Premiere Pro: How to Make Your Videos More Creative and Stylized Using Effects andTechniques | Alli Saunders | Skillshare

Premiere Pro: How to Make Your Videos More Creative and Stylized Using Effects andTechniques

Alli Saunders, Filmmaker. Youtuber. Business Owner

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18 Lessons (1h 20m)
    • 1. Introduction to this Course and Your Instructor

      1:57
    • 2. How to Create a Popular Transition Using Paint Bucket

      3:44
    • 3. Making Your Footage Feel More Intimate with Vignette

      2:04
    • 4. Change the Color of an Object in Your Clip

      2:09
    • 5. How to Make Your Videos More Cinematic

      5:15
    • 6. Creatively Revealing Clips with Masking

      8:12
    • 7. Give Your Footage a Dreamy Feel with Lens Distortion

      2:53
    • 8. Make Your Footage Look Like a Sketch and Final Thoughts

      2:37
    • 9. BONUS Best Way to Sharpen Footage

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

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

      3:24
    • 12. BONUS How to Motion Track Out a Logo

      5:06
    • 13. BONUS How to Reduce Moire in Premiere Pro

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

      8:17
    • 15. BONUS Premiere Pro Basic Tips

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

      2:28
    • 17. BONUS 4 Secret Premiere Pro Hacks

      2:55
    • 18. BONUS How to Use Photoshop Files in Premiere Pro

      8:52

About This Class

In this class Alli teaches you how to make your video edits in Premiere Pro, more visually engaging, fun and creative using a combination of techniques and effects!

Download the attached video clips to follow along and make sure you have Premiere Pro installed on your computer and ready to work with!

YOU'LL LEARN HOW TO:

  • Create unique transitions between clips
  • Change the color of an isolated color in your footage
  • Make your footage more cinematic
  • Make your videos feel more intimate and captivating
  • Create a sketch look on your footage
  • Reveal your footage using a popular technique
  • Make your footage more dreamy
  • Hotkeys and how to use tools and effects in Premiere Pro
  • And More!!!

