Adobe Premiere Pro 2022: The comprehensive A-Z course | Peter Lakenbrink | Skillshare
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Adobe Premiere Pro 2022: The comprehensive A-Z course

teacher avatar Peter Lakenbrink, Content Creation is my passion!

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Premiere Pro Course Preview

      1:03

    • 2.

      Download, Prices & Installation

      2:17

    • 3.

      Initial opening & Presettings

      6:41

    • 4.

      Kick-off tutorial

      19:43

    • 5.

      Project Media, Tabs & Workflow

      11:19

    • 6.

      Pre-editing area

      5:17

    • 7.

      Timeline, Source Patching, Destination Guidance, etc.

      12:25

    • 8.

      Nesting, Alignment & Linked Clips

      6:27

    • 9.

      Tools

      13:47

    • 10.

      Synching with music / audio track

      9:57

    • 11.

      Video Transitions

      8:50

    • 12.

      Basic Color Editing and Adjustment Layers

      9:59

    • 13.

      Addition regarding Adjustment Layers

      8:24

    • 14.

      Text and shape options

      11:54

    • 15.

      Advanced text animation

      9:11

    • 16.

      Create and export an animation preset

      3:50

    • 17.

      Envato Elements & import of Essential Graphics and LUTs

      8:41

    • 18.

      Export image file

      5:02

    • 19.

      Export video file: MP4

      7:06

    • 20.

      Export video file: MOV

      4:21

    • 21.

      Export video file: Adobe Media Encoder

      3:29

    • 22.

      What we're up to: Instagram Travel Reel

      2:44

    • 23.

      Digression: Sync Instagram Reels with licensed music in Premiere Pro

      7:51

    • 24.

      Turn your own words into a Trailer Voice and save your own audio presets

      12:39

    • 25.

      Save your own layout / workspace for upright videos

      3:22

    • 26.

      General preliminary work with scale and color correction for the Instagram Reel

      10:46

    • 27.

      Arrangement of clips Part 1: Mask & the Track Matte effect

      12:16

    • 28.

      Time Remapping / Speed Ramping explained

      13:23

    • 29.

      Arrangement of clips Part 2: Time Remapping transition

      9:12

    • 30.

      Arrangement of clips Part 3: Advanced color editing of subareas

      10:48

    • 31.

      Arrangement of clips Part 4: Final edits

      9:49

    • 32.

      EXTRA: Clip repository

      3:01

    • 33.

      EXTRA: Quick sync to music

      5:53

    • 34.

      Image stabilization of shaky footage

      5:32

    • 35.

      Object tracking

      16:13

    • 36.

      What we plan to do: Youtube Sports Intro

      1:48

    • 37.

      Nests as a superordinate arrangement of clips

      12:19

    • 38.

      Individual coloring and new effects

      9:00

    • 39.

      Overlays for even more dynamic

      7:53

    • 40.

      Connect to After Effects with Dynamic Link

      10:39

    • 41.

      Create own text effect, offset and echo

      16:06

    • 42.

      EXTRA: The Master Tab and Master Effects

      3:24

    • 43.

      Thank you

      0:41

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About This Class

Are you interested in video editing and want to be able to create professional productions for social media, TV, and more? Then there's no getting around the industry standard Adobe Premiere Pro.

Of course, in a basic section, you'll learn about the user interface, workspaces, preferences and tools. I'll also show you how to create exceptional text, animate your elements with keyframes, how masks and green screen can lead to even better videos and how highly professional color edits can take your sequences to the next level.

Throughout the course, we'll use fascinating project examples that encourage you to get involved and reinforce the knowledge you've learned in a practical way. For example, we'll create our own Instagram reel and Youtube intro, stabilize a shaky drone video, turn our own voice into a deep trailer voice, track objects, and much more.

I'll also show you how to link Premiere Pro with other Adobe products like After Effects, how to create your own presets, we'll consider the best render settings for your individual project and we'll go over useful external sources and templates.

For you, there's not only a handout with the most important keyboard shortcuts, but also downloadable video footage that I shot via drone, among other things, for this course to collaborate on.

So this one is a real A-Z masterclass on Premiere Pro!

If you are passionate about video creation and want to learn and understand Adobe Premiere Pro, the most professional and intuitive program available, then this course might be for you. If you are willing to use realistic examples to apply your knowledge to projects in a way that will stick with you, then this course is definitely for you!

I look forward to sharing my enthusiasm for Premiere Pro with you!

Meet Your Teacher

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Peter Lakenbrink

Content Creation is my passion!

