Adobe Premiere Pro Highlight Reel

1. Introduction: I am fortunate to be successful in the chosen career I want to do since I was 11 I am now willing to share all my tips and techniques review to help you succeed and be in the best filmmaker you could be. Hello and welcome. I'm Anthony. I've been the cameraman, director and editor for nearly 20 years now. Like you, I have a passion for film making. I have a first, actually, on this degree in film and TV. I run a video production company called Q Films and have worked in nearly all sectors of the industry. I have filmed, directed and edited thousands of videos in my career, from film premieres, entertainment, Shays music, gigs, music videos, corporate films, actor Sheryl's travel films and, most recently, automotive films that the most successful companies and presenters. My recent automated portfolio is huge, with over 700 films reduced from car reviews like reviews, Dr Stories, motor shows, social videos, animations to feature films. One of my films even reached a massive 2.4 million views on YouTube. I have experience in all aspects of production, from pre production filming to post production. My classes were share a variety of skill sets. Also advice, tips and techniques to make your videos stand out from the rest. It doesn't matter if you have little or no experience. These lessons will help you develop story. Talent is one of my best skills. I will show you how to tell the most engaging story. What clips to use. Why on Gwen, As I have worked in the automative industry, I thought I would use my most recent content for my first lesson. I will share my fast experience with you, starting with how to create an engaging video show to demonstrate your skills and share on social platforms. Let's do this. 2. Import & Organise: And then welcome to the first lesson. I will show you how to import, organize and structure your files and folders by the end of this class. I'm hoping the upl to produce a similar engaging shave will like this one. There's so many different elements that go into that edit and I will go through and show you what I did on why. First of all, I would like you to get your fouls structured. I'd like you to set up a five folder structure, So I like one. Documents one projects, one video, one audio, one graphics. Basically, this is where you're gonna put all your source files. So your video clips would go on video source? Well, because it's the rule files on the camera. I always put a list of the camera that I was used I was using for that particular job in There's Your render file. So when you export, even Marvel went before I always put in approval Andi approved and Approval folder because I've tend to send the clips that full approval first. And then you can You should end up with just one in the approved, which would be your final edit files that go into projects would be your premiere project files. And after effects and documents, I would put in stuff like your scripts shot this so anything like that, the rest is quite satisfactory. So you got, like music, sound effects and then graphics. You probably logo's. And also I make a separate folders. So if I need to export something from Premier into after effects, there's a separate folder for that. So it's all nice and neat. So once you've got that sorted, it jump into premiere and we do a similar thing here. Most wasted time is finding stuff you can always use. The search bar up here to find particular clips and low is etcetera. But I find it much easier if you just make a set of folders yourself to ensure that everything's neat and tidy. This will also help you out of your work and with different editor, and you send the project over to them. They can open it up and see clearly where everything is, and it saves all that hassle of missing files. Missing sequences. That's just not what you want to do. So I set up a sample folder now, so we'll start it with sequences. So this would be where all your sequences go. Make another one for footage. You don't know how to do this in primary, you just slept new. Been here, or you can right click on your mouse and put new bed. So we've got sequences, footage that to sound the facts. Uh, and then we're Tiu have two effects and music and then finally other. I always have, like, other fathers, cause I don't don't like around and fouls just floating around. So once we've got all that often that's got messing now. But you compress that name when it organizes it into athletic order. But for this example, just put in the Mains folder, the top just an example. And then what you can do slept all these again, put it in the example followed up. And then you end up with all your folders that you're going to use in your project. Once you've done that, let's get back. So this is the preparing clips lesson this well, so we've now structured the folders on the dust stop. We've set set afford a structure in Premiere Pro and now would like to import some clips into Premiere Pro. The first way you can do that is by going up to your footage, Father, you've now created double click on that impressed command, and I and that would be import. You go to your selective hard drive, find the clips so I know exactly where they are because I've organized, done slept the clips you want to import, impress import. And there they are. And, as you can say, but close up down is nice and neat Store in here. Where's the footage? There is brilliant. Okay, Another waken to it is you can go to your find on your computer. I've already gone to the path where they are off seasonal organized