Premiere Pro Masterclass Module 9 - Visual Effects | Phil Ebiner | Skillshare

Premiere Pro Masterclass Module 9 - Visual Effects

Phil Ebiner, Video | Photo | Design

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11 Lessons (41m)
    • 1. Intro to Module 9

      1:09
    • 2. Add and Adjust Video Effects to Clips

      6:55
    • 3. Adjust Effects with Keyframes

      4:42
    • 4. Use Lumetri Color Presets

      3:35
    • 5. Stabilize Shaky Video

      5:21
    • 6. EXERCISE: Stabilize Shaky Video

      0:36
    • 7. EXERCISE REVIEW: Stabilize Shaky Video

      2:46
    • 8. Make Videos More Cinematic with Overlays

      6:44
    • 9. Export a Still Frame from a Video Clip

      1:41
    • 10. EXERCISE: Remove Noise and Grain with After Effects

      6:46
    • 11. Thank You

      0:26

About This Class

Welcome to Module 9 - Visual Effects

This module will cover:

  • Adding effects to a video clip
  • Adjusting effects with keyframes
  • Using Lumetri color presets
  • Stabilizing shaky video with warp stabilizer
  • Making video more cinematic with overlays
  • Removing noise/grain from video
  • Exporting a still frame from a video clip

Enroll in all 11 modules of this course:

  1. Intro to Premiere Pro
  2. Editing Your Videos
  3. Adding Video and Audio Transitions
  4. Adding Titles
  5. Editing Audio
  6. Color Correction and Grading
  7. Motion in Premiere Pro
  8. Exporting Your Videos
  9. Visual Effects and Advanced Premiere Pro Tips
  10. Video Speed in Premiere Pro
  11. Green Screen Editing

Start editing your video professionally with Adobe Premiere Pro CC!

THIS COURSE IS NEW AND IMPROVED FROM THE BEST-SELLING PREMIERE PRO COURSE BY PHIL EBINER.

If you are looking for a video editing application that will allow you to edit videos however you want them, Adobe Premiere Pro is the best answer. Premiere Pro is used by professionals across the world for every type of production from business & marketing videos, music videos to documentaries, feature films. This full course is the best way to jump right in and start editing.

Make videos the way you imagine them!

Practice editing while you learn. This course includes practice video files so you can follow along and actually learn by doing.

By the end of the course, you'll have edited a 1-minute documentary with the supplied footage.

I'll be teaching the course using the creative cloud version, but if you have a previous version (CS6, CS5, CS4, CS3 - Mac or PC), you can still learn to edit like a pro.

What makes me qualified to teach you?

My name is Phil and I've been editing videos with Adobe Premiere Pro for over a decade. Plus I'm the creator of some of the world's most popular video editing courses - with over 150,000 students and thousands of 5-star reviews like these from the Adobe Premiere Pro course:

My Promise to You

I'm a full time video editor and online teacher. I'll be here for you every step of the way. If you have any questions about the course content or anything related to this topic, you can always post a question in the course or send me a direct message. 

What is this Adobe Premiere Pro course all about?

In this complete guide to Adobe Premiere Pro video editing course, you'll not only learn all of the editing tools available in Premiere Pro, but also how to edit with the mindset of a professional editor.

Learn from someone who is currently working in the industry, who knows the most current editing techniques, and who has a Bachelor of Arts in Film and Television Production from one of the country's top film schools.

BONUS: As a bonus, you'll receive supplemental video and audio clips to practice with while I teach you with.

By the end of this course, your confidence as a video editor will soar You'll have a thorough understanding of how to use Adobe Premiere Pro for fun or as a career opportunity.

Go ahead and click the enroll button, and I'll see you in the first lesson!