Transcripts

1. Introduction to this Course and Your Instructor: Hey, everyone, I'm Alley and welcome to this class That's going to teach you the top of facts and techniques to make your videos more creative in Premiere Pro. Now there are a ton of different effects that you can use to take your videos up a notch. But in this class I have chosen my top seven most used and most creative effects that I use all the time in client videos and YouTube videos and social media videos to make my video stand out more and be more visually fun, eye catching and engaging. Before we get started, I'd like to let you know a little bit more about me. I own a video production company in Toronto, Canada, where we specialize in creating commercials, social media videos and more for our clients. I also run a YouTube channel called Ali and Will, where my business partner and husband and I put out weekly film and editing tutorials as well as reviews on film equipment. In this class, you're gonna learn how to create unique and fun transitions had to change the color of a specific part of your footage. How to make your videos look more cinematic how to bring more attention to a subject and make a clip feel more intimate. How to reveal clips under clips, how to give your footage of dreamy effect, as well as keyboard shortcuts and tools that make editing improvement bro more efficient and fund. This class is for anyone who knows their way around Premiere Pro but might still consider themselves a beginner and would like to make their videos come toe life. Be more interesting and engaging. And even if you consider yourself to be more of an intermediate level in Premier Pro, you still may learn a thing or two in this class. Have fun, and as we go, be sure to play back any lessons that you may need a refresher on and pause when you need Teoh. If you have any questions about what you're learning, feel free to ask me. I check skill share quite regularly, so if you do have a question for me, ask away and I'll be sure to get back to a soon as possible. I'm so excited to teach you these effects and techniques inside of Premiere Pro, so I'll see you in the next lesson where we'll get started 2. How to Create a Popular Transition Using Paint Bucket: Okay, so we have Premiere Pro Open and let's begin with Clip one and clip to on their timeline. We're gonna have clip one the shot of me transition into this drone shot of the mountain peaks. Let's scrub through the first clip and right where he start to look down. Let's make an edit point, also known as a cut in our footage. You can do this using the default keyboard shortcut control K or Command K, which is what I prefer to do. Or you can use the razor tool and with the entire clip selected, dragged up onto the V to track dried clip to off the mountains under Clip one, just where we cut the clip perfect and will be creating a cool transition from the first clip to the second clip inner effect window. Let's start to take paint bucket, and in the generate folder, you'll see the paint bucket Effect Dragon onto the second part of Clip one after the cut mark. And before we start customizing this effect, I'll scrub through the clip to show you what it looks like on this clip in the effect controls window under paint bucket. If you want to get a clearer idea of which parts of your clipper being affected by the paint bucket effect. You can check mark view threshold, and the areas and white are the parts of your clip that are being affected by this tool. The areas and black are not being affected. Let's uncheck view threshold. Click on the color picker icon so that we can change the color toe white and press OK. Next, let's adjust the area that the white is showing. I want this effect to show over the ocean in the middle ground of this shot. So under paint bucket where it says Phil Point, let's adjust the position of the X axis to 1243 and the position of the UAE access to 464. Great. And as I scrub over the part of this clip that has the effect on it, it now remains mostly over the water like we wanted. Next, word says, blending mode. Click on the drop down menu and change normal to stencil Alfa, and this has created a transparent stencil over your clip like So let's check Mark invert Phil so that the transition goes from me to the area around me, starting to be stenciled into the clip on the mountaintop to refine this look. Let's go to tolerance and adjust it from the default percentage to 225. And now you can't see the affected all in clip one. Let's click on the tolerance tall goal to set a key frame on our timeline. Let's dragger cursor closer to the end of Clip one and bring the tolerance down to zero. And when you do this, another key frame will automatically appear. And what this will do is lower the tolerance throughout the frames that the key frames have been applied. Teoh. Let's watch this back to see how it's looking awesome. I want this effect happen faster, though, So to do that, we can move the second key frame closer in, and the effect will take place in a shorter duration now and as another option weaken. Delete the first half of clip one, and we could also show the mountain clip first with the clip of me transitioning over it. Like so, using this effect as a transition between clips come work really well with a ton of different clips. Paint bucket is an awesome effect. It's one of my favorites. This is an effect that you will need to just and customize whenever you're using it on the new clip. And it's definitely a fun one. So have fun with it, and in the next lesson, we're going to take a look at how to subtly frame a clip and make it have a more intimate feel, so we'll see you in there. 3. Making Your Footage Feel More Intimate with Vignette : Hey, in this lesson, we're gonna learn how to create a look that works really well for footage where the subject is in the center of the frame. If you're looking to create a more intimate feel with your videos or specific clips, this is a great way to do it. Following along, Bring clip three onto your premiere. Pro Timeline. This is a clip of my business partner, and now husband Will and I loping and because the shot should feel intimate, will create a vignette around it. To do this, click on the new item icon at the bottom right of the project window and select Colorado Press. Okay, And we want the color amount to be black, which by default it is so press. OK, we can name it black, and that color match shows up in your project window. Let's drag it onto the timeline on the V to track and dragged the duration of it out to match the duration of the clip in the effect controls window under opacity. Click on the Ellipse mask and that will create a black circle in the center of our clip on the program window Weaken. Drag the length and height of it out by selecting the anchor points and dragging like so and will drag each of these four points to just about a centimeter or so away from the edge of the frame. Next, andro pastie in the mask dropped down area check. Mark inverted awesome, and this has created a very harsh looking Been. Yet. Don't worry, we're gonna fix that. So let's drag the mask feather to 118 to soften up the inner edges. Let's bring the mask opacity to 40% and that's looking great. It suddenly frames the subject and creates more of an intimate feel, bringing more of the focus on them or being will in this case. But because we lowered the opacity, it's still showcases the beautiful background as well. And there you go. You now know how to creative, and yet this is an effect that I use on a lot of my clips because it very naturally leads a viewer's eye to the center of frame. In the next lesson, you'll learn how to change the color of specific parts of your footage will see you in there 4. Change the Color of an Object in Your Clip: Hey there. In this lesson, we're gonna isolate a color in our clip and change it to another color. This effect works best on footage where the color that you're changing is different than all the other colors in the footage. In this case, we have a red jacket against a green, blue and gray background, so this effect will work really well in Premier Pro Bring clip four onto your timeline and in the effects window. Type in change to color. Dragged that effect onto your clip in the effect controls window under the effect where it says from, Select the eyedropper tool and click on the red jacket. Now where it says to select the eye dropper to select a color on your footage to change your coat. Teoh. Let's pick a blue color in this guy. Click on it and check that out. The jackets blue. I'm thinking purple might look nice, so let's click on the color box to the right of two and select a purple press. OK, I'm going to zoom into the program window to check out the details and my hair here. So let's click on the drop down menu that by default, says fit and change it to 150%. We can use the slider here to check out the other side of the hair and, as you can see, there some areas of the hair that picked up some of the purple color because some people's hair naturally have red pigment in it. So it affected any parts of the clip where any red value shows up. And since we are seeing a little bit of that purple, let's adjust our hue from 10% to 15%. Check that out and now it looks great. When you're using this effect on footage, I highly recommend that once you put the effect on your clip, you do zoom into the program windows. You can get a closer look at whether or not this effect is altering other areas of your footage and then adjust the hue accordingly. This is a really fun effect that creates a lot of possibilities when you are working with footage where there is one color that stands out as different from all the other colors in the clip. So have fun with this effect, and in the next lesson we're gonna take a look at how to make our footage and videos more cinematic. We will see you in there 5. How to Make Your Videos More Cinematic: Hey, welcome back. And how's it going so far? Are you starting to think of the videos and shots that you can apply these effects to? Remember that you can always re watch and come back to these lessons and some of the techniques you're learning? You may want to apply immediately to a video project, while others may come in handy later on. Okay, so next Improver Pro, Let's bring Clip five onto our timeline, and we're gonna look at the best way to add those animated cinematic black bars to the top and bottom of your videos. First, we'll look at a way that we can do this. That seems like a quicker option, but I'll show you why. It isn't always the most efficient way of using this technique. And then I'll show you a way of doing this. That will make any adjustments you may need to make to the actual clip much easier. Let's start off by typing crop into the effects