again. You could get your files and you could just drug them into your bed. Now do the same thing as we did before. Brilliant. So you've now got are clips in the in the right bed, in the right place 3. Prepare your Clips: in this lesson. I was she how to prepare your clips and organized them on the timeline. So I like to just number them so they get down in the in the correct order and you can always go back and find things when you need Teoh. So what we're gonna do now is we're gonna import are clips that we've imported into Premier onto the timeline. No, we do by that you can do one at a time or all together one at a time. We just select the clip when you go into a timeline. That's the way that I do it up to undo. Or you can slept all and then drug the clips down Bunch of timeline. That's the way that ideo. Okay, this is good fun part. Could you get to get through all your footage that you've shot and you get you get to organize it and basically pick of white clips that you want to use? Pick the best clips I should say Really? So for this I delete that because I've already got my old project where I've bean through almost selected clips that I wanted to work with and for this just give you an outline. I'm basically producing the show. Real Teoh share case All my work. So you want to just show your best shots your best sequences, your You know everything to the best of your ability. So you want to just go through all your clips on Pick the Best show on what I did for this project? I I used the original final renders for each one because there's such a vast amount of content and so much content to show in this film this process of storytelling, Andi finding the best shots could be could be done in any editing software. We're doing the same thing, but I tend to use Adobe Premiere because I've used it for years and I kind of know inside out. So I find that the best tool for May, But it will work in other software like final cut pro Sony Vegas. You're doing the same thing. You're basically trying to tell a story with your clips. So what I do is I scanned through the clips. Okay. No wonder you start. Okay, So here, that's a nice action. So that's really good. So just cut that. I'll show you how I did it. Just so that's the clip you made along. There's to start the clip. You select it, you get to your raise it all. It's also see on the keyboard. You select that there because that's where you want to stop using that clip. Uh, yeah, Just before gets that scary part, uh, and then drugged up. Why I'm dragging it up is because I will show you how to organize the clips actors. But basically, it's it easier way that I find I saw the clips out of the end, so I drag it up. What you could do is you could copy that clip, so select it with the mouse control and see which is copy. You go to the end of your sequence and control on V, and that is your clip. I like to do all this on the timeline because I feel you get to see the whole aspect and the whole breadth of off the footage that you've got. I just find it really easy to Scown back and forth just to find the right clip. So I'll just show you again here. So it's one of maybe on these in the cloud. So this would be the original clip that you are imported. See, for razor cut their most when they use a bit of that one. For example, it's always nice to have something maybe within your shop. And then we cut there, and then we're gonna do this time is drug it on to the next track like that. And then here. So I wanted to use this clip. I would just go to the start eclipse, See? So it se space bar. Just want to use a bit. Yes, and that shot. See, I'm drunk it up. Okay, So you basically go through all your footage that you've got Andi, this officer, a lot of car stuff because that's what I've been working on the last two years. So, you know, you got all your clips cut and moved on to the other truck. This isn't that clever trick that I learned years ago, but basically select the bit of track. There's nothing on hold down your mouse. Basic slept over all the clips that you just cut. Then you press control and see. Move the cursor head towards the end. Make sure nothing's there. I also like to put a marker towards the end. So I know that anything after this marker is the next stage. Essentially, I then pressed control and V and that separates all your clips after the markka. Now, what you got today is a thing called Ripple delete and that will make all this space. I'll show you all this space in between all the clips, so press in between that gives what you say press delete that brings it back together. You can go ahead and dual this reach, but that's a waste of time. While you need to do is you need to go back up to your Ben right click question. You want to press black for the That's okay. That's the same size as the sequence, that's all fine press. Okay. When you've got this black video drug, Eva onto the layer above to lay its it, you then grab the side of it. When you run your mouths over the end of the clip, it will change symbol. And then what you can do is just drag all this so it is quite big. Okay, Okay. You has had totally alive these a and then drug it to the end. So there's no more clips and then go on, sir, Uh, the empty space drug over again Do men by pressing minds plus on my keyboard you can change on the cable sentence, do you, man grabbed one of the main. What's that Black bar? Move it back down. Make sure that it doesn't move position. Once you've done that, select your black bar just by holding down again. And then this is the magic right click when your