. Once we have this second footage, we're going to do exactly what we've done in the past ones, where we're going to use luminary color instead of touching one of the colors, we're actually just going to try to grab the highlights like this. So we're going to bring this one down. And essentially what we wanna do is we want to just drag it so that we have only the highlight selected here. And depending on what highlights you want selected if you want like the mid tones as well, you can do sort of this 3 thing. It's going to try to offset you. So you've gotta kinda drag it in there. And so you can see that we've got the highlight selected and we've actually sort of blown up the highlights there a little bit. So I'm gonna try to bring those down some and just get it right around in there. And it's now what we have is just the very highlighted stuff selected here. Now, if I go up here and I go to lighten, it's going to look exactly like the bottom footage. I'm going to turn on and off the top. You can see that we've actually changed it just a little bit and we can actually go between screen enlightened to see which one works better here, obviously, screen is way too intense, so we wanna go with lightened. Now, this automatically makes it look a little bit worse. However, when we blur it, you're not even going to notice the change. So we're gonna go ahead and take the footage over here. We'll make sure you're on the selected on the top, go to your facts and we're gonna look for directional blur. I'm gonna grab directional blur, gonna slide that into the forest right here. We're going to increase the direction and 290 degrees to make it left and right. And we're going to increase the blur length here. And now you can see that what we've done is we are blurring the highlights and it's pretty intense. So actually what we can do is take this opacity and bring it down a little bit. Just bring it up a touch for the top here. Maybe a little more distance on here to get a little bit more of a feel, maybe a touch more on this. And now we have essentially created is this blur on the highlights you can see it doesn't really matter the color, just anything that's of that top sort of nature of color is being blurred. The whites, the yellows, and the browns. But essentially we've chosen the highlights and we've actually been able to blur them and it creates a fun little effect like so. If you wanted to create a different type of effect, you don't need to use directional blur. I just have used that in the past. You can use any blur that you would like to use or really you can do anything you want, the highlights, you have them selected, you have the choice of doing anything you want to them. Let's add a camera blur and see how that looks. As you can see, it adds a little bit of a sort of a dreamy look to it. We blurred the basically just blurred the highlights and remove the detail from only the highlight, which overall creates luggage for of a dreamy field to the piece that makes everything look really sort of smoothed over. And that's good if you're trying to create that sort of soap opera, a fact, or if you're trying to create a dream sequence or a point that's really happy in a film. This a really good thing to use here. It'll be a very subtle effect, but something that will work pretty well for whatever emotion you're trying to go for. Overall though that's how you blow the highlights, same sort of processes, last ones, but as you can see, once we learn one thing, we can build another thing onto it. We can build another thing onto it. And suddenly we know a whole bunch of facts with the tools that we know. In this case, we learned how to blur to begin with, then we learned how to blur colors, and now we move onto blurring highlights. 29. 5-1 Let's start Changing the Feeling: The next step after what we've just done, which is enhancements is now we're going to be furthering into manipulation. That means there would be changing the feeling of our footage. So we're gonna using affects that change things up a little bit. We're going to be taking footage and making it different or making it fit into our story instead of just having its own story. And that's a really powerful thing to do and Premier. So let's get started. 30. 5-2 Party Strobe Effect Premiere Pro: So now that we've learned some basics and premier prowess on basic effects, let's start advancing it. And what these are going to be combining different effects together to create more advanced and more realistic effects. Things that actually manipulate the footage and maybe changed the entire feeling of the footage. The first we're gonna be doing is the party strobe effect. Now, with these tutorials, before I didn't really introduce what we were doing. It you sort of work through it together. But with these, I'm going to introduce the end product and we're going to start over and then work our way there. I feel like this is a better way because you can actually see what the end product should be and then how the building blocks actually make it to that product. So what we're creating is essentially we have this piece of footage which is just a couple of people talking at a party. They're all looking at a phone. It looks like maybe a class year party if some