window search bar and dragging the crop effect on tour clip in effect, controls under crop, click on the toggle button beside top and change. The percentage to 50 will do the same thing with the bottom. So click on the Tuggle and change the percentage to 50 great and making sure clip selected will move over five frames into our clip by clicking on the right arrow five times on her keyboard. Now that they're cursor is five frames inthe a clip, let's go back up to the effects window, and you can see that the cursor position on the timeline also shows in this key frame mapping area. So let's add another key frame by clicking the key from toggle here that applies to the bottom area and change 50% to 15%. We'll do the same thing to the top part of crop, so click on the key frame tackle to create a new key frame and change it to 15% cool. So let's check out how this is looking so far, and that animates him pretty quickly. So, in our effect controls window. Let's go to the area where the key frames are and drag the cursor over thes two key frames to ensure that their selected make sure they're blue, drag them to the right a little bit more. And by doing this, we're extending the duration of the animation. So let's watch that back now. As you can see, moving the key frames over has slowed down the transition. Cool Now, obviously, we need to adjust the position of our clip because the top of mean wells heads were cut off . So let's go to our position window to do that. And as we do, because we applied this crop effect directly onto this clip when we moved the position, were also moving the crop effect with it. And that's not gonna work. It's not gonna make things easy if you need to make adjustments to the clip. So let's delete the crop effect off of our clip. And now let's apply it in a much more effective and efficient way. We'll go to our project window, click on the new Item icon and select Adjustment Layer Adjustment Layers air. Great, because you can apply effects to them rather than directly onto your clip. There's our adjustment layer in our project window. Let's strike that on top of our clip on the V to track and drag the duration of it to match the clip. Also you may be experiencing this is well as you can see him having trouble matching the end of my adjustment layer with the edge of my clip so that it's exactly even. So let's go over this upside down horseshoe and click on it. Activate the snap tool. This will snap my adjustment layer to the end of the video clip as I drag out the duration . I usually keep snap on, and it makes the editing process less frustrating, so I recommend that you turn it on a swell. Now select the adjustment layer on the timeline, go up to the effect window and grabbed the crop effect. Drag it onto the adjustment layer in your timeline and will do the same thing we did with the crop tool before. So, beside top will click the key from toggle to create a key frame and adjusted to 50% and we'll do the same to the bottom. So click on the key from juggle again and adjusted to 50%. Great. Now click on the timeline at the beginning of your clip and on your keyboard, click on your right arrow key 15 times to move 15 frames into your clip, and we'll go back up to effect controls under crop, the side top another key frame and again do the same thing to the bottom part of crops. So click on the key from toggle and adjusted to 15% awesome. Let's check this out. Great now, making sure clip selected on their timeline. Go into effect controls and adjust the position off the clip so that we can see the tops of our heads in the clip. And we'll watch this through to make sure it's looking good. Okay. And if you want to change the height of your black bars, you can click on the adjustment layer, and we're gonna change the key frame that it's currently set to 15% to 12%. So, in effect, controls. Let's bring our cursor directly over the key frame We want to adjust, and you can tell that you're directly over it by confirming that the key from toggles air in blue Great. Okay, and now a type 12 here and again here and there we go. Awesome. This looks very cinematic, and next we'll get a very cool and more advanced way of transitioning from one clip to the next. So we'll see you in the next lesson. 6. Creatively Revealing Clips with Masking: Hey, everyone, in this lesson, we're gonna learn to do something that's a little bit more advanced, a little bit more time consuming, but creates a very cool transition that we use in a lot of our YouTube videos and client videos. And it's called Masking. This is a great effect, and when you are starting to mask parts of your footage, it can definitely take a bit of practice to get used to how masks work and all of the options that masking can create for you and your footage. So follow along in this lesson. And then I highly recommend that you start testing, masking it with your own footage so you get more comfortable with it because it can definitely take your videos up a notch in terms of production value and making them more visually engaging. And with that, let's get right into this lesson. So bring clips six and seven on your timeline. Let's check out these clips and noticed that the camera move in clips. Six moves from left to right. It's a shot looking through a helicopter window and what's great about this shot and going toe work very well. As we create this effect is that it moves from one window to the next. And there's this framing this bar, this darker area in between the two windows. And I'm thinking I actually prefer this clip to move in the opposite direction. So instead of the camera move appearing to be from left to right will make it look as though it were filmed from right toe left. And we can do that by making sure that Clip six is selected in our timeline and right clicking on it. Selecting speed, duration and check marking Reverse speed. Great press. OK, and this has reversed this clip. Perfect. Next, we're gonna mask this window portion of our clip and make it transparent so that we can see the clip of me on the beach showing through the area were masking. So let's drag clips. Six up onto the V to track and dried clips. Seven. Under clip six. And we want the beginning of clip seven. Tow line up underneath clips. Six. Just before the left window of clips, six would start to show. Place your cursor there to indicate to you that this is the spot you'll be dragging. Clip 72 and go ahead and drag clip seven over so that it kisses up with where you placed your cursor. Let's use our right arrow can or keyboard to move five frames over to the right so that we can see the starting part of the left window showing. Okay, awesome. And now we're gonna start drawing a mask around this left window. Let's go over to effect controls and select the free busy, a tool that looks like a pen. And with this tool, we can start drawing around the left window, like so, So you can create a point, then move over to the next area that you'd like to another point and continue doing this. Remember, if you don't place any of your points perfectly around the window, you can move them after. So don't worry, too. Too much about being a little off of the edge here, only into the top. We want to click on the first point. We place down to connect and close this mask shape. Awesome. Let's go to the effect controls window and check mark invert so that we're seeing clips. Six of the window and seeing clips. Seven. Peeking through. Let's zoom into our program Win dome or by changing fit view to 100% and user sliders to slide over to the left of frame. End up. And now we can adjust any of these anchor points to make sure that they're masking out the window so we can drag them up and out of frame. Or like so when you're happy with the placement of your mask, let's adjust the mask feather by default. It's set to 10 but most cases adjusting it to zero works, while So let's adjusted to zero. Change the program window back to fit to check out how this mask is looking. And yep, that looks good. So let's place our first key frame onto this mask by going to the effect controls window under a Passy where it says mask path is where you want to click the key frame toggle great , and this key frame will secure the mask we've created in the position that we haven't on our frame. So I'll show you this process a few more times, step by step, Then I'm going to speed up the video because animating the mask is a bit tedious. It is a bit time consuming. Now let's use our left arrow key on your keyboard to move over. About seven frames or so to the area were clips. Seven ends on our time line, and this is where we'll adjust the position of the mask. Unclip. Six. So making sure that we click on mask Path in our effect controls window so that we can see the blue around the mask. Let's bring her cursor over a program window and huffer it over the mask we've created. And when you do that, you'll notice a hand icon show up. We can use this hand tool to hold down on our mask and move it over to the left so that the mask is now just out of frame. And when we let go, another key frame to hold this position of the mask will automatically appear as you can see here, great with our cursor at the beginning of clips. Seven. Let's hit this space Barner keyboard to play this through and look at that. The mask moves as the helicopter window clip moves to the right. Now, in order to have our mass continue to follow the helicopter clips movement we have to continue adjusting the position. Our mask. Let's make sure our cursor is moved to the area that we created our second key frame in the mask path, and now we'll move over another five frames to the right and adjust the position of her mask accordingly. Let's zoom into 100% on our program window, and if you prefer using the hand tool, you can find it over here in the toolbar. Or you can use the hockey H on your keyboard to bring it up so we can use the hand tool over the program window and weaken. Go between using our hand tool and R selection tool to both. Move around this clip on a program window, and the selection tool comes in handy for adjusting the anchor points so following along, make any adjustments that you need to on your mask. Once you're finished adjusting your mask, you can click your right arrow key on your keyboard to move right into the clip another five frames and repeat this process So again, in the effect window, make sure they've clicked on mask path so that you can see the blue around your mask and you can move the mask over with hand tool like so and adjust the mask accordingly. And now they're getting the hang of this. Continue with these steps, speeding up the video now and okay, now that you've created a mask and key from the mask path throughout the clip, let's bring our program window back to fit. Bring our cursor closer to the beginning of the clip and watch this through. Awesome. And upon playing back, I noticed that there are a few areas close to the end of the transition where I need the mask to be adjusted because the windows still peeking through to the left of the dark frame . You may have to make a few adjustments as well after watching playback, so I'll click on mask path to make sure it's elected. And it just any ankle points I need to as necessary. And if you need to adjust a specific area where you've already placed the key frame in effect controls, bring your cursor over that key frame, making sure that you can see the key frames in blue because that indicates that the key firms selected you can go over to your mask and adjust it as need be. And when you're complete, let's check out how this transition reveal looks awesome. This is a very cool technique. I use it whenever I have a shot that moves from one side to the next with a frame or a pool or some sort of separator moving across screen. Because it's a very creative and fun way toe lead the viewer's eye to the next clip. And once you get the hang of masking moving objects like we didn't this lesson your well, I just absolutely love doing it. So have fun with a get comfortable with it. Enjoy. In the next lesson, we're gonna take a look at how to make your footage more dreamy looking, so we'll see you in there. 