mouse and gay to report elite fine oil clips and now next to each other. So essentially you've already got an added there. They're not in the right positions where they want to be, but you've got all your best clips that you want to use. So we know that from all these clips that were being free, these are the best clips that we want to use. It doesn't matter if you look at a clip, you go Not too sure that shot now because you can easily just get that clip drug over. Extend that and then look for another part within that sequence. I like to know along these clips I've selected are the best ones I'm gonna use 4. Editing Techniques & Storytelling: Once we have all the clips, you wouldn't start building this story and needs to be engaging and needs to be fast paced and keep the audience's attention. So those shots that you choose need to be quick. They need to have action in them. They need to show a motion that needs to be a reason why you put them together before we do that. Music is a very important thing because that will determine that you know that the style on the feeling off, your sure ill. So I've picked this dub step track because I want I wanted to share real, to be hard hit in to the point. There's lots of car secrets is everything's fast on, You know, there's a lot of action. So if I picked a slow piece of music, it it just wouldn't get because, um, those shots of very quick So this was the truck, Theo. Good thing would choose in the music First is what a harp You with your pace of editing and I will show you this in the moment. But for example Hey, so you're not buying there on that beat I should say is Ah as it point is a clear edit point, because if you put a clip there drug when along. So these would be able your clips, you really cut. See? So you've already got some kind of edit, but now it's about rearranging the clips to get the best effect. So this clip is now on the beat, So Okay, so you could hear that. It kind of changes there. What you can do, you can select the audio track, impress em. Now I put Marco on the clip when that will help you line them up. Review. You needed to say it ends there. Unfortunately on this clip because I'm using the Renders is it does jump to the next clip. But for this example just moving along. We've got enough, got enough on there to last exception. So say we get your next clip, your drug it That's that. Me that is quite good to gain from a close up to a wide from a close up to why? So you have different types of shots next to each other. It will make it look more engaging. Otherwise, if we had another similar shot to that that's trying to find one. Um, so you're essentially we've had one over the on board too. So we put this one next to that straight away. Alone copy and paste. Kind of that kind of still works, but, you know, it's not the same car, so I wouldn't put that together. So may the wide shot next. And then what you could do with that, we just hard is we could then puts it next to the wide shot because you can see that these two clips are related on if you can jump into the scene, it makes it more engaging for the audience. So this is a separate car, so we don't get to the white shop. You could say there's another beat in the trap. So what we want to do with a mark that and from our drug, The clip for the this is basically what I did with my edit. Um, what's the use next? I went into different front facing onboard. Okay. What? I've done that with views. You put them together but can see what I've done is that I've basically showed a different perspective. You so going from outside to inside and then like a transition into another scene by using a different shop. So you know there's to relate it than that. One pointing forwards was like, Okay, we're different and it makes the audience jump to the next scene about knowing really? So let's just let's just play that and there's absent there. We've got some nice engine noise. I just pressed mute on the music trap. You can hear that nice if engine noise, which we we use later as well, actually, so we're just bring it down on the levels for the moment. Okay, let's add in some sound effects which these air not sound effects, but you can call themselves effects if they're captured within the scene as well. But I usually call sound effects something like put on afterwards. But we've already got some sound from the clip here, which is good, and that so all we've done that just makes the edited to the beat. And already that looks decent. Okay, quickly. Samples show you that if we didn't edit to the beat, uh, that's just move forwards. Mr. Be there. We missed a beat. Their play that see the difference. It just doesn't work for May. Just looks out Sink on 2 may actually distracts May. And I hate when people do this because just my opinion, I don't think is the right way. Everything should be banged on. The beaks is nice and neat. Andi, you're taking the audience to the next section. Revolt them, even though in. So let's just go back to the original project that I produce on my show. You why? I use particular shots. So it's just player, and I'll stop it when I when I can show you that I started here with a nice wide shot and is a chip shots of this one's moving. So every shot. I want to have some kind of movement, whether it's the cars moving, the people moving or some kind of action. Because if you got action, it makes the clip mawr engaging. Okay, so you see every shop that's moving there. Mr. Missed the beat there events started up. Needs to be on. I'm just gonna turn the music off the mountain. Just shake