people are a little dressed up there isn't like, you know, that's sort of DJ vibe there. What we want to do though, is we want to change the tone of this. Maybe we want this to be some B-roll footage of a party that we're trying to create a world. And so we want the world building aspect actually look like it's in a party. And to do that, sometimes we need to manipulate the B-roll. And in this situation, that's what we're trying to do. We're trying to create essentially this effect where it looks like we have some party lights going. And that's what we're gonna do in this tutorial. But later on in the series, we're gonna come back to this tutorial and I'm actually going to show you how to link up audio to this and make the entirety of this sort of a nice world-building experience. So we take this footage without any sound, with this sort of just very simple coloring. And we're going to then add this party DJ vibe to it and then add music to it. And we've completely changed the field of footage to make it sort of into a party. And again, that would be great for us if we're trying to create that element. We don't have the resources to create something like this by ourselves. So to get this effect started, we're gonna go ahead and just exit out of this and then create ourselves a new sequence, right? Like so by just dragging over, you can see it created an exact copy called party. So we're just going to rename that to party two. And then now what we're gonna do is we need to create a black video for this. So we're gonna go here. We're gonna go up to Black video, which is right there. Click OK, drag that on top and then make it as long as the footage, we're then gonna go into the effects and we're going to look for a effect called strobe light. This in-video affects stylize strobe light. We're then going to take strobe light, put it on black video, and you can see it just a typical strobe light, right? Like so. We want to blend this with the bottom footage. Otherwise, all we're gonna do is just get white or color or something here. We wanted to actually affect the footage beneath it. So we're gonna go to blending mode. And you can see that we've used things like lightening the back. That's not gonna do anything because lightened just takes the lightest parts of this and keeps them and that anything that is lighter and the bottom one it will take. So of course, this is a white blob, so we're not actually going to grab anything from below. If we lower the opacity of this, you can see that it essentially starts grabbing the elements from the bottom. But again lightens, not the one we want to do screen, not really either. We can reduce the opacity. It's exactly the same. The screen doesn't really work here either. So we don't want either of those. What we do want though is Color Dodge. And what Color Dodge is gonna do is it's going to essentially grab the bottom colors here. Now we need to blend this with the original a touch to see those. And we should have done that with lightning stuff. You can see that when we blend it with the original, We have a little highlight grabbed. And if we would do screen, it just is exactly like we were doing before, where we lower the opacity. But with Color Dodge, essentially what that means is going to be dodging the colour when it applies downwards. So as you can see, it's affecting the neutral highlights the most. And then things like a black dress or a tan dress don't really get affected that much. You can see the black here is almost unchanged, and that's how light works late bounces off of highly reflective surfaces and colors usually absorb light so they don't get affected. Now it goes off. It does actually look a little bit like a spotlight is going off. So the next thing we wanna do is let's affect the duration a little bit. Let's work with that. Now these are a little bit confusing. The stroke period in stroke duration, you would think that the strobe duration would be how long the strobe is on, and the period would be inbetween. But my experience, I find that that doesn't actually work. What I find is that this is how often the strobe turns on, and this is how long the strobe is on. Well, not actually the distance or the length of the stroke being on is this minus this. And that's a little confusing. I don't exactly know why they worked at that way, but let's just go over an example so I can actually give you some numbers. Let's say we want to make the strobe appear every 2.5th, so we can put 0.5. Oh, so now it's going to appear every 2.5th, but now nothing actually appears y. And that's because the strobe duration is the length of the stroke period, and therefore it doesn't actually turn on. So if we go to 0.40 here, now what we have is every 2.5th, it's going to appear for 0.1 seconds. How do we get the 0.1 seconds? We take this and we subtract this. So it's going to appear for 0.1 because 0.1 is 0.50 minus 0.4. Oh, it's a little tricky on the math. I know that I feel like they could rework this and make it a whole lot clearer on how this all operates. But this is the effect. And now you can see every 2.5th it turns on for 0.1 seconds. And you can see that it appears that the 0, and this is 25 frames a second. It appears at the, basically the halfway as is 2424 