Cheers,

Phil

Transcripts

1. Intro to Module 9: Welcome to the Adobe premiere Pro masterclass module Number nine. In this module, we are learning some visual effects in Adobe Premiere Pro Things like adding color presets , stabilizing shaky footage, even removing noise, which we're going to be doing in adobe after effects. So if you don't have after effects, that's okay. You can skip that lesson. But for those of you who do have the whole adobe sweet, we can use round trip editing. Which is a fancy way to say that Adobe, Premiere Pro and after effects work together really well so we can send a video clip to after effects to remove noise and have it automatically happened in Adobe Premiere Pro. Too confusing. But don't worry. I'll show you exactly how to do in this class, as always the practice files, so that you can follow along and do. The exercises are in the project tab of this course on skill share, and if you haven't already, please enroll in all the other modules of this course on skill share. Just click through the links on the course description or search for Adobe Premiere Pro masterclass on school. Scher. Let's get going with visual effects and Premier Pro 2. Add and Adjust Video Effects to Clips: in this section, we're going to be looking at some of the visual effects and fun things that we can do to make our projects look better or more interesting. So in this lesson, we want Teoh just learn how to add effects. Learn more about what types of effects there are in Premiere Pro. And the first thing we're going to do is I've just put together this sequence of the same clip six times with different effects, and we're just gonna watch through it and see all of the different things that you can do in Premiere Pro. So this is the first clip. No effects. Just this couple walking down the beach. Let me just rewind just, um, it. So walking down the beach. No effects natural light. Here's another effect. This is a threshold effect. Get that black and white. We add some grain in this shot with this shot, we added this spotlight effect with this next one we at we actually flipped the effect. So it's going to the left and with this when we added this bevel kind of style and this is just scratching the surface on what types of effects you can add if you go to your effects been we just closed down these bins. You can see that there are so many types of effects, and if you open up one of these folders, you can see different adjustment effects, changing the color levels, changing the highlight shadow levels under blur and sharp. And we can add blurs different types of blurs. Color correction. These are all of your color correction of facts If you don't want to use the loo metric color panel, the three way color corrector. This is the main effect that we used to use as editors to color. Correct our footage before the little metric panel. One of the most fun bands is this style eyes we can make our videos have brushstrokes toe look like it's a moving painting. We condemn boss the edges. We can create a mosaic texturizing all that. You go through all of the effects, but I want you to understand how to use them first. With all these effects, you'll notice in our effects control, been or panel that up. Here we have the effect settings. So for threshold, it's simple. The level of the threshold we can increase or decrease the amount of threshold allowing Maurer of the highlights toe have some black texture. But if we decrease it all the way on Lee, the dark parts of this image get this sort of dark silhouette. If I turn this off, you'll see just the dark parts right here. And this image is actually a good one to see this out on, because there are so many highlights on this bright, warm beach, so you can adjust all of your levels with the effects controls. Here we have the noise effect added, and we have 25% noise, which is actually a lot more than I typically would add. But I wanted to just really show you what happens when you add noise. So if you want to add a little bit of dust and grain, make it a little bit noisy, like an old film camera used. The noise effect the noise type. I unchecked the use color noise because the color noise. If I make it a lot bigger, you can see that it has all these red and green and yellow dots. I like just the black and white noise and typically maybe around 10% or so, just a subtle amount, just a very subtle amount. With this next one, we have a lot more options. So this is the lighting effects. You have multiple lights that you could add to your clip. With this effect, I'm just using with light one. All of these effects adjust something so the center will adjust where your light is set. Both the major and the minor radius will adjust how big and small your light is. The angle will adjust where it's coming from. I wanted to match where the sun was coming from for this clip. So it looks like that spotlight is actually just the sun. The intensity is how bright or dark the light is. You can actually make it darker, and the focus is how wide or narrow it is. How much of a sort of feathering does it have into the rest of the footage? And this is just light one. We can add another light if we wanted