it. So, on this example, um, you might have seen the clip jumps and that the member you can see that is not lined up, probably. I'll tell you why later. But the clip this could jumps so usually think. Oh, that's a never But why did here, right? Put the music back on. It jumps to the beat. So adds another effect every day. Theo thing and then buying us as the beat goes bang have done the same with this step. So the normal clip size for that, I think, was 100. And I did zoom in a little bit more 138 runs on the court in your footage of you can get away. If you don't want to zoom in too much on on clips, you can't shoot four k V then produce 10 80. So you've got you know, you've got more scope to zoom in, but on this example, we get away with it so quick. But let me show you again. By cutting into the original shop, you can make a cut look, engage in the values in a different clip. I've done the same here because it's dub step dubstep. Suppose obviously quite heavy, quite fast. Um, well, quite brutal. So I wanted the shots to kind of show that so it's just one more time so these three sexual . It's probably for 1234 These four sections have all got in cuts on the original cup. They're zooming cuts, so just watch. So by adding like those type of cuts makes it more engaging. I'll show you just example where I take them out. So take all the jump cuts out. I call them Jump Cuts. Jumper. That was No, neither. No reason the, uh, I would be in the final project. Okay, so we watch it one last time without the jump cuts. It still works, but if you want to add another layer on and make it more engage in, jump in to your shots. 5. Video Effects and Transitions: Okay. We've now all the clips in order to make a story. So all the clips tell a story as you can see, what we've done in this section just ah, make video look even better is we've added some transition effects and some light leaks. I will show you bay from one moment, but before I do just want to take you back. Teoh this clip here. So building a story here. You've got multiple shots, Um, off the same subject Always. That's good officer putting together because that's a mini story in itself. But on this clip, I just wanted to show you You can tell me what's different about this one. Let me just take that effect off one moment, selecting an impressive enable. What I've done on this trip for the effects is I've actually zooming out. So I was talking about movement full. There's a lot of movement already going on, but I always like French people maven by chanting that may I copy that? But at the end, take police Also, you can mean anything from a click right click Andi Dio to remain attributes I just want to remain, um, the motion on this so slept that. Okay, so this is the original clip, which is great, but I want to add a bit more movement. So by adding that zoom, it engages diligence even more. I'll just press undo You see the difference thieves Any it If there's any time you feel that the clip hasn't got enough, you can always add a slight zoom or position key frame to, um, push the clip along and just give it more. I think just give it more was the right thing. Are these? I don't think I did. I did anything to because there's so much action going off, it didn't need it. Don't do it all the time because it could get annoying. OK, the next thing his video overlays. So I've used these fight five D leaks. I've handful, many years, actually, and what they dio, they were just turn the music off. They will help, uh, on a vallee effect to your film. As you can see that that one more time. Some camel. That's me. Not Okay. So that was with this is without just turning it off on the side. These little eyes Have you turned on enough it totals it on enough us off. This is all. Yeah, It just adds a subtle little grade. Essentially is not a great, but that's like an effect. It will affect your grade. So be careful of using these. But in the intro sequence of the show have used them three times, so don't use them all the time. So if you feel that it goes with the music, put one there. I've done that one. So it goes on the beat. So it kind of adds even more impact to that shop. Teoh, if you remember what we've done here, is that also effect. I'll show you a moment on there as well. I've also added one here, so it kind of helps with the transition. Just can turn this over effect up, just house the transition from one shot to the other. On these open the put them is light and see what you got. Different blend mates. That's your normal one. That's too strong for May. Overlays, overlays Good. Only trouble with favor laser will really affect your grades. And the colors change too much of may. So I always put enlighten Andi, I take it around about 55% with it back up to 100 she could see. That's just said they It looks too obvious if you got stuff that looks too obvious, Aziz A viewer as I'm watching this now, that distracts May. You don't want it to distract the audience. You want to add an effect, but they don't know they've seen it in the way. So let's put it back down to 55. Let's watch it again. Yeah, it's settle. Such a little elements like that would make your videos stand up from the others. Because when someone goes back and analyzes it, they will see the different layers of being used. They might not know they're seeing that, but they will get a much better experience from your film compared to not doing, I believe so. Now we've got away for lays in place. We would like to use transitions, so transitions are good in the bath thing. In my opinion, uh, the babys transitions. I