frames a second. So it appears again at 12 or 13. It's sometimes the math is a little bit different because of how frames work, but appears at the 13 turns off and right when I hit the 1 second appears again, the 13, it comes back on. And so you can see that the map is checking out and it stays on for about two or three frames and then it turns back off. For this though, we want to increase this a little bit. We want the strove to be a little bit less. So we don't want to be on as often because the light's usually are quick bursts in a real environment. And we also want this to be a bit quicker. So I'm going to probably bring this down to about point 3-0 and then maybe have it on for 0.5 seconds. So we're gonna do 0.25. Allen doing it's just calculating what is 0.5 out of this? 0.3 minus 0.5 gets you 0.25. A lot of math. And now it's, it's kinda weird in that regard, but here's what we get. So you can see that right here, this is the strobe going off. And now it's it's kinda hard to see because there are cameras being taken so you can't see it 100%. So let's go ahead and add some color to this. To add color, we need to do a couple of things. The first thing we're gonna do is we need is a search, HSL or HLS. My bad. If I can type here, and then it's in-video affects color correction, color balance. And dragged it onto black video. Once you have that on your effect controls, it'll be down here. What we wanna do is when a spin this hue to change the color over time, we don't want to manually change it. That's a lot of time. Whenever we can automate something we want to do that it removes the human error and it also saves a whole bunch of time in editing. So with this, if I spend this, nothing happens. Why? Because this you essentially spins the hue graphs. So if I bring this up, the color picker right here, if I spin this over here, this is what I'm doing when I spend that, that Hugh dial is all I'm doing is taking this and as I go forward, it just moves down here and chooses different colors. Then once it loops, it'll say one times right here and it just starts back up at the top, goes over it again. You can see right there hw is the h. But you also notice that if Ron White, does white ever change now and never change, it's not even a single time because this is maximum brightness. There's no color to actually change. Saying what the other three corners on blacks, the Blackstone change. So all we have to do is just set this to some color, does not matter what color you set it to. Just set it to some colors so that the q can take over. I'm gonna start it off at blue. I guess the only time this matters is if you did want to start it off at a different color, that's the only reason that you would change this. So we're going to start it off at Blue. Go down to Hugh. Click the animation button. Why are we doing this? We're creating an animation of the Hue over time. This is going to again do that automation process. I'm gonna go to ten seconds here to end the animation. And then I'm just going to revolve this by ten. Easiest way does is drag it up a little bit, have it sort of create this numbering sequence and then I can just type in 1010 by 0, like so. And it's gonna create ten rotations and then back to the original. And you can see it actually ends right there with that blue. And so essentially what it's gonna do is it's going to rotate through the hue every second. If you do something this perfect, you might get a color repetition happening like if, especially if your timing is perfectly in sync with that, like maybe every 2.5th, that means every 2.5th is gonna be the exact same color. That might work, but if you want to completely random, then definitely adjust this number two, not something that's linked up. Example we did ten seconds equals ten. If you want to be as to be random, make it eight, make it 15, and it'll change over time. But what we get is this is going to be a repetition of the same, basically colors in a pattern. And it changes the feel of this and it makes it more high-energy and it adds that sort of club feeling to it. Like instead of being at a sort of a fancy New Year's Eve party, it makes it feel like they're at a Friday night sort of party with a DJ and lights. Then later on, we can add some music to this and really complete it. But that is really just the tutorial here. If you want this to be stronger, if you want the beats to be stronger, blend it with the original less, so bring it to the left. And it'll make stronger effect. If you want it to be less strong, bring it to the right and it can be something subtle happening. If you wanted to feel stronger, like for example, this is very, very loose. If you want people to really see it, bring this up a bit. So 0.3 to bring that down, we just want the period between these a little longer, so it sticks around a little bit under, and that'll change the effect as well. But overall, that's the first sort of changed the field effect we have. It's a really neat effect because it's simple, but it changes the feel of the footage. We have now just manipulated this footage to fit with whatever we're working with. We've taken the stock footage and we've made it our own, and we've actually been able to use it and whatever production we want with our own flair and our own feeling with it. And that's the power for mirror and learning all the effects. So you can chain them together and create awesome effects. 