7. Give Your Footage a Dreamy Feel with Lens Distortion: Hey there. In this lesson, we're gonna learn how to give a dreamy look to your footage, so bring clip eight onto your timeline. Next, go to the effect window and start typing in fast blur and you'll see fast blur in in your Blurs folder. So drag that onto your clip by default. This effect already has, ah, blurry effect. He framed into it, but we won't be using that. So click on the toggle beside blurriness to delete those key frames and press. Okay, great. Now the key firms were gone, and the blurriness by default is set to 127. Let's change the blurriness to 25 so that there's a more subtle blur over the clip. And do you see how the edges air sharp around the sim? It well, we don't want that. So let's click on repeat edge pixel to repeat the pixels so that we don't see those edges. Next, let's click on the Create a lips mask and similarly to what we did when we create a vignette in an earlier lesson, let's drag this ellipse tool out so that it takes up most of the frame check Mark inverted so that the blur shows around the Ellipse instead of inside of it. And let's drag the mask feather to 1 99 Let's adjust the mask expansion, and doing this can increase or decrease the size of the mask and blur. Let's adjust mass expansion to 62 and now let's watch this back. It's looking good to take this dial. A step further will add one more fact. Sogang. Go up to your effects window and type in lens distortion. You'll have to scroll down a bit here and you'll find it in the Distort folder. Drag that lens distortion effect onto your clip and let's adjust the curvature to 15 to give this clip of very subtle fish eye lens look, you can change the vertical de centering, horizontal de centering and so on to give your clip a unique look like this island do that . But for this dreamy look, we're gonna keep it simple and just leave the curvature at 15 with adjusting any of the other options in the lens distortion effect and because we've distorted the curvature. As you can see, the clips become smaller, so I don't usually like the scale and too much to my footage. But in this case, because we do have this dreamy effect, Skilling in just a little bit won't be very noticeable. So let's scale into 115. There we go and I'll turn the lens distortion effect on and off to show you what the difference looks like. And let's turn the fast blur in, on and off to see the difference in how the clip looks great. So that is a very quick and easy way to make your footage look more dreamy. And in the next and final lesson, we're gonna take a look at an effect that you literally just drop onto your clip and it gives your clip of very artsy look, so we'll see you in there. 8. Make Your Footage Look Like a Sketch and Final Thoughts: Hey, everyone, welcome to this final lesson in this last night, I'm going to show you an effect that creates a cool, arty sketch. Look to your footage, so bring Clip nine onto your timeline. Go up to the effects window where you can type into the search bar. Find edges. There it is in the stylized folder. Drag this effect on your clip and check this out without making any adjustments. This effect look super cool. I've used this in flogs and music videos and makes them pop. It makes them stand out. It's creative, it's fun, and you can make your first look like a drawing come to life. Let's go to the effect controls window and under find edges where it's has blend with original, you can slowly increase the percentage, and doing this will start to show the original look on the clip underneath the sketch look as well as the color of the clip to give this affect an edge. Your look you can check Mark invert, and that will make it darker. So there you go. That's a very easy effect. Toe work with the creates a unique look and congratulations on completing this course, and learning how to use and create different effects that are gonna make your footage in your video stands out more in this class. You learned how to use the paint bucket tool to make your footage in your videos more unique. The vignette tool, which is a tool that definitely can come in handy if you want to create more of an emphasis and intimate feel on your clips. You learned how to easily change specific colors on your footage. Make your videos more cinematic. How to give your footage a dream, your feel and one of my personal favorite techniques for making your videos and clips more creative looking. And that is how to reveal a clip using masking. So again, congratulations on completing this class. Remember, you can come back to it time and time again if you forget how to do any of these techniques . And I absolutely love skill share. So much so that I put out a new class almost every week. Karen Skill share about filmmaking and editing, how to create whiteboard, animations and video scribe and much more. And like, he said, I'm grading new classes all the time. So if you'd like to be notified when the latest class comes out, then feel free to follow me here in skill share. And I also have a YouTube channel with my husband. Will that's dedicated to teaching people had a film. Better have the edit better had to tell a story better through video. So I definitely recommend that you check out our YouTube channel and subscribe if your video person, if you're cinematographer, if you're an editor and thank you so much for taking this class with me, it's been a pleasure. I hope you enjoyed it. And I hope to see you again in another class, wishing you all the very best on your editing journey. This is Allie from Alley and will bye for now. 9. BONUS Best Way to Sharpen Footage: In this tutorial, we're going to take an image of me where I missed the focus mark on my eyes while I was filming. And we're going to sharpen my eyes in the best way possible, imprimatur pro. So let's hop in there. Okay, so we're in Premier Pro and I'll zoom into this clip of me and yep, my eyes or I defocus. So we need to sharpen them. You may think, well does use the sharpen effect, but that is not the best effect to use when you're working with a clip of a person. And here's why the sharpen effect will sharpen the entire clip. Not only increasing details in the eyes, but also increasing details in my skin, my hair, the background, plus the more sharpness you add with this effect, the more noise is introduced to the clip. So we're not gonna use sharpen and don't worry because there's a better way. Instead, let's go back over to the effects panel and in the search bar, start to type in on sharp. And in the video effects blur and sharpen folder, you'll find the unsharp mask effect. This effect is called unsharp mask because the areas of your footage other smoother with less detail like my skin in this case, will ideally be masked out or unaffected. This effect is awesome. If you're looking to subtly sharpen areas of your footage. The have a lot of detail like in this case my eyes. So let's drag this effect onto her clip and go over to the effect controls panel. This effect includes three parameters. Let's go over what each of them does as we sharpen my eyes. Amount will increase the intensity of this effect. So the farther we push amount, let's push it all the way to 500, the sharper it will make the details in your frame pushing it too far like this adds more contrast, which gives a more sharpened looked to the eyes, but also introduces noise onto our clip and sharpens other areas of our image. The goal is to find a nice balance between sharpening the details in your clip like in this case, my eyes without making those details look on realistic. So let's bring amount to 150. That's looking better because minimal noise was added to the rest of the clip and our eyes are looking sharper. Next, let's check out the radius parameter. Radius allows us to control the distance of the effect from the detailed edges. By default, the radius is set to one, which affects one pixel on either side of the edges that were sharpening. I'll push radius a little too far to show you how it can affect an image. So I'll bring it to five. And doing this extends the distance of the effect too much by making areas around the eyes and other parts of this clip to detailed. It also introduces more noise all over clip which we don't want. I usually keep radius between one to two so that it's very subtle. So let's try 1.5 to just slightly increase the radius around the eyelashes. Increasing threshold will reduce sharpening in areas that don't have a ton of contrast or detail, we can keep threshold of 0 or adjusted to one. So let's check out what one does to our clip. As you can see, this blurs or smooth skin, but also blurs the eyes which we don't want. So we'll bring threshold back to 0. But you know what threshold can do if you need it. So this may be tough to see on your screen, but in using the unsharp mask to sharpen the details in my eyes, I've also sharpen some other more detailed areas of my clip like my hair. It's very subtle. But if you happen to be working with a clip that has a lot more details in it. And you really only want this effect applied to a specific detailed area of your clip. Like in my case, my eyes, I'll show you one more thing that I like to do and that is add a mask around just my eyes. Doing this will isolate the unsharp mask effect so that it's only applied to the area that we create this mask around. So back under effect controls under unsharp mask, Click