just go to them and show you. So for the transitions, you know, you can buy lots of different plug ins, which is quite good. This is the cross dissolve. You can just basically drag it in between two clips I slept. How long you want it to be on full? She transition to unite on the transition that we just show you a different one. Uh, say like a zoom. In my opinion, these air very cheap, so I wouldn't use them. So what you can do, you can buy third party transitions. Ah, these are the ones that I've got. And I would never usually use a flare, but because it's a show, well, I want it to be kind of Ah, glossy, shiny. I just wanted to look nice. So by agin these transitions, it takes the viewer to the next shot or scene in the more of a creative way. So this would not just use the flat light leaks. Okay, let's put the music back on. As you can see, that's more engaging because I've done it to the beat. But by adding it to the B out another dimension to that part of the film. Let me search the music off show you does. It could be with if you put the meat it back off because it goes bang to the B, it makes more sense and looks more engaging, small, effective. That's more effective. That's the word I was looking for. Okay, I show you a different one here. You can buy a lot of the third these third party transitions. But you've got to be careful where and how you use them. Because if you overuse them gets irritated on, the viewer will switch off. Um, this is another one here, systems perspective one. Let's switch music off. So what I've done there because I've wanted to jump from a century this year, their car to a different gether car in more creative way. So if I turn this transition off, that still works. But this makes it that more engaging because it cases music. So that's released. Just strip this one down. So that's the sound for the fact, because you do get it depends on what pack you get. You do get sound effects with the meds. Relish, really Do help me. Such a fete off, uh, sound effects off. Oh, the car. And then that's just watch it music for everything off part from the official. You hear that one and then, but adding the layers of effects that put the transition effect back on. Look at the audio sound effect back on. Put the music back on on and the sound of fat, which is obviously the audio from the car back on. Look at the difference already. It just looks so much better. Okay? And finally I used one mawr, which is on the beat against. There's another good example of using these effects to go with the beat of the music. You can use them without the music, but if it doesn't make sense, view, get annoyed and distracted and possibly switch off. So it needs to flow with the music and the shots. So this one I used kind of zoom in optic effectiveness goes onto the beat, I'll show you. So that goes with the beat again. I'll quickly shape but moving the Eva. We're missing the beat. The difference. It doesn't make sense. It still works. I'm not saying it doesn't work. It doesn't make sense. So let's just made it back to the beat. Okay, so just around upon this one, use light leaks just out a little bit more of ah flair to your video and so nervous. Don't overuse them. These video transitions to take the viewer from one scene to another, effectively on toe. Also use them. Teoh. Add a little bit more impact Teoh different parts of your film. But just remember, don't overuse them. I've used a few on on this particular film because it's a share really wanted to be. I wanted to have the impact in for it to be fast. Engage in to the point, really. But if this was a slower interview or car with you or something, I wouldn't really use them as much because it does start getting distracted. 6. Sound Effects & Music: but I didn't sound effects. The video would give it more depth. So, for example, on this one where we've got the car skidding around with added the sound effects of the costs getting around. If we didn't have that, I believe the original clip. We didn't have good audio on that. So have used a different one. So this is a sound effect. So if I switch it off, you see the difference. Just what she's sound effects of the transitions off just to show you cascading around. That's good. That's at the sound effect, a muted that's telling the audience that car skidding they can see this kiddin. But by adding another sound effect, it reinforces the point skidding on. Then with the music, you can see that levels of people. So this is samples Teoh to college and get red. There's no peeking. This'll music's quite a loud as a truck itself. So on different tracks, you may find that you be able to hear the sound effect a little bit more than others. Thes. Same thing here, can't hear as much. Nice turn the music down. Yeah, it's there. And then back to these transition effects Like I said before, they come of a sound fact. I was sure. You know, if you press s that will. So the track Okay, that's the type of effect that goes with this visual on. These really do help. You won't always get them in the transition packs of you. If you do buy them. If you don't, it's worth. Get in some on matching them, marrying them up with the transitions because they really do help the effect. If I take it off so and tree it altogether, outs another layer. And it's all about Adam or more layers, which gives your film or depth so like before by adding the overlays by adding the video transitions by adding the movements within the shop. And then now the sound effects with the actual footage and then the sound effects of the transitions, all