31. 5-3 Comic Book Effect Pt 1: So let's go over a more advanced effect. And that's gonna be a fun effect because we're gonna be covering and over three different videos so that I can show you a different element in each video and it's all gonna come together to create a fun comic book effect is going to look a little something like this. So you can see we have the chopping motion that's not, you know, your computer or whatever playing it, slow it. We've created this choppy motion. We've separated some colors and added some imperfections. And then we've added like this checkerboard sort of overlay to make it look like there are dots on the production. And so that's what we're gonna be doing in the three steps. The first one's going to be this checkerboard overlay. Then we're gonna go into coloring and the RGB split right here. And then we're gonna go into the timing and making it all work with the choppiness. Let's get started with, like I said, a really, really fun effect. Let's do the checkerboard. So I'm back to what a beginning project would look like. So create yourself a new project and then just go ahead and import. We're going to import the jump into water footage, which is right here. I'll drag it over to create myself a new sequence. Now, I wanna go ahead and trim this down. So I'm gonna take this, I'm going to drag it over to zoom in. You can also hold the ALT key and spend the mouse wheel. If you have a mouse wheel on your mouse, that really speeds this up. But if you don't just grab the edge and just zoom in a bit, and we're just gonna go to About the 3 second or actually until this clip ends. So right there it ends at three, looks like 18. So I'm gonna go ahead and hit the C key or just go over here and click the razor tool, click. And it's going to create two separate piece of footage. Just click on the right one and then click the Delete key, or you can right-click and go up to clear to remove it. So now we have just our 3 second footage or in a zoom this back in a little bit to make it a little larger. And now we're ready to begin the effect. For this effect, we need an adjustment layer. So I'm gonna go over here. I'm going to click New adjustment layer, click OK with the settings, grab that, throw it on the top and we're just gonna fit it to the peace, like so I'm going to drag it up one more layer. And then now I'm gonna go into my effects. Marta look for an effect called checkerboard. It's under Video FX, generate checkerboard. Notice that anything under the generate column is what I would call destructive. And what I mean by that is if I drag it on, it destroys everything beneath it. So you've gotta be careful with these generated. You gotta make sure that you're layering them properly. Otherwise, it'll just overwrite everything and all you see is what you dropped on. But to fix that, what we're actually gonna do is go into the checkerboard, not opacity. Make sure under checkerboard blending mode, I'm going to click Overlay. And what that's gonna do is it's gonna create a fun sort of two-sided effect. The first one, it allows us to see our footage again, so that's a positive. The second one though, is that in any of the light areas you can see in the clouds here on his back right there, the checkerboard effect starts to disappear a little bit, and that makes it a little bit more dynamic. We like the dynamic nature of things. If you add a checkerboard over a piece of footage, people just see a checkerboard over a piece of footage. However, if you can make it a little more dynamic, it'll look like the effect you're trying to create. And that's what we're trying to do with this whole course, is learning the different effects to put together to sort of create these optical illusions that create all of these fun effects. So the first thing I'm gonna do now is I'm gonna go over here, checkerboard on a changes color to black. And you're going to see that sort of adds more punch to it, which I think just fits the overall comic book feel a little bit better. We're not going to size from AMA changes the width and height. This is allows us to control both the width and the height of the little boxes in there. And we can kinda now make this a little bit smaller. This step really depends on how big your footage is. If you have 4K footage, 168 is gonna look like little pin pricks. Where if you have this footage you can see it's actually still pretty noticeable as a checkerboard. So I'm just gonna lower this down to get a little bit different of an effect. Maybe I'm looking at 73, might be the way that we do this. That's a little small. So for maybe 8484 is looking pretty good. It's looking like we got some dots going. The next thing that I like to do with the checkerboard is again that dynamic nature. So I'm gonna do is I'm gonna create a square here. You can create a circle, you could draw your own polygon does not really matter. I'm going to then click invert, drag it over side here. And I'm going to take this, I'm just going to drag for, if you hold Shift key, it'll make it a straight line. That helps a lot. And I drag it