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Level: All Levels

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Transcripts

1. Premiere Pro Course Preview: Hi, and welcome to this comprehensive Adobe Premier Pro Course. My name is feature. It has been more than 15 years since I started working with Premier Pro and After Effects. And I'm really looking forward to introducing you to a video. Of course gave you a basic section about the user interface, as well as fundamentally punishing. And two, but maybe we want to learn by creating amazing practical examples, such as our own Instagram or YouTube channel. And thereby, we will get to know masks and year 7 h shape and drone footage. Take a look at color correction and grading and in terms of audio editing, even create a cinematic trailer bias out of our own works. Moreover, we'll consider possibilities to use a service. Effects and presets. Speak about a ligand Premier Pro and After Effects. And you will get hands-on with the most important two more shortcuts, as well as the tonic course resources to actively participate. So let me just ask you What I waiting for start your journey to becoming a premier professional. And I'd say, see you in the course. 2. Download, Prices & Installation: Alright, so let's begin and quickly consider how to download and install Adobe Premier Pro to your PC or laptop. So first of all, here are m, of course, on the website adobe.com. And let's bring up the creativity and design tab and come down to the premiere Pro product page. Now, you could decide earn, start with a free trial, but for now, let's directly hit the Buy Now button. And you'll notice that currently you will be paying $20.99 per month if you just want to choose Premier Pro. And it will be $54.99 if you want to go for the whole Creative Cloud. By the way, this is some euros less than what I'm currently paying in Germany. So maybe I need to consider moving to the US. But no, it still, I can recommend to really use the Creative Cloud because it will give you access to all the programs from Adobe. Meeting that in terms of video editing, you can use Premiere Pro as well as After Effects. But also of course, you have all the other programs included, such as Adobe Illustrator, Adobe Photoshop, and many, many more. Also, there's another Exclusive advantage of the Creative Cloud, which will be you also have access to a software called the Adobe Media Encoder. And this software will allow us to render our files from Premier Pro, but also from after effects on an external program, which will be the Adobe Media Encoder. While we can simultaneously continue our work in Premier Pro, we talk about that later on in the course, but I think really it's a great advantage that you can use when buying the Creative Cloud. Also, there's another great advantage. If you are currently studying or if you are a teacher, and then you will not be paying €54.99 per month. But you'll have a massive discount and will only pay $19.99 per month. Or if you want to pay yearly than it will be $239.88. So all you need to do is choose your program, choose your package that you want to use. Get an account here and sign in and then download the program, follow all the steps to just have the standard installation done. And then in the next video we will see again with Adobe Premiere Pro opened up. 3. Initial opening & Presettings: Alright, so here we are inside Adobe Premiere Pro. And now if you'll open up the program for the first time, it should look quite similar to what you're seeing here. Meaning that will be this window where you can either open some recent projects. Of course, in your case, when you will open up the program for the first time, there will be no recent projects to open up. But what you can also do is just create a new project at any time. Inside this window. Also, you might be asked if you want to follow the tutorial from Adobe and learn the program. But of course then at this point, you can close this one because in this course will follow and do everything from a to Z to really learn and understand the program. By the way, I have one addition regarding the price. I mentioned in the last video, I said that if you are a student or teacher, you'll be paying $19.99, which is correct, but only for the first year. So from the second year onward, what you'll be paying will be ten bucks more, so it will be $29.99 at this moment in time. Just a little addition at this point. And now what I wanna do is I'll open up the welcome project. But you of course, can also open up New Project. And this welcome project was just what I've shown you some videos ago with our cinematic title saying the most epic Premier Pro course. And with my own words, also saying the most epic Premier Pro course of all times. Now, you should see a very similar window right now with the preview area here on the top right, with your sequence or your timeline here at the bottom. Of course, right now, you won't have any sequence opened up and there will be no file. So this area should be empty, but here on the left side that should be your project data. And here you have your effect controls and so on. At least if you have the editing to open up. Now, if it's completely different, what you are seeing right now or how it's arranged, then you might want to open up a window workspaces and set this one back to its standard layout and therefore reset to saved layout. And now it really should be looking just like this. Well, of course, we'll be introducing all the different areas here at the top, the different drop-down menus as well as all the tools later on. But what we can do in this video is speak about some preferences. So let's open up the general preferences by using the Edit drop-down. And then you have your preferences. And let's maybe begin with the general settings. So first of all, you have the option on what you want to see or open up when you start the program. In this case, I'll be showing my home window, which as you've seen is the window where you can open up recent projects or create a new project. But you could also just close that window, are not show that window and directly start with your most recent project. But for now, I'm leaving this with its standard settings, s By the way. I'm also doing with nearly all the other settings. Normally, you can all leave those settings with your standard settings. But nonetheless, let's speak about some different options you have here. First of all, you might want to change the appearance. If you like to work in a brighter area or a brighter color, then you can change your January brightness of this program and make it a lot lighter. But I really like to work with this dark lochia and also I leave the highlight color in this light blue color. But what I have changed in my case is the audio setting, or