of them together make the film just more interesting to watch. If you see a fireworks going off, you want to hear it. Try and marry audio up video because it's just more. It is better to watch people. People want to see what they're here, and they want to hear what they say. So same again here. This is a lie. Sound clips over the on there. Uh, this didn't that didn't need one. I think on this occasion I took the sound effect off this transition because it's already on the beat. So it didn't need it because that's the other problem of you. Have you put too many layers on in one particular part? It does become too much. So you just need to try it and just see and play it back. Doesn't need it. That one didn't. And there you gay. It's got a nice little film effect on this road will show you that wouldn't say that they always have to use them. Eso is up to you in this style that you want to do. But because this is a show, you again it needs to be hard impact and hitting. It needs to be grab people's attention. So I wanted to kind of, you know, put all the bells and whistles on this video to a neighbor that to be the best. That's why I used so many different effects on this one. Let me just play one last time for you. That's a great ending. One It's a great example so that I've put like a walk one on here, which kind of we listen to it. But South it's weight, but it takes the viewer to a different level. So let me meet it and show you difference. That's affect still nice, but differences insane, really, really just help. Transitions were going. One seem to the other. If you watch a lot of stuff on TV and on day in films, especially ones with a lot of impact within the within the film and you listen to it closer . You are here sound effects that takes you from one scene to another. Use them, but don't overuse, Um 7. Colour Grading techniques: This is a very big topic on I'm not going to go into too much detail on this lesson because I will probably revisit it at a later time because there's so much to say about it. But I won't give you a couple off tips that I do. Dio, for example, on this project officer because we use and final renders the great is already being done on them. So I'll show you example if you go to the color panel, um, you go a little the, um, different drop down menus. Like I said, I won't go into too much detail, so I just keep to the basic correction and creative ones for today. Uh, but here you could just see that when you drag the bar one way or the other to change the temperature changes the look of the film. So why add in a little touches like that can give you the in effect that you want. It's down to personal opinion. You can get different lutz, so look up tables for premier proceed. You can buy them. You can download them from free from certain sites as well, but that will put like a standard kind of grade on it. Um, but we just keep it. It's none for today. But just to make sure just to show you quickly on this clip, it doesn't need anything doing to it because it's already done. But just by adding a bit more black takes a contrast all right exposure to bring out the exposure she had gone along. The controls that you need in this box here within premiere pray to give the lip the you want, Uh, but what I do from our show you quickly on this clip that we use is our sample clip, for this is a shot relatively flap from other Campbell. What that means is there's not a lot off saturation or color hook within the file. When it's recorded on the cameras is short, nothing could log. I don't know what stages when was that? Basically, that means it gives you the best dynamic arrange for when you're editing, Say, you've got more leeway on what you can do with the with the actual clip. But this one is relatively flat, so I'll show you just really, really quickly what you can do just toe to make this look a little bit better product into full quality. Just Teoh. I went to the best. Okay, so that's the clip. So I just dio real quick grade essentially. So you can do a thing by President Auto, and that will give you, ah, rough kind of level that what the computer thinks it should be out, And that's always a good way to start, I say, because, um, computers sometimes know best, and then we make things better. So for this image, I want to be quite impact. I'm a lot of impact, say, and they bring the shutters down, contrast up and it's making really mean and then must take a bit of color away and see what that does. That's quite nice. Every change in temperature and it's already gotten looking nice. That's great. Um, and then what you can do so you don't want to do that because you want to go bit further. You click off the basic correction. Those backs normal if you get too creative. Um, in premier, they've got a lot off looks you can use, and you can also just by someone at the Minto Premiere Pro as well. So let me click on the 1st 1 So if you don't want to spend too much time doing your own great, this is a good way to get a nice look quicker. And then you could go through the different looks on this panel that preys. You double click on this panel, you saying on the and your final image you know, that was getting similar to the type of look I was going through with the basic correction . Yeah, that's nice. Say you can quickly make great in Premiere Pro, and that's the thing I do love about it. Um, you could just spend time of fine in each clip all the time. So it's just a quick tips on how to other Great. But what I did on on this video was that I I wanted an overall look on. When you're