to go into light to weaken change from none to another spotlight, and we can move this around, do anything we want with it. With the next clip, we just flipped it. So we used the horizontal flip effect and it just flopped the image from right to left, and it just flopped the image. So now they're walking on the left hand side, and sometimes flipping an image can make him or dynamic shot or dynamic transition right here. We have the action of this footage over here in the bottom left corner. Say we had another shot that we're cutting to after this that has the subject down here in the bottom left corner. We wouldn't want the subjects of this shot to be on this corner and then the next shot, the subject on this corner. It's a more fluid and peaceful transition if the main eye catching subject is in the same relatively the same area of the frame. So using the horizontal flip, we can make this shot match that and then with this last one, this is just the bevel edges. Just another effect. You can see that I can adjust the bubble edges where the lights coming from to create that shadow on the edges. The color say we want to make this something wild and fun with, like a blue edge, something like that in the intensity of the light again. How contrast it. We want that light toe. Learn all of these effects. It would take a very long time for me to walk through every single one. So what I I think you should do, and the way that I learned these effects is just to play around with them. Just go one at a time, add them to your clips, see what it does. Say, Hey, what's this auto color? Let's drag it onto our clip. It's automatically adjusting the colors of our footage. See this on and off makes it a little bit more contrast in. And that's actually pretty darn nice, I would say so. The auto color is a cool effect. Just go through them and see which ones you like. There's some that I've never even touched and some that I use almost on every project. If you have any specific questions about a specific effect, please let me know. I will be covering some of the ones I use most in the next few lessons. Otherwise I just have fun with it and we'll see you in the next lessons 3. Adjust Effects with Keyframes: in this lesson. I want to show you how you can adjust effects with the key frames, so this will allow you to create sort of an effect transition onto or off of a clip. So here's the shot that I have of the Swiss Alps that I shot while I was on a trip to Switzerland with my wife and say, We want this shot that maybe this is the end of our film or the beginning and it's going to start off on the shot. And then we wanted to blur so that we can add a title over it. Let's go down to our blur sharpen effects. We're going to add the gouge in blur to our clip. When I do that, nothing happens. We have to go to the effects controls. And first we're going to set a key frame for blurriness at zero. So I'm going to go to where I wanted to. Transition may be right around four seconds, said that key frame by clicking this stop wash icon. Then go maybe a second or two later, and now I increase the blurriness something like so and with this effect, I'm going to repeat edge pixels. You see here that as I increase the blurriness, the edge gets a little bit dark. I don't want that to happen, So I'm just going to click this repeat edge pixels, and that makes the edge not have that shadow on it. Now, if I play through this, it transitions into this blur. This is something that you can do to sort of replicate a blur of focus. If you were doing it manually out there in the field, sometimes that works better than others for different shots. And now, with the blurred out background, we can actually add some text to this, so it will appear a little bit better. Let me just show you that really quickly. So if I go to my project tab, click the new item button Click new title school. Leave it at Title one. And if I just add this title in the middle, we'll just call this the Alps. Exclamation point. So exciting when you call changes toe Helvetica changed too bold. Then use the center options right here to center this text, maybe add just a little bit of an outer stroke. It's the black outer stroke clicking the odd stroke. But in increase the stroke size exit out of that and this to my clip, let me just show it to you. What happens. So here before his blurt out, Yeah, it's visible. But right here, when it does blur out, it's much more visible. So whether this kind of transition, I would probably create a fade on for the title. As the blur of the background starts to come on, Sol Goto the on the timeline appear. Oh, goto this first key frame, and I could get to it by clicking this button right here. These buttons are the go to next key frame button and will make sure that all my timeline down here, my cross dissolve starts at that point, and then I'll go back to this timeline. Go to the next key frame, which automatically jumps my timeline indicator down here to this point, and I'll increase the crosses off to that point. So both the cross develop dissolved and the blur happened at the same time. At the same rate, that looks pretty darn cool. So that's how you can