on the ellipse shape and doing this creates an ellipse over our clip. When you hover your mouse over the ellipse on the program monitor, a hands icon appears, which allows you to hold down on your mouse and move the ellipse mask wherever you'd like on this clip. You can also select each point of the ellipse and decrease the size of the ellipse like so. I'll adjust the size so that it goes around both eyes, but so it's not over my entire face. Great. Next we're going to add key frames in a very quick and easy way to follow the position of my eyes on this clip as my head moves around while I'm talking. So bring your playhead to the beginning of the clip because we're going to start there with our key frames and then move right. And next click on the toggle to the left of mask path to add your first keyframe to this clip, which will hold the mask in the current position. Next, let's have firmer pro track this mask as the position of my eyes moves around as I speak by clicking this Play button. Now Premier Pro is doing its best to adjust the position of the mask frame-by-frame to move with my eyes. And as you can see, more key frames have been placed to track the position of this mask as it follows my eyes. Now I'll click on the mask so we can view the blue border of the mask to see how well it did to track my eyes. I'll scrub through this clip and Premier Pro has done a great job of tracking my eyes, using and customizing this effect worked very well. There you go. That's how the sharpen more detailed areas of your footage imprimatur pro, using the unsharp mask. 10. BONUS How to Motion Track and Blur a Face: In this video tutorial, you're going to learn two different ways to blur a phase and track it in Premier Pro, knowing how to do this comes in really handy if you need to hide someone's identity in your video and knowing how to motion track and Premier in general is just a great technique to learn. We're in Premier Pro and we have this clip of three people doing yoga. We need to hide the woman on the left space. So let's hop into our effect panel. And the first effect will test out is the mosaic effect and the video effects stylized folder. Drag it onto the clip. Let's go to Effect Controls. And under the mosaic effect, change Horizontal Box to 50 and same goes with vertical blocks. Great. Next click on the ellipse mask. Let's bring our cursor over top of it. And when we do this, a hand icon appears that lets us hold down and drag them ask forever with Lake on our clip will position it over her face and click and drag these points inward to decrease the size of our mask. So that's just a little larger than her head. Let's quit the program monitors drop-down menu and zoom into the shop by 200% to get a closer look at our mask k. And when a reposition it slightly, currently we have a fairly sharp edge or under mass. So what I'm gonna do is increase the feather Turin 70 souls of the masks edge is a little A-sharp, a little less abrupt. We'll go back to fit view. And now we need to track this mask as the woman moves so that it continues to cover her face under the mass drop-down menu to the left of mass path, Click on the circular toggle button to place your first keyframe. This is the keyframe here, and it will hold the position of the mask on the area of the frame, the play heads over. Next click on the mask path. Play buttons have Premier Pro track the mask with the movement of the woman's face. It's gonna take a few seconds. Awesome. As you can see, keyframes had been placed following the position of this woman's face over every single frame of the clip that we tracked. And let's check this out. Okay, and it looks like brewers and an awesome job of tracking. Now, let's say after doing all this work with the mosaic style mask, you decide you prefer a more subtle blur. Go back to the effect controls panel search for Gaussian blur, which is in the video effects blur in sharpen folder, drag it onto our clip, pop back over the effect controls Turner mosaic effect off by clicking the effects icon. And now under Gaussian blur, let's increase the blurriness to 70. Yeah, that's looking good. Now, under the mosaic effect, Click on the mask dropdown menu, select the mask and press command or control C on your keyboard to copy it, select the Gaussian blur effect, press command or control V to paste. This has allowed us to paste the attributes from the mosaic effect onto our Gaussian blur effect. 11. BONUS How to Put Footage Inside Text in Premiere Pro: Hey, what's happening? I'm Allie, and I want to show you a super quick way to put footage in text. This used to be more time-consuming, but using the essential graphics panel makes it super easy. So first, using our text tool and using caps locks because I find all capital letters looks best for this effect. Let's type a word on her program monitor. Next, let's change that font by selecting the text. And if you don't have your essential graphics panel visible, go up to window and select essential graphics. Here it is, will go into the Edit tab. You can see we have our text selected here. Let's scroll down so we can change our font and you want to use a thicker font so you can see more of the footage within your text. I find BBS a great font to use, and it's free for personal and commercial use, which is awesome. So I'll choose that and we can use the slider to increase the font size. Let's try 400, which is as far as this slider allows you to go. I want this work to be even bigger so we can click on the text size number here, and I'll type Pete 50. Nice. Okay, next, under aligning transform, we can use the vertical and horizontal center tools to center this text. I'm happy with that. Now, let's get some footage in this text To do this, scroll up to the top of the essential graphics panel on the right hand side, click on the New Layer icon and choose from file. Choose the video file you'd like to have showing your text, Press Open to import it. And now that clip shows as a separate layer above our text layer, let's try and get underneath the text layer so we can see our text again. Cool, but how do we get our footage inside the text? Ok, this is how easy it is. Select your text layer and scroll down in the essential graphics panel to the bottom where the appearance tab is and check mark mask with text. And there you go. There are few more things you can do here. I'll just extend the duration of this clip by dragging it out on my timeline. Scrub through the clip to show you how cool this they can serve. Just kidding, that's not me. I'm not that cool. And okay. So we can see more of the surfer scroll up selective video clip because we are going to be changing its position and we can adjust our y-axis by clicking on it and scrolling up or down. And we can do the same with the x axis. We can adjust the scale of the video if we want to know. I don't usually like to increase the size of my clips because doing this reduces the quality of the clip. But I want to show you that it's there as an option. Let's increase the size to 120 and we can rotate or clip if we want to, by clicking on the rotation degree in moving it left or right. Okay, let's check this out. And yep, that looks good, but I just want to do some light color adjustments. So using luminous recolor, I'll add a little more warm-ups to the clip by bringing the temperature to around 25, I'll reduce the Black a bit to make it a little bit lighter. And if you want to change the color or round your text, you can do so by going to your project panel, new item, colormap, okay? And I'll choose white. I'll drag the colorRamp onto my timeline, making sure it's underneath the text layer. And that brightens this up. Awesome. So there you go. That's headed book footage inside your texts. 12. BONUS How to Motion Track Out a Logo: Hey, I'm Allie, and in this quick tutorial, I'm gonna show you how to mask and track by hiding this big circular sticker on this iPad here, the technique you're going to learn can be used for lots of different things. Let's say you want to hide a logo that's moving around on screen, or you want to hide something that's in the background of a wall. By the end of this video, you're gonna know how to do just that. We're in. Premier Pro will select this clip on our timeline. Hold down the altar Option key on our keyboard and drag up to the second track to create a duplicate of this clip. Next, turn the visibility of the original clip on track one off by clicking on the eyeball icon, so it's crossed out. We don't want to be able to see the original clip because if we could see it, we wouldn't be able to easily spot or mask and it would just make things confusing. And the effect panel search bar typing crop, there it is in the Transform folder. Drag this effect onto your clip on the V2 track, pop on over to the effect controls panel. And before we just the crop effect, let's get a closer look at our Eclipse so we can choose the best area of the iPad to use as a mask. Go to the program monitor, drop-down menu here and change the view to 200%. So we're nice and zoomed in. I'll just scroll down here so we can see the iPad and circle in effect controls under the crop effect, select the free draw Bessy eight tool and over an area of the iPad that's a more solid color that doesn't have any distracting elements. Let's draw a tall rectangle. This will be the part of the iPad that we use to cover the circle. Now, the decision of the shape of the mask you create should be made on ecliptic clip basis, but I'm choosing to draw a mask, its rectangle and larger than the circle because this rectangle mask will blend better with the rest of the iPad and be a lot less noticeable, not noticeable at all once we're done with it, then if we were to draw a circle mask in this case, okay, we've got our mask now under the crop effect. Let's bring the crop over from the left by scrolling it from 0% to 100%. Cool. So now we have a rectangle crop that ever clip, but we actually want the opposite of this. We want just a rectangle mask showing the gray of the iPad and the entire clip around it to be cropped out. So we can quickly do that by check marking inverted. And now we ever masked that will track over the circle. Let's skip through this clip to make sure no distracting elements are gonna show up in our mask. And here we can see the top edge of the iPads or into Show. We don't want that to be visible. So let's select these top points of the mask and drag them a little lower. So we're just seeing that solid gray part of the iPad. Great. Oh, and our mask feathers set to ten by default, which suddenly softens the edges of the mask instead of having a sharp edge. In this case, I'll leave the feather at ten, depending on the clip you're working with, you may choose to increase the feather or decrease it. Let's