used in so many different clips, it's hard to great them all the same because they've got different lighting conditions in them that, for example, this one's in car, so there's a lot darker you've got This one was outside, so it is brighter, and you do have to g o onto each clip on. Um, not if I and grade each one of you wanted to look the best. What I did for this production is I've done an overall look in great. And how I did that was like this. I went up to my panel and I right, clicked. I put new item when I added adjustment layer press. Okay. Adjustment There comes there, click on it and just put grade. Okay, Drunk that adjustment layer onto your timeline and drunk it ever old clips. Okay. What? This will dio I show you a simple example, so I won't look ineffective. Vignettes. You go down to your color panel wanted vignette. And as you say on me from these bars, Eva, it will add a black around the edges a lot. You can, I'll say, just done toe everything. You can go in. So let me turn that off. You can't go in, do it to each clip. And then you can also copy that It's the press copy onto the next clip on like that. Hey, such views and go to a fete color for us. Okay. And that's then added to that place. But that means you would have to do it total the clips on the amend them differently. You can also slept all clips and do the same. I find the quickest and easiest way won't do that is to just do it on Adjustment Layer to say that you had a lot of shots that were shot with the same light in, um, this effect would be even better because you know that the output will look the same. Each of these clips I've used in my show have different lighting conditions, so it is a little bit more difficult. But on this one again, you could just add about your basic correction. Just add it to make it look a bit warmer to change color temperature. Um, by switching it back home, be able to say it the I every day. So this is what it waas just by adding to it, or ultimately adds a different feel to You fell, but it's done it on all of it to the vignettes was far too much for the taper off now himself. I said it's too much because you can see it. This one was already had quite a warm grate on it. So this this over adjustment layer wouldn't work. You take it round, norms it over the other owns, looked on it and then that's just too much So what you can do? So you wanted it on. All the other clips were not on that particular one. You can just go up to the layer. Just switch off the music. Just get your razor on the it's liked it and delete it. You always not remember that the top of the timeline So anything under it would be affected . And as I've taken that away form on the Nathan now it can get through that Waas. So once you've done your grade and you're happy with that What I did in my video is I added bars to make it up 16 by nine. So give it that film look. So that would nobody had it on the clip on that one doesn't. So if I If I would just keep it how it waas I look, Cilic is like, Why have you got Basel? Not number? No, not one. So what I did is I made some bars and all I did so as you can see now that covers the whole film and it gives it that really film it look. But how I meet them, I will show you. Now you get up to your panel. You right click. You get a new item, you go black video. We've already got one. So we could have used that. But we drive it onto the timeline and then what we do Not too late. The one before just to show you. So it's all black. You can see your classes over it. You can't see anything for gay to your facts panel. Go to crops. Wiping crop drug quote onto your clip. I like that. Go to affect controls. Go to quote go to top in 85 was you can say at the bottom. That's now How did the bar And then you could just it to How much you want. So you do that. I don't copy. Uh huh. A step drunk it next to it. And that would be exactly the same as that one. So what you want to do on this one is go up to bottom and talk in 85 0 into top. It was basically just doing the opposite. And then you will see it will out of the bar at the top. So it's a simple way toe out bars. So you're seen and what you can do you want to take it a little bit further, is at a key fray to these, and I'll quickly show you how to do that. So you just click on so the little timer so cool animation, go forward, press the key fight and then you know that's where the bar is. And then we get to the start of fill that zero and then you will get the fact off the bar coming down into place. You've just done a quick animation as well on by Adan Black bars to give it that film effect. 8. Export Settings: So you now have finished your project. You've made a story. You've added the facts. You've added the overlays. You've added a great you've done the sound of facts. You've done the music levels on your happy with the way that is looking is now time to export it and runs. Air it out. So before you do that, I want you to go in check. That'll the layers that you want to be on on so there's no any. There are mute by mistake. Um, so just make sure they will unchecked. So I want you to cater the beginning of the track. Impressed I on your key bulls. So drug cursory over. I could see she has a curse surface. I Yeah, you know that they can also drag it there. Basically, you're in points, but then want you to go to the end. You know, Phil, it's just for this sir particular example who wants it there so you can always play it and let it run out. I just want to say that once you put the black bars on this while you may find that you want to meet your