use key frames to adjust the settings of in effect and create that sort of animated effect on or off of your clip or just MAWR or less dramatic. So maybe it's already blurred, and then we want to make it even more blurry. We can do that. Let's just set a key frame here again for 49. So that because if I just went here and increased it to whatever 1 94 that means from this key frame to this key from there will be, in effect on an animation. But I wanted to stay at 49 for a while, set a key frame there for 49 then go forward, changed this tooth, whatever 200 or so, drag this key frame to the end of the clip. And maybe that would be a good place to fade out of the title flinches fate of the title here I think a little bit sooner, kind of a cool effect. Anyways, I think you get the point now how to add key frames to your effects. Have fun with it, and we'll see you in another lesson. 4. Use Lumetri Color Presets: The new versions of Adobe Premiere Pro Creative Cloud also have some lou metric color presets. So earlier in this course we learned how to use the loo metric color panel to do color, correction or color grading. There's actually some presets in our effects. Been under Lumet Tree Presets. Let's drop down this folder. You'll see four different bins. Cinematic film stocks, monochrome and speed looks cinematic will have some more cinematic effects. So if we go down here, it will actually give us a preview of kind of what it looks like. So you can see the Sinise Space 100 for example, makes everything very warm and contrast e while some of these other ones in the space 25 faded film makes it look more faded and apply any of these effects weaken, Just simply drag it onto our clip and applies that effect. See, very faded. I'm gonna undo that. Next we have film stocks which will make our footage look like actual film stock from Fuji Kodak. You see these different film stocks, so these have some different types of effects because different film has different looks. You can see here this F 1 25 looks very contrast. Very dark, cause while the 2 50 d makes things a little bit brighter and faded, which is a popular look right now, monochrome these, they're going to be all of your black and white. So we have a range from very very contrast E something that is very uncontradicted e very faded. And lastly, we have our speed looks which go with different cameras. So these air set up for different cameras that you shoot on this shot at this wedding was shot with the canon five D so I could just go to the five d folder and it confined a different of an effect that I want these air. Very stylistic. So if we want this to be a day for night scene, we can apply this day for a night footage. The shot doesn't look too good because you can obviously tell that the sun is out shining harshly on their shoulders. But if you did have a shot with some more overhead lighting that looked like a street light or something during the day, then that might look good for you. There's lots of effects if we want. This is already very warm, so we wouldn't want to make it more warm. At least I probably wouldn't. But these are different specific effects or filters to add for your camera. If your cameras not here, you can just go ahead and use three universal effects. But the cool thing is that loom entry has kind of gone through each camera and tweak the settings so that it does a better job, depending on what kind of camera you are using. So these are great ways to quickly add a look, a grading to your footage. And with all of these, if we do apply them, say we apply this one right here. We can then go into our metric color panel and continue to added it so we can make changes so you can see that it has this input that we added right here. That's this input right here. But we could say, if this is a little bit too dark for us, we could boost the shadows back up a little bit to bring back some of those details. Thank you so much for watching. That's how you use the loo metric presets. Have fun with it and we'll see you in another lesson. 5. Stabilize Shaky Video: in this tutorial, we're going to learn how to stabilize footage using the warp stabilizer effect. So go ahead and find the warp stabilizer effect. Search for warp in your effects. Been Here are two shots from hiking in Southern California. The first is unstable ized. The second is stabilized. You can see that the first there's a little bit of camera shake the second nice and smooth . It almost looks like a nice tilt down with this shot. It's a lot mawr fakey, and the stabilizer tries to do a better job of stabilizing it, and we're going to dive into the details of the effect to see how it's actually working. So first, with this 1st 1 let's just delete the warp stabilizer you can see without. Then when we add warp stabilizer, it analyzes it. It sees what's going on. It tries to see what's happening with the camera shake, and then it will apply it, and this one automatically does a decent job. We have the settings that are standard with the effect. We want a smooth motion shot. If you want, we can do no motion and what it's really going to be doing then is zooming in and cropping just a bit. So