go back to fit View and turn the clip on the B1 track back on. I'm going to select the mask under the crop effect so we can see the blue outline of it and scripter the clip. Okay, so we have our mask, but as the iPad moves around on screen, the mask staying still. So we get a track this mask, making sure that the V2 trek clip, which is the mask is selected and on our timeline and that are cursor is at the very beginning of the clip because this is where we'll have our tracking begin in the effect controls panel, we can adjust the position of the x axis until the mask is covering the circle like so under the mask drop-down menu where it says mask path, Click on this circular toggle to the left to place your first keyframe, which will hold the position of the mask in this spot. Next, we use pre-molars mask track, which is pretty great job of tracking, press the play icon and this is going to take a few seconds. Okay? These are the tract key frames that are now holding the position of the mask over each frame of the clip. Let's check out how successful the tracking job was. And as you can see, it's a pretty good job over all. But there are few areas where the tracking missed the mark, which is okay because we can manually adjust the masks position in these areas. Let's just get a closer look at our mosque. And this line indicates the play heads position and where it is within your clip. Depending on which keyframe it sits over. If we move our mask, the new position will be saved to that specific keyframe. Click on the mask here to show the blue outline of it. And we can bring our cursor over the program monitor where the mass is doing. This brings up a hand icon which allows us to click down and move the position of this mask so it covers the circle that's peeking out. Awesome. This new position has been saved to that keyframe. Let's play ahead to see where the circle pizza again and Mover Mask again to hide it. And now that we have the new position saved, let's check this clip out. Awesome, so there you go. That's how you mask and track distracting elements to hide them as they move around in your clip, imprimatur Pro 13. BONUS How to Reduce Moire in Premiere Pro: In this tutorial, I'm gonna show you how to reduce or remove depending on your footage. The moray effects, those wavy lines that you just don't want to see on your clients are on your own. Closed. Okay. So we're in Premier Pro with a clip that suffering from some major Maury issues that we're going to reduce in just a second. First, it's useful to know that when you're editing, depending on the size you've set the frame in your program monitor or the size of your computer monitor, the moray in footage may show up more or less. So it's important to review your final exported file at different screen sizes if you suspect more marine might show up. This is because different frame sizes will cause the very thin patterns on the shirt to move closer together or farther apart as the pixels in the footage will have more or less compression. Maury typically happens when the camera has sharp focus on tiny thin patterns, where there's repeating pattern of a thin opaque line followed by a transparent gap. Okay, so let's go to our effect window and type in Gaussian blur. There it is in the video effects blur and sharpen folder. We'll drag that onto our clip and go to Effect Controls where we can adjust this effect. Let's try bringing it to eight. Depending on your clip, you may need to increase or decrease the amount of Gaussian blur, okay, and that creates a subtle blur over the entire clip and we can no longer see moray. I'll turn the effect off for a second. And yep, that's definitely made a difference. Turned it back on next. Under the effect, we can click on this pen tool so that we can create a mask around just the clothing. So just the shirt will be affected by this blur effect rather than the entire clip. Now let's bring our cursor to the very beginning of the clip so that we're creating our mask over the first frame. I'm going to track this mosque to follow the movement of the shirt as eclipse place through. And I wanted to extend the math a little bit beyond the frame just to ensure that it does still covered the shirt as it tracks with the movement. Let's zoom out of this clip on the program monitor by clicking this drop-down menu and choosing twenty-five percent so that we can extend our mask beyond the frame itself in case we need to make any adjustments to the mask later. So I'll draw a mask around the shirt. If you needed to adjust the mascot all you could grab any of these points and move them accordingly. Now, under the effect where the mask is, let's click on the toggle to place our first key frame to hold the position of this mask and press this Play button to track the position of the mask as the shirt moves throughout the clip. This will take a few moments. And when it's complete with every frame of this clip, a key frame has been created to hold the position of the mass as it moves over each frame, awesome, will go back to fit view. And as I scrub over this clip, you can see that using Premier is tracking has done a pretty great job of following the shirt. And there you go. That's how to reduce the moray effect in Premier Pro. 14. BONUS Mistakes New Editors Make and How to Fix Them: We're in Premier Pro. And the first thing we're going to look at that a lot of newbie editors make the mistake of doing is not trimming their clips before they add a dissolve. So let's look at what a bad dissolved transition looks like. We have this nice, pretty smooth handheld shot of a sunset. And at the end of the shots, the camera sort of moves abruptly. Next we have a shot of me and my buddy Adam hiking. So we'll bring our playhead in-between these two clips, use the keyboard shortcut Command D or control D to create a dissolve transition in between them. This notification pops up saying insufficient media. This transition will contain repeated frames. Now because we haven't trimmed either of these clips, we'll have any handles to work with. And handles are the few seconds or few frames of your clip before or after the part of the clip that you actually want to use in your edit. Let's press OK and see what happens here. Whenever you see diagonal lines imprimatur Pro on an effect during your footage, that's generally not a good sign. So between this dissolved having to create repeat frames in order to work and not trimming that camera shake at the end of the first clip, this dissolve is not going to look very good. And this shows an example of where London New editors make mistakes. They don't trim their clips to remove bad camera moves or a clip kind of abruptly ending within their dissolved transition. To make this transition look a lot more pro, we'll just delete that first dissolve. You want to make sure that you've trimmed the party, your clip that doesn't look good. So we're going to trim this first clip to remove that abrupt camera move, we're going to trim the beginning of our second clip as well so that we can see Adams left foot just about stepping on the ground. Press Command D or control the on your keyboard to added dissolve. And let's check this out. There you go. That dissolves is looking a lot better because we can no longer see those repeated frames or the abrupt camera shake from the end of the first clip in your transition. Next, let's take a look at this clip. As you can see, the horizon line is a little crooked. Now you may or may not know how to correct that. If you don't know how to correct it, you can go over to effect controls and you can adjust the rotation of your clip. So I'll bring this clip two minus 2.5. Great. In doing that, we have straighten the horizon line, but we can now also see the empty blank space behind our quip to solve that problem will scale into this clip just a little bit. Let's see how 107 looks. Now here's the mistake that new editors make after fixing a crooked horizon line and Schelling into the clip a bit, they don't double-check to make sure that that empty space behind the clip is still showing. If we take a closer look here, you can still see that eclipse hasn't covered the entire frame we're working with. So whenever you are rotating or moving around the position of a clip, it's always good to double check that that clip is completely taking up the space of the frame. A quick and easy way to do that is to create a colormap by going over the project window. New Item, colormap, press okay, for your color, might you want to pick a color that will stand out against the colors in your clips that we can really quickly spot it. So let's pick red. Okay, we'll raise the clip onto the V2 track and drag this colormap underneath the clip. And now you can see that little bit of red showing behind our clip, which indicates we need to make a few more adjustments, will adjust the position of our clip and skill into 100 so that that red color mat underneath her clip is no longer visible. Okay, so the next video editing mistake we're gonna take a look at I was definitely guilty of when I was starting out as an editor. And that is pushing the parameters of your color correction to far SOS IT, grain is introduced onto your clip. Okay, now let's take a look at this clip. Let's go up to Window and click on luminary color to open it up and start doing some color correcting will bring the exposure to two, will decrease the shadows by bringing the slider to around 57. We'll bring the highlights down to around minus 49 and push the saturation as far as we can to 200. Let's just go up to the program window. I'll press the tilda key on my keyboard to watch this back in a larger screen. And as you can see, the darker. 