over maybe halfway and then maybe we'll have like angle right here. So and then I'm gonna take the feather. I'm going to do this in a little bit. And what that's gonna do is it's going to add some of the checkers back in. And we just want like maybe you're like right like that. And so what this is doing is essentially creating this area of no checkers in the center here. And again, that's creating that dynamic nature with comic books, there are presented really fast, they had flaws. So we want to recreate those flaws though, better do the effect. And so now you see that we've added this sort of center thing, the highlights, it disappears in, and now overall it's looking pretty good. When you want to do this dynamic thing. It's actually kind of good to do it on whatever the focuses in this situation. It's these people jumping in. Move the dots a little bit over what we want to look at. That way, when they're looking at a person's face or they're reading a sign or something, they can actually read it and see the expression of the face. So if you're going to add that dynamic nature, try to add it to an interesting area of the film, sort of the main focus of the piece. Anyway, that is the first part, the checkerboard effect. Note that when you do this, your computer can run pretty slow with this effect. You may need to view at frame out of time or in the third video of this series, I'll show you how to view it faster by actually rendering and out and seeing the render p real. Anyway, that's the checkerboard effect on the next one, we're gonna go over the coloring and then an RGB split, which is one of my favorite things to do. And Premier. 32. 5-4 Comic Book Effect Pt 2: All right, so now let's go over the coloring and the RGB split. So what we're gonna do here is we actually wanna create a couple extra layers here. So I'm gonna take this, I'm just going to drag it up. And that's the easiest way to create a few layers in between. And you're gonna see why we need to do that in just a second. But first off, we need to add pasteurized to our video layer down here. So we're gonna go to effects and we're going to look for an effect called pasteurize. We're gonna take that pasteurized and we're going to drag it onto this effect rate here. We're then this clip. We're then going to take the level and we're gonna manipulate it. So what is posture eyes do? It's essentially condensing down the layers of color. So if you have like let's say Really, really high-quality flooded you have, you could have millions of shades of a certain color. What we want to reduce those because when you're printing, you have to reduce the amount of shades that you can create, especially for a low quality print like a comic book. So in this situation, we're going to take this and maybe go about 12. And you're going to see what it's gonna do is it's gonna create banding. Here. We're going to have a lot less shades of every single color and just going to reduce the quality of touch. We're then going to take this and we're going to duplicate this footage up two times. To do that, the easiest way, hold the ALT key, drag up, hold the ALT key and drag up. That's the simplest way and the book that you can do this, you can also unselect the V1 and you must select the two. Click on the bottom footage, hit control C, control V, and that'll copy and paste it. If you don't want to use keyboard shortcuts, I highly recommend you use keyboard shortcuts, by the way, at speeds of everything. But if you don't want to, you can click it like v3. Click on the footage, and then right-click on it. Copy, right-click or you can't right-click there. So you've gotta go File and then our edit, I think, yeah, edit, then paste. So like you see, you notice that's so much slower. You really wanna get those keyboard shortcuts, even though just the basics. A Control-C, Control-V to control C is always copy control V is always paste. And then holding the ALT key to drag up it changed it from a 3 second thing. Do you know a 22 a minute thing? And over the course of a day saves you 20-30 minutes of editing time. Anyway, back to the effect. I'm gonna go ahead and just turn off this top layer just so that we can see what we're doing outside of the checker box. So you can see we've had the pasteurize effect up being applied nicely. We're then going to select the bottom layer and we're gonna do something interesting here. Make sure you go to your Colors tab and you're over here on the loom at tree colour panel. So color, luminary color. If you wanted to do it on the left, you can just move this a little bit or dragged telemetry color over and look at the curves down here on the left. I'm going to use a big old right panel though. It's a little easier. We're then going to go in the RGB curves. I'm going to click on this bottom one, and then we're gonna click on the red dot right here. I'm gonna go to the edge here and TCS circle, not a plus a circle. Click, drag all the way down, make sure it goes all the way down like this. We're then going to go to the green, click, drag all the way down and we're not going to touch the blow. What did that do? It made the bottom layer completely just the blue channel. So all we see are the blues here. Well now we're gonna do, what are we goi