see, look, it literally like no motion at all is a little bit of a sort of perspective change in the beginning, But I like the smooth motion a lot better for this shot. It doesn't look bad at all. The smoothness. You can change it from the 50% to a little bit slow lower. So if you want a little bit more of that motion, or if you want less motion, that's getting closer to the no motion option. And then the method We have subspace warp position, position, skill or perspective. Position is just going to move the frame around to try to get it to be stable position scaled rotation will not only just move it around, left right, up and down, but it will rotate and it will scale up if necessary. And with perspective. This will do a relatively good job because it's actually looking at your frame, and it's kind of as if the camera angle was turning left right up or down to get a different angle. Not does a really good job for this shot. Subspace warp kind of combines everything and it will actually bend your image so that it looks stable or tries to make it look stable. Let's jump over to the hiking three clip, so without it very unstable with the effect stable. But you get this gelatin effect, and I'm going to tell you up front that this shot it's just too shaky to have a good stabilization in Adobe Premiere Pro. You can take it into after effects or other programs and get it to be stable. But in Adobe Premiere Pro, there are some limitations. What we can try to do is change the subspace warp or change the smoothness. Maybe we don't want it as smooth. It's kind of counterintuitive when you're trying to make it more smooth. You think, Oh, I want to make it 90% or 80% but sometimes you have to decrease the stabilization so that you don't get that jealous in effect. So at 10% you still get a little bit of that gelatin effect, but it's better than without it. So without it super shaky with it, I would say a little bit better to see what's going on. Let's change the borders framing from stabilized crop on auto scale to stabilize. Only look what's happening. This frame is bouncing around is going crazy. You see the edges. It's rotating. It's scaling up or down. Well, it's not scaling up or down right now, but it's rotating. It's moving around. If we want, we can do a stabilize crop, which just crops it in. And then these stabilized crop and auto scale will actually zoom in to the footage to fill the frame can. So these are a few options to play around with. If you have a shot and you're trying to get it stable, I would definitely play with the smoothness going lower or higher. And then the method. Sometimes subspace warp works better, but sometimes just perspective might look better than you. Don't get as much of that sort of jello effect. It's a little bit shaky still, but less of that jello. So that's the warp stabilizer in Adobe Premiere Pro. It's a great tool. I add it to a lot of clips, even stable clips that he used my mono pod on because there are some of those minute hand motions that you don't think you're making, but then when you're watching your video on a big screen or just in high resolution, you will see those little minute motions and adding Warp stabilized. It really helps. And also for drone footage. Really good toe. Odd warp stabilizer to it. Thanks for watching, and we'll see you in another lesson. 6. EXERCISE: Stabilize Shaky Video: it's time to take action. We're going to practice one of my favorite effects. You learned about it early in the class. The warp stabilizer effect. I want you to practice using it and see if you can take this shaky clip of these flowers and turn it into smoother but interior. Better video like this one. I want you to go through and change its settings yourself. But in the follow up lesson, I'm going to show you the settings that I used to get my footage to look like. This have fun and we'll see you in the next lesson. 7. EXERCISE REVIEW: Stabilize Shaky Video: How did he do? Did you get your footage to look from shaky? Two more stable. This is the best that I can do and let me walk through the effects that I changed or the settings that I change. So I added the warp stabilizer effect, obviously, and I first checked out what it looked like with the the standard settings that it uses. Smooth motion, 50% smoothness, subspace warp. And to be honest, it cropped way too far in, and it still looked like jelly, and I didn't like it at all. So I tried different things, like change from subspace warp to position scale rotation. I decrease the smoothness to 5% and it it got better, but it didn't get amazing. So I went down into this advanced hap, something we haven't really dived into. And I did a detailed analysis just by clicking this check mark. Honestly, I don't really know what it's doing. It's just taking it a little bit more time and trying to do harder work to make it more smooth. So, honestly, I don't know why you wouldn't check that, for all of your stabilization is unless it just works best or automatically without checking that. So I checked that. And then I also changed the ruling shutter ripple from automatic reduction to enhance reduction. Rolling Shutter is this weird motion you