15. BONUS Premiere Pro Basic Tips: Okay. So when you're imprimatur pro with some footage and ready to edit before you create a sequence to edit on, you may want to look at your clips in an easier way. Let's do this by in the project panel clicking on the icon view with full show thumbnails, I'll click on my footage folder, drag this footage folder been bigger. And now you can see the actual footage in each of these clips, which makes it very easy to find specific clips. You can also use this slider to increase the size of these clips. To get an even closer look, we can use the slider on the side of our bin, drag it up. And now I can see this clip of horses and we'll use this clip to create a sequence. To do this, right-click on the clip and select new sequence from clip. The great thing about doing this is that the sequence will be created using the same settings as your clip. We now have our sequence in our timeline here with our clip on it. Let's close this footage bin by clicking on the X and check this out on her timeline by dragging our cursor from left to right to scrub through the clip to adjust the sizing of any of your panels. Hover your cursor over the edge of the panel, click on it and drag it to where you're happy with it. You'll notice this flips upside down. Let's go to our Effect Controls panel where it says rotation, click on the 0 and type in 180 so that your clip rotates 180 degrees and now it's upright. We could also hover cursor over this number and drag this number to the right or to the left to rotate or clip however we'd like, I'll press Command Z on my keyboard to undo that great in R Effect Controls panel. We can also scale into this clip by clicking on 100 worth is scale and increasing that number. I don't like to push this number too high because the more you zoom into a clip, the more you're degrading the quality of it. But for the purpose of showing you this, let's zoom into 130. You can also adjust the position of your clip by using the x-axis and scrolling the clip to the right or left, and using the y-axis to change the position of the height of the clip as you edit improvement, borrow more and more. At some point you're likely going to work on a project where you need to use a color mat to create a color map in your project panel. Click on the new item icon, choose color mat, press OK, and a color picker window pops up. So I think this is really cool. Let's say there's a color in your clip that you want your colormap to be. You can grab this eyedropper hovered over the area of your clip that you'd like your colormap to be. Click, and now let's press OK. We can name or colormap, I'll call it orange and press okay, and our project panel, let's click on ListView and by default or colormap went into our footage folder. You'll notice are sequenced did as well. Let's select both of those by clicking on them and drag them out of this footage folder. To stay nice and organized, we can click on this drop-down arrow to close up our footage been great. Let's drag our orange color map onto our timeline to the V2 tracks so that it sits above our clip. I want to change the color of it a little bit to make it more orange. We can do this by double-clicking on the colormap. And now in our color picker box, we can hover cursor over whichever color we like. I like this orange, so I'll press OK. Awesome. Let's take a look at how to use the crop tool by going over to the effect panel, typing in crop. There it is, and dragging the crop effect onto our orange color map. Let's go to our Effect Controls panel where it says top. Let's drag the 0 to the right to crop the top of our map around 70%. Let's drag the bottom to 4%, bring the right side and worked a little bit in the left side as well. That's one way to crop. Let's undo this so I can show you how to use a crop shaped mapped to undo the adjustments we've made where our effect is, we can click this circular arrow to undo. Now we're gonna do something a little bit more advanced, which is creating a mask. Let's select this rectangle box to create a crop mask. And the mask outline appears on our program monitor. We can have our cursor over it, which brings up this hand icon. And by clicking down, we can move this mask wherever we'd like to increase the length of this rectangle, let's click down on the top right corner point of the mask. Hold down shift on a keyboard so that we can select a second of the mask. Let's select the bottom rate point and drag it to the right. By pulling this little circle here on our mask up, we increase the feather around the mask to the parts of this checkered blue border. And you'll see how this looks on one sec. Let's go over under Crop and drag our left percentage to the right. And you can see that doing this is cropping the inside of this rectangle mask. And notice that the edges are blurred or feathered. Let's undo that because I actually want the rectangle mask to contain the orange color rather than crop it out. To do this, let's check mark inverted. And now when we adjust the left side of her crop or cropping everything outside of the mask from the left rather than on the inside of it. Not really liking that feathered looks so we can adjust it by going under the mask and where it says mask feather, we can bring the percentage to 0 to create a crisp edge. Let's create a title in this rectangle by selecting this T, which is the text tool hovering over the rectangle in our program monitor and typing, I'll type horses of Iceland. Select this text and in effect, controls it now shows text. Click on the dropdown arrow to bring up text options under source text, we can use this slider to increase the size of our text. Let's scroll down a bit. And under transform, we can adjust the position of her text to sit more in the center of a rectangle. Let's scroll up and under source texts, we can click on the drop down menu to choose a different text. You can type in the text you're looking for. I'll type Ariel and select Ariel Bold. Now we have a text layer above our colormap. Let's try each one of us longer to match the length of her Colormap. So they're both even. And now we're gonna do something that I and many other professional video editors do all the time. And that's called nesting. Well, unless these two layers together, by selecting both of them, by right-clicking and choosing nest. You'll see what nesting multiple clips does in a second. First, let's name this nest horses of Iceland with Colormap. So we can clearly see the name of it with a reference to what's inside of it. Well, we work, okay, you'll notice these two layers have become one. Let's double-click on this nest to open it up. And these two layers now exist in this nested sequence, nesting footage or glaciers helps reduce the clutter in your timeline by giving you the ability to have multiple tracks with multiple assets live in a nested sequence rather than on the timeline you're working on. Next, let's work with another clip by double-clicking and our footage folder. And I'll select this clip of horses and drag it onto our timeline. When I bring my cursor over top of it, you'll see in the program monitor that this clip isn't taking up the entire size of the frame. That's because our sequence settings are 4K like the first clip and the second clip isn't for k. We can check the resolution of this new clip by going to our footage been choosing ListView. And you'll see in the video info that this particular clip is 1920 by 1080 compared to the other clips that are 3840 by 2160, which is 4K. Let's exit that. Ben and I want to zoom in a bit more of my timeline to do that, you can press the plus key on your keyboard a few times and we can scale the size of this clip up by right-clicking on it and selecting scale to frame size. Again, especially if you're editing a professional project. Overall, I don't recommend scaling the size of your clips into much, but in some cases, being able to do this does come in handy. And let's look at how to reverse clips by right-clicking on this one, choosing speed, duration, check marking reverse speed and okay, and as you can see, this clip is reversed. We'll right-click on it again, go into speed duration again, unchecked reverse speed, and instead let's increase the speed of this clip by 200%. Ok. And now with my cursor close to the beginning of this clip, I'll press the spacebar to review it and we have doubled the speed of it. 16. BONUS Premiere Pro How to Relink Offline Media FAST: Have you ever seen the show up when you open up a project in Premier Pro? Mediocre, lying. What heck is, well, don't worry, there's an easy solution to relink near media. Then I'm gonna show you in like 17 seconds first. Why does this happen? There are several reasons that your media could go offline. Like if you have files imported into your Bremmer pro project and outside of your projects where the original source file lives, you move the location of it around or you rename it, or you delete the original file. Well, if you do any of those things, premier can't link back to the original source file. So you've got to relink yourself. Let's look at how to do that. So we're in Premier and we've got some clips that are offline scattered throughout our project. Let's make these offline clips a little easier to spot by right-clicking on the top of our project panel in choosing metadata display in the search bar type in status and their Premier Pro project metadata checkmark status. Oh, okay. Now we can click on the status bar to organize all of the offline media so we can easily select it. All. Right-click on that selected media and choose link media. And you can see the file path where the original files lift the top files already selected. So now let's click locate. And since all of the off-line files are in the same folder on my hard drive. When they click OK, all of these files will also relink. So that's pretty easy. But, uh, let's say we went over to our folder that the video files are in and moved one of these files editor folder, I'm just gonna move this clip onto my desktop. Now, when we go back to Premier, this pop-up window shows that the file is offline again. So let's click locate and the clip still not showing up if this happens and you know that file is somewhere on your computer or your connected harddrive, click Search. And now perimeter, searching my entire computer for that file, which is gonna take a little bit longer because it is going through so many files on my computer. And there we go. The file's been located. Click. Okay. So well that's had a relink offline media in a few different situations. Keep in mind that relinking footage that's located in a random location isn't a very professional workflow. To stay organized, you'd want to have any project assets existing in one folder and then relink them to that location. And rather than having them located in multiple locations. 