better said, the audio hardware setting. Because I have different inputs that are possible for me in this case, I might record with the webcam that you are seeing or you are not seeing, but you are seeing me with the webcam firming. So I might use the webcam as my microphone input, but I'd like to change this one to my USB microphone, which I'm currently using to record this course and which generally has the best settings here are the best quality. So therefore I will change this one generally here so that I don't need to make the changes when later on, e.g. recording words such as the most epic Premiere Pro Course. Nonetheless, of course you can change that individually for each word you want to record. But in this case, I want to set this one to my default input. Also, I have the possibility to choose different outputs. In this case, I'll be using just my laptop, but I could also change to the headset, which in this case is not connected. But therefore, if you want to make your changes here to the default input and output, then of course, open up the preferences, choose the audio hardware and make your changes here. Now we can also discuss the autosave function for me, it's a very important function. I'll always have enabled in Premiere Pro and also in After Effects. And I think you're in Premier Pro. It's also enabled by default, meaning that every 15 min your project will be saved, which can really save you some nerves. So I'd really make sure to have this one activated here. And of course you'll have your maximum project aversions of, in this case 20th. So if another version where we created, then the first safe will be overwritten button normally, to be honest, all you need is maybe just one copy of your recent status. Let's continue and maybe come down to the memory settings. And here you can see that I have 16 gb of RAM installed. And I want to save five of those for other applications, meaning 11 gigabyte will be available for use inside of Premiere Pro. You might want to enhance your performance a little bit here by changing those settings. But honestly, again, I have not made any changes for this one, meaning I also left my rendering settings optimized for the performance. So I think that's the most important things we need to discuss here inside this Preferences window. Of course, feel free to just browse through all the different settings here and make your changes individually about one more time. I can only say that normally you can leave everything as it is. Makes sure to have the autosave enabled. Maybe change your input and output hardware. And then we can continue and hit Okay here and see you again in the next video to really kick it off with a little tutorial. 4. Kick-off tutorial: So let's go ahead and start to understand the program, Adobe Premiere Pro. And I want to do so in a little more refreshing way by following along a little tutorial. In this tutorial, we will add our very first effect. We also want to create a little text element. And we will even use some keyframes to create a little animation. Now, before we start doing so, let's first of all create a new and empty project. So we want to choose file new project, or if you're a Windows user, you might also want to choose the shortcut Control Alt N. And if you're a Mac user, you will also find a shortcut to use in science, the PDF file that I added to the course resources. So in this case, let's name this one, maybe kickoff. And I have a special location for all my files that I want to create inside of Premiere Pro. In this case, it's on my external hard drive with the fold up Premiere Pro. So maybe you want to do the same thing to have some more structure. And now let's hit Okay to create this project, which in this case is already existing with the same name, but I can just override that one. And now we are here inside and new and Empty Project. And first of all, we want to close the previous project by right-clicking my welcome project and then close the project. So now we're really inside and new and empty project. And your window might be looking quite similar to what you're seeing right now, especially if you have the editing to select it. So now let's go ahead and import our files from the course resources. So I want to open up my fall it here, the first folder named overview. And I'll grab both of those files and just drag and drop the files to my project files here on the left side of my project. If you have some other tab selected here that makes sure to open up a project and there you can just place your files. Maybe you have another view in this case is the list view, but you can of course also change that to have some more details here. But in either case, both of your files should be placed here in the project files. So what we want to do now is create our first sequence out of the tutorial adult MP4 video file. With this little button here, you can create a new item. If you are not seeing that button, that it might be because you have too little space here for all the little buttons. But if you just make some more space than here, you can find the new item. So we can either just take our tutorial, that MP4 file, and drag it onto that button to create a new sequence out of that fire. Or you could also just right-click this one and then choose New Sequence From Clip. Either way, a new sequence will be created and directly the MP4 file will be placed inside that sequence. And all the data from that file will also be taken to create the sequence, meaning the width and the heat of your file will also determine the data for your sequence. And this is the first thing that we want to change. Now by choosing sequence sequence settings. The clip is created in 1080 by 1080, but we want to work in full HD settings, meaning that we want to change the width to 1,920 and leave the heat as it, as it is. So we are working in 16 to nine with the frame rate selected by, are determined by our original file. So we just hit, Okay, right now, we really want to make sure that we do so hit Okay again. And now of course we have those little black areas here at the left as well as the right side. But they don't really matter because in just a matter of seconds or minutes, we will also get rid of our green screen here so that we only left with the person in the middle. So speaking about our sequence here, the sequence will be named tutorial just as the video that we have chosen to create a sequence from. And as you can see, we have video tracks here, v1, 2.3, and we have audio tracks A1, A2, and A3 here. And of course, this video is created with one video file or one video track, as well as one audio track. And now let's go ahead and listen to the tutorial to see what we're going to do in this video. With this little tutorial, we'd like to get to know the basics of working with