get when you are panning with the DSLR or even a mere list camera? It makes things look a little bit worked and the faster you pan the worst it looks. So I think that helped a little bit. And then, lastly, I think the thing that really helped was this crop less versus Smooth Mawr option. It's standard at 50% meaning that it's balancing cropping versus smoothness. If you go more smoothness than it's going to crop even more, if you crop less, it's going to make it less move. So I tried Mawr smoothness at 75% and it worked a little bit better. But I think the sweet spot was actually cropping less because I didn't want it to be zoomed in so far. So I changed this to 15% and that is how I got this motion toe look like this where you get a tiny bit of that little jelly look right there. But it's so subtle, and if you go here it it focuses on the floor. And then you cut away to another shot. No one's really going to notice that on a video that is online like that. Maybe you'll notice it more if you're watching on the big screen. And now that I'm telling it to you, you probably notice it. But I think this was the best that I could get it if you want. If you had some other settings that you use and it came out better yourself, please let me know what settings you had and post your video to the course page. I would love to check it out. Thanks for watching, and we'll see you in another lesson. 8. Make Videos More Cinematic with Overlays: in this lesson, and we're going to learn how to make our footage look mawr cinematic with overlays. So we saw this clip right here. I added a couple of different overlays to create this cool film burn transition and also making it look a little bit more cinematic with this wider aspect ratio. So let's recreate this from the beginning and learn how to use different overlays. I'm just gonna move this footage over to the side. Just going to take my beach to clip, bring it down on my timeline, going to cut it it right after a couple of seconds and then we're going to cut it. Toothy beach shot them on the lifeguard tower. See that bird flying by like so the first thing we're going to do is add theosophy pecked ratio overlay. So you'll find in the resource is for this course that there's this overlays folder in it Are these aspect ratio overlays and these air basically just black bars that are going to go at the top and bottom of the screen to change this footage to look like it's a different aspect ratio cinema or cinemascope. These are wide aspect ratio So if I put this on to track, too, it's automatically set up so that the video shows through it. It's just black bars on the top and bottom so you can see it with it on off, on off and automatically. This makes it a little bit more cinematic. Now the actual video itself is still going to be 16 by nine. And for the full resolution videos, this is shot at 1920 by 10 80. So it's still going to be that resolution, which is actually good for playing online for putting on YouTube. You could actually go into the sequence sequence settings and change the frame size to the actual different aspect ratio you want. But this is just a quick and easy way to do it. And actually like they said, better for uploading online because YouTube likes the 16 by nine format and playing it on your phone and everything else like that. So this is pretty cool. I'm going to move this up to track three. The only thing I don't like about it now is that when they're walking up, his head starts to get cut off a little bit too much then I would want. So I'm going to select this clip Goto effects controls but emotion and just drag down just a little bit. I don't want to cut off her too much and actually like seeing her flowers just a little bit in there. So just a little bit just a little bit then with this shot there at the bottom of the frame , which I like, But I'm gonna move them up just a little bit, too. Something like that, Alex. A lot better now we want a nice transition between the two Adobe Premiere Pro as lots of transitions. We could just add it. Cross dissolve with command D to dissolve between these two, but we're going to add a film burn. This film burn came from a free website online, but you can find all sorts of film burns and Boca clips that are great overlays online just by searching free film burns or free Boca overlay. Now, if I take this film burn, open it up here, I can watch it and I can see what's happening. It's got this nice film burn. Look, if I take this and I put it in between on track to what happens is it's just the black video. With the film burn, we have to change the blend mode of this clip so that the black is invisible. So go up to effects controls. With this film, Burns selected, go to opacity and change blend mode from normal to screen. The screen effect will make the entire film burn all the black disappear, and only the highlights show through. Then we want to move this to a good position, so it looks like it's transitioning from one shot to the next in the burn. So I'm just going to go right here in the middle of these two clips that I'm going to adjust the film burn so that there's a spot in the film born where the entire frame is covered