17. BONUS 4 Secret Premiere Pro Hacks: In this perimeter Pro video tutorial, I'm going to share four Premier Pro secrets you gotta know. Let's start with a new Premier Pro feature that helps a ton with organization and that is changing your marker colors. To do this on your timeline, place your play head in the area you'd like your marker. Press M on your keyboard to create a marker, bears the marker, double-click on it, and let's select the color red. And you can also see we have lots of other marker color options. I'll name this marker Vancouver. Okay, great. To extend the length of this marker in case you don't know, hold down the altar Option key on your keyboard, click the marker and now you can drag on either side of it to better see it on your timeline. Cool. Okay, so next, when you've got lots of clips with effects on them, on your timeline, they may be slowing down your playback and you may want to easily turn them off while you continue editing. To do this, go up to your program window and click on this little plus symbol on the right, which is the button. Edgar grabbed the global effects mute button, drag it to where the other tools are in your program monitor, OK. And click on it to activate it, which is indicated by it turning blue with the global effects mute button turned on. All of your effects will remain on all of your clips. They just won't show or use processing power, which will make editing more efficient. Just to remember to turn global effects mu off when you're ready to export your final video, when you've got your project picture locked and pretty much ready to export if you have tons of footage in your project panel like I do, that, it didn't end up using and you want to get rid of all those unused clips. There's a quick and easy way to do so. We can go up to Edit and select, Remove on used. And now all of the clips that weren't used in my edit are gone. They're out of this Premier Pro project. And here's the fourth Premier Pro secret. You know, when you're ready to export your project while you probably press the home key on your keyboard to go to the beginning of it. Press i to create an important man. You probably press enter on your keyboard toward the end of your video, press o to create note point. And doing this gives you this extra empty frame here at the very end of your video project. Which means if you export like this, that last frame in your video is going to be a black screen. But guess what? There's a quick way to solve this. So I'll just undo that. And instead, you one select your entire video edit and press the forward slash key on your keyboard, which will place that in point at the beginning of your selection. And you're out point right at the end of your selection where you want it, excluding that last empty frame. So your video will end on the last frame of your last clip, like it should instead. And there you go. Those are my four Premier Pro secrets you can start using right now to make your editing life easier and just better. 18. BONUS How to Use Photoshop Files in Premiere Pro: Hey, what's going on? I'm Allie, in this tutorial, we're gonna work with a layered photoshopped logo in both Photoshop and Premiere Pro. Lets happen to Premier and get started. Ok, so we're imprimatur pro. We have this mountain time-lapse clipped here and we're going to be placing a client logo over top of it. I'll hop over to Photoshop. And here we have our multilayered logo. We have the sun here, the mountain, the client's name, and their slogan for different layers. Let's hop back into Premier Pro and import this logo. I'll go up to my project panel and selecting import. I'll select the logo PST file open. Okay, and here we have a few different importing options for this logo. We could import it as merge all layers. So that would merge all four layers. Click the drop-down menu. We also have the option for merge player's individual layers and a sequence. So let's look at what each of these does. If we were to choose merge All Layers, press OK, drag this logo down onto the V2 track here. And side-note this logos currently too big and the dark blue if the local interferes with the Dark Mountain that sits behind it, we're gonna fix that coming up, okay, and we have this one layer that contains this entire logo with the client name and slogan. So that option certainly works fine. I prefer different option. I'm going to show you in just a second. I'll just Command C on my keyboard to undo importing that logo will just import the logo again. So I want to show you what import as merged layers does here. So this gives you the option to checkmark or uncheck any of the individual layer. So let's say we don't want to include both slogan. We will uncheck that and press OK, drag that logo onto the timeline. This gives us the logo with the client name and no slogan all on one layer, having all of the elements of your logo in one layer reduces the clutter. But most of the time I do prefer we'll just import the logo again, import as individual layers. So again here we could deselect any of these individual layers if we wanted to. I want them all selected. Press, okay? And here we have a bin that contains each one of these layers here. We'll just select them all and drag them onto a timeline. And as you can see, they definitely need to be stacked on top of each other. So I'll just zoom into the timeline here. I'll drag each of these layers on top of each other and extend the duration of them. Ok, so the reason that I like each of these to be on its own layer is because this allows me to manipulate each layer on its own. And I know the size is little bit grey now we're gonna deal with that coming up first. Drag the timeline up little bit here. Okay, so let's say that I want the sunshine layer to have a cross dissolve on it, making sure that my cursor is at the beginning of this layer, I will select it and press Command D on my keyboard, or Control D if you're on a Windows. And there we go. We have a cross dissolve, going to select the cross dissolve on the end there and delete it because I only want it starting at the beginning. And side note just so you know, the reason that my cross dissolve didn't affect every single one of these layers is because I don't have the v2, v3, v4, and v5 track selected. If I did and I added a cross dissolve, it would affect every single one of those layers. I'll just Undo that and deselect those tracks. Ok, scrub through their cool. Okay, so I like to some part of that logo dissolving in like that. Next I'll select the client name logo. And on my keyboard I'm going to hit the right arrow ten times. Go over to effect controls and under motion where it says position, Click on the toggle animation to add a keyframe. I'll bring my play head to the beginning of that layer. Just move this over a bit and drag the x-axis position all the way to the left. I've got mine now at like minus six 96 so that we can't see it anymore. And this has created a second position. You can see the keyframe. You can sort of see the keyframe right there. So if you haven't worked with keyframes before, we have the first position set where we dragged our client name off screen and we have the second position here where it originally was. So i'm going to click the spacebar to play this through. And the client name swipes in there. I'm like milk of at, I'll select the client name again. Go up to these keyframes, select them both. Right-click, choose temporal interpolation and select ease in play that through. And easing does what it says it does, it makes the position of the company named moving in 0s and a little smoother. Next I will select the slogan again, go over ten frames, go up to position, click the toggle, go to the beginning of that layer. And instead of starting the slogan off from the left side, I'm going to actually do the opposite. So we'll drag the position all the way to the right so we can no longer see it. Select both of those keyframes. Right-click again, choose temporal interpolation and ease in. Okay, and let's check this out. Sweet and pretty happy with that. And I want this logo to be the length of the clip. So I'll just select all of those layers and increase the duration of some. Cool, okay, so once you're happy with the way that each of the layers of the logo shows up on screen. What I like to then do is nest my logo because I'm not a big fan of clutter when I'm editing and nesting allows you to easily access any of these individual layers of your love life need you. So let's select all of those local layers, right-click and choose nest, call it logo. Okay, there we go. Now, all of those individual layers are within that one nested layer. If we wanted to access any of those individual layers, we could double-click on the nest and there you go, we got them. All right there we'll go back to the other sequence. Ok. Next, making sure that our nested logo is selected on their timeline. Let's go up to effect controls and let's adjust this scale to 55. Unlike in the way that looks, I want the position of this logo to build a little bit higher up so we will adjust the positions y-axis just a little bit there. And I have my cursor sort of in the middle of this logo. So I'm going to press the toggle and emission button sites scale, bring my cursor to the beginning of the logo and bring the scale to around 50. Let's play this out. Okay, so now the logo scales in nicely. Now we could be done here, but I want to show you something that's super cool and super easy to do because all of the Adobe apps are dynamically linked. So Premier Pro and Photoshop work really well together. So let's say that your client wants to see their local in White. Let's double-click on our local nest. I'll right-click on the high glycaemic layer. Choose edit in Adobe Photoshop. That brings us over to our logo with all four layers in it. And I'm going to quickly select each of these elements and make them white. I'll grab my text icon to select the hypoglycaemia text. Click on this double arrow sorta icon here where these colors are to flip them so that white is in front and that makes our first layer white, do the same thing to the second layer, and the other two layers aren't Text layers. So I'll grab my selection tool up here, select them, grabbed my paint bucket tool and select each of them to make this entire legal white. Now I'm going to press Command S on my keyboard. If you're with Windows, press control S to save what you've done, hop back over your primer and look at that. That's how easy it is to make changes or adjustments to your Photoshop file and have those changes be applied back in Premier Pro, we'll go back over the clip with the logo and check this out. Awesome. Okay, and lastly, I'm going to show you what the last option does. So again, I'll right-click in the project panel and import the logo where it says import as click the drop-down menu, choose sequence. And again, we can de-select enable layers if we wanted to. I don't want to suppress. Okay, great. And this option has made a bin for us and it has each of the individual layers in it as well as a sequence. Let's double-click on the sequence here. So the sequence option is great as well because it creates a sequence with each of the layers already stacked. So you don't have to manually do it the way we did before. And if you're going to choose the sequence option, what you can do is just select all of those layers. Press command C or control C on your keyboard to copy them, go over to your clip. Just move that over, de-select the V1 tracks, let the V2 track so that the first layer shows up in the B2 track and above, press Command Z or Control V on your keyboard to paste a K. And we could drag these out again. And there you go. That's a you can easily work with a Photoshop multi-layered logo in Premier Pro.