clips to a different position clip, make off some of the image. So what you can do, you can just select the clip. You want to do that to go to your position and then change position. So you've got stuff to still play with Bob from above and below. So for this one, for example, I would want to seem or the bar to the barges in the middle. But that doesn't look right. So if you bring it down, you see a bit more of the car. But you see the barge as well. You see the nice bonnet, So just be careful. If you put the black bars on your not cropping into, it's something you don't want seated. For example, this presenter. So put the bars on and it was like that. That's not gonna work, So just be sure you go and just check each clip is not being clipped on your black bars if your art in your black bars. So get to the end plate to the end, stop it zone, for example. On that clip ends there, you press a for out, you cannot move it back and forth, and I spacey setting you're in and out points. So you telling the computer that when you render that you want it to render formula in point to your outpoint? So, you know, happy with everything you've done your levels, you've done your grade, you've done your sound effects. You've added your bars. You checked, they're not being flipped. You are good to go. So then we go to file an export on you go to media, and then you you get this window. So this is the encoding window. You can do two things here just very briefly. You can cure it, which will then send it to the encoder. So you say you've got multiple clips that you just want to leave to encode when you go out or you can do it one at a time using this procedure, which would just be the normal export. So what I do for online, depending where you're gonna up played it, too? Uh, I have found the bit rate off 20 megabytes is pretty decent for quality. First, his file size. And then, as you can see here, when you're changing your file size that we go to the video section of the panel, make sure it's much sore seem, you gotta make sure that what you're in case in there is the same size as your sequence size. You get down to bit rate settings. I've always found that during v b r To pass is the best way for May. But then you can, For example, if you say all that that fall size is just too big for the out that you're putting it on, you can just press in like 10. Just change it to 10 and then it it reduces your file size. So you need to do if you test in yourselves to find out quality versus file size. But, for example, if you make it too low, which is great for file size, but the quality with that rubbish that's not good. You have it too high to say 50 the files too big for for the duration off the clip. So you just need to come to a good balance off what works for you. But as I've said, I've done 20 for a long time now, and I find that's the best in between. Really, check your Jews on so you want to export video and audio. Um, here, you can choose your different kind of formats you want export to, but I'm gonna just stick to hate to 64 to get up online. For the moment, I won't go into too much detail. Um, so you slept back? You can make presets. Eso say we've amended one here. You can then just press there and you save the preset and you can use that again and again once you're happy. Of all that is just a case of press and export on your video is good to go and it's completed. So what should videos? And Caden is rendered out. It's done. It's ready to be a played it. Allow your hard work is into one file. If you like to see this clip in full, I put the details below. You can check out my website where you can see it in its full length. I hope you really enjoy these lessons. Will be doing more classes on a variety of different subjects from shoot in two mawr editing on different types of other 10. I don't only do automative content. I do a lot of other different subjects, so I will dive deeper into them. Andi. I will also cover different elements off a premiere on the way that I use it. So I hope you've really enjoyed it on. I'll see you see? 9. Now it's your turn to produce a 20 second video: Now you have all the tips and techniques of how to make a show. Well, I am going to supply you with a beer. Okay. Which has a sports car on some sound effects. There's a mixture of different shots within this clip from fun back. Okay, steps of the well off the badge, drivin shots. That's why there's onboard shots. I've also supplied you with some sound effects. Three different ones. I would now like you to go through the clips, try out everything, even love. I make a story using a tract of your choice. Remember, add it to the beat. Put the clips in order to make the most engaging story just like this. Let the shocks use them along. Use everything off, shown you to make your own 20 seconds or so Sheryl off this car. So find a piece of music you like. The clip I've also supplied is relatively flat, so this will give you a chance to try out the color. Great in section, remember, Click on the image press Auto gives your rough great and then amended using these are different levels here. Okay, that was brilliant. Contest it. And if you really want to. You can attempt to add the buyers as well. Black for the remember drug over, search for crop in the effects. Drag it onto the black for the air. Go to affect controls Top 85 that say. Then we've got one of the black bars, and then you do the same for the top. And just remember to move it, you know? So it's in the correct position in the frame. I can't wait to see what you guys can produce. Good luck.