up with the burn. So I'm going to slight the film burn and pressing command on my computer, on the keyboard and the right arrow keys or the left arrow keys, and I'm trying to get to a place just nudging it one frame at a time until this entire frame is covered with the film burn, and this is going to look better than before because it completely transitions to this next scene. It goes on a little bit too long, though, so I'm going to fade out of it. Just select the clip and press command D that adds a cross dissolve. I'm just going to make the cost is off a little bit shorter. So now you have them walking up Film burn looks amazing. We also have this Boca. If you want, you can try the same thing. So I'm just gonna put this on top of it. Just put a little bit of it on top just to see what it looks like. Then change the blend mode in capacity. Now this one. You might not like the screen because it's too bright. We're only see getting rid of the dark parts of the Boca. We want to get rid of some of the light. So changed this to multiply. Multiply is a good one. Darken is a good one. Light and screen. Even overlay can be good, too. Those are the main ones that I would look at dark and multiply of light and screen overlay and even soft light. And here softly, it's very subtle. Multiply might be a little bit better. It gives kind of a cool effect. If I want to double these effects, I can move my cinema top and bottom bars up to track four and then put the Boca on top of everything like so you know, that's maybe a little bit too dramatic, a little bit too much. And maybe I would actually put this below film burn so that the film bring goes on top of the Boca as well. But if you're looking to get really stylistic, it is a cool effect. So that's how you can play with overlays to beg your film more cinematic, combining them, changing the different blend modes. Those are the keys to using overlay. If you have any questions, please let me know otherwise. Have fun playing around with ease and we'll see you in a another lesson. 9. Export a Still Frame from a Video Clip: with modern cameras. The actual resolution and the quality of video is really, really good, and especially if you're just using it for an online clip or you want to share something online, taking a still image from your video is a good option, and you can do it very easily from within. Premiere Pro. Just put your clip on your timeline or even just open it up in your source monitor and then in your program window or source monitor. You see this little camera button right here? We can just click that. I'm just gonna find a better frame right about there. Click the camera button. It's going to ask us. What we want to call is. I'm going to call this hiking in so Cal, we can choose the format JPEG, PNG tiff. Those are good options. I would just do Jay Pek, and then you could also import it into the project. So say you want this still image to be a part of your movie. You can automatically import into the project, and of course you want to save it somewhere on your computer, so just click browse set where you want to save it to. I'm just gonna put on my desktop for now and click. OK, you see here that it pops up in our project. So if I wanted to use this for a tattle card, I could or if I want to post this online, use it for a block pose or the thumbnail of this video on YouTube or Facebook. I can take this photo, added it out of title to it in photo shop or whatever program you use and you can see that's super high quality. Good resolution photo. So that's how you capture a still image from your video clips in Premiere Pro. 10. EXERCISE: Remove Noise and Grain with After Effects: Here's another practice activity, but this one's a little bit tougher than the previous one. So I'm actually just going to walk you through it. Activity or the challenge is to remove noise from your video. What I mean by noises when you shoot with a camera and you boost up the I s 02 make it brighter. This happens a lot when you're shooting at night. If you're shooting, you know, event videography at a wedding or something like that, you just need to boost your eyes. So to be able to see, I shot this clip of my cat, Zohra, and she was under the bed and this was actually shot during the day. It was really dark down there, but this was shot with 64 1000 I. So that's really, really high. And that's why when I zoom in and I go over here, especially in the darker parts where there's not as much detail, you can see all this noise. It's kind of digital grain that you get. So how do we fix that? We're going to fix it using after effects, and I know you might not have after effects, but if you have subscribed to Adobe Creative Cloud you should be able to download after effects. It comes with any creative cloud subscription, and I do a lot of work with after effects and premier pro combined in. The great thing about it is that you can use them together seamlessly. They kind of talk to each other, and I'm going to show you how to do that right now. First, go ahead and open after effects and you don't need to know how to use after effects Teoh kind of tea to learn what I'm going to teach you in this class. This is a completely different course that I have. If you want to learn yourself, Ah, you can learn how to use adobe after effects, but for now, just open it and you don't have to open it. All you have to do is go to your Premiere Pro clip that you want to edit in after effects, right? Click it and say, replace with after effects composition was going to happen is it's going to open up in Adobe Premiere Pro. You're going to want to save this project, so just click command s and it might prompt you before and just save it as whatever. I'm going to save it as practice and I was already playing around with us, So I'm going to replace that after effects work somewhat similar to a video editor. But it's really different. Eso It might be kind of confusing, but you have your timeline down here with your clips. You have your project been over here with your video files and you're sequences or in after effects. We call them compositions. You have your composition window where you see what you're working on in the middle, and then you have all sorts of other windows that you can go open and close by, going up to window and then checking them all on and off. The only one you need to have on is this effects and presets panel. Go to your effects in presets and type and remove grain. It's under the noise and grain folder and just literally drag and drop it either right here in the middle of your composition window or down here on this layer. What happens is your effects controls panel, similar to in Premiere Pro, will pop up and the remove grain settings pops up. We have this preview little square that shows us what it's actually going to result look like. And we can move this around by clicking in the middle and dragging it over. And I'm going to do that, Teoh. Somewhere where I can see more of the grain. Then I'm going to zoom in. I can do that by clicking this little percentage. It might be a little bit different. Your computer, depending on how big your resolution is, I'm going to say 100 and then with my hand by pressing the space bar on your keyboard, I can click on this composition window and move it around. So just do make sure you're pressing hands so you're not actually moving the clip around, but just the composition itself. So you can already see that this has helped a little bit inside the box, there's less noise than outside. We can go down to our noise reduction settings and quickly just increase the noise reduction to to And then the pass is Let's just drag all the way up to six to get it all the way as good as possible to preview the whole clip, you can change this viewing mode from preview to final output that's going to process it. And then it will show you what it looks like. And if we turn this effect on and off by clicking this effects button right here, we can see it on off on off, and you could see how much that actually does. There's a lot of more advanced fine tuning you can do. But for us, all you need to do is really just increased the noise reduction to however much you want and then increase the passes as well, which will do it even better. I'm going to change the view percentage to fit up to 100%. The one thing that increasing noise reduction does is it can make everything seem a little bit blurry. So if we turn this on and off, you might be able to tell a little bit of, ah, decrease in the sharpness. But for this image, it actually does pretty good job. So now in adobe aftereffects, we've added the noise removal or the grain removal. How do we get this clip back to Premier Pro? With this effect on it, all, we have to do is tab over. Go back to Adobe Premiere Pro. In our sequence, our clip has turned into this little red linked composition, and if we go to our project, we have this practice linked composition. This is the is taking it from after effects, and it has replaced it with the after effects file. So if you want to get back to it, what you can do is right. Click it and go to edit original, and it will bring. Open up this this project in after effects if you've already closed it down. So that's how you use what's called the Adobe Dynamic Link. To add it, a project in Aftereffects and Premier Pro. There's all kinds of other things you can do with after effects, including more professional green screen editing, adding all kinds of effects and even titles and graphics. That's something for another course and something for another day, but it is good to know that there are some really cool effects that you can quickly add like this green removal one. Thank you so much for watching. If you have any questions about this effect or any others, let me know, and I'll try to respond as soon as possible or at another lesson to the course by 11. Thank You: thank you so much for enrolling in this module, and I hope you learned what you wanted to learn coming into it. If you're interested in moving forward with Adobe Premiere Pro, please check out the next module in this Siri's by clicking through the link in the course description or just by searching for the next module. Adobe Premiere Pro Masterclass Module number. Whatever module you're looking for on skill share, thanks so much and have a great day.