Adobe Premiere Pro. Now first of all, we want to replace the green screen with a background image. Then secondly, we want to introduce a welcome text here behind myself. And finally, we want to move myself out of the frame to the right side. Alright, so we have some things to do and let's go ahead and start with the first one, which was to get rid of the green-screen and replace it with a background image. Now, I've already got the background image here. And first of all, we want to take this image and also edits to our sequence. So again, just drag and drop that file, take it and maybe just, just place it here on our second video track. And off course, what you'll notice is that first of all, this track here is laying above the original video files. So therefore, what we are mainly seeing is the image here. First of all, we want to take right end of that image and then enlarge it to match the length of our tutorial MP4 video. Then next we want to take our video and move the video track to V3. So therefore, the, the video will be above our background image. And then we want to select our image and talk about the different options that you see here on the left side. So we are inside the editing tab. And there you will see the effect controls. In this case, we have not added a special effect, but still we have, of course, some options to choose from. And what we want to change, first of all, is the scale of that image. So make sure you have your image selected. And then we want to choose the scale and move it to the right side with your mouse button pressed in order to make sure that the image is really covering the whole area here. So it should be at least about 130, might be more, which doesn't really matter at this point. And now we want to continue and delete or key out our green areas here. So therefore, we need to select our MP4 file. And now we have different options to bring up the effects. Either we could open the Effects tab to have all your effects here on the right side. Or there's another option. We'll stick with the editing tab. Here on the left side, we also have the effects. If you hit this little arrow here, then we'll also can open up the effects from there. And this is the way that I'll normally do it. Just open the effects here on the left side and stick with the editing tab to have a little more space here to work with your timeline. Now this of course, is a video effect and therefore we want to open up that folder, then find our keying folder. And what we want to choose is the so-called ultra key effect. So we'll just take the effect again, use a drag and drop to take it and place it onto our video source. In this case, the MP4 file. And then you can see here on the left side that this ultra key effect has been added to our data. Now, first of all, you can generally activate and deactivate effects by using these little buttons here. So if I take this button, then you'll see that now the effect has been disabled. And if I select the button again that you'll see with the current settings, which are very bad for our purposes, the effect will be activated. Now of course, what we want to do is change the settings so that the green screen will be replaced with our background image. So first of all, of course, we want to change the color. So we will choose this picker tool here and then select our green areas, which in this case seem to be orange. I think that's because of the little yellow circle you are seeing here to help you follow my mouse. So therefore, let me just deactivate this mouse highlight for just a second. And again, use the picker tool. And now really fight the green area here. And you'll already notice that the effect is starting to work. So we have some areas here where we can already see our background image. But in general, we need to make some more adjustments here to further enhance the image. Let's open up the generation here. And then first of all, maybe change the highlight here. But you'll notice that basically this will only make our effect a little worse. So we'll just turn that one down to zero and then let's choose the shadow settings. Also just browse through that setting and see the changes will affect our image. And maybe you want to make this one about 40 for now. Then let's open up the tolerance here. And this will basically just changed the color off my face are also, let's set that one to zero. And then the pedestal. Also play around with that one and make it maybe, let's say 50. And then what we also need to open up will be the cleanup of these off the mat we just created. So therefore, open up that one, maybe bring up a little softer and then also increase the contrast here. And now I think it will start to look quite nice. And we started to create this nice keying effect here, which maybe can be a little bit enhanced here on the shoulder areas. I think for our purposes, it should be fine. Maybe let's just again play around with the shadow here. And also with the pedestal. But I think it should be fine like this. And we have the first step of this tutorial done. So again, let's just listen to what we are saying inside this video. To have our next step. With this little tutorial, we'd like to get to know the basics of working with Adobe Premiere Pro. Now first of all, we want to replace the green screen with a background image. Alright, we have done so. Then secondly, we want to introduce a welcome text here behind myself. Alright, so this will be the next step. Let's introduce a welcome texts with our editing tab selected here at the bottom you will find different tools and e.g. we can also choose the text tool. Also there will be a graphics tab. We'll talk about that later on. But for now let's just start very basic and just select this Type Tool. And then we just want to click anywhere here in the preview area to start and create our very first text. And I mentioned to write a welcome text. So that's what I'll start to do. And then just finish this text by choosing the selection tool or using the shortcut V. So here we have our text inside the preview area and there we can also just take the text by leaving the left mouse button pressed to move the text, or just go to the corner to make the text larger. And in general, we have some of those texts options here, available directly inside the preview area. And you can also just modify those texts options here on the left side inside the Effect Controls. Bring up the text options here. Or you might do so by opening up the graphics tab and then opening the edit tab here and there you'll find all the different options here on the right side. Don't worry, we'll talk about that later on, more in detail. But what I wanna do for now is just align the text horizontally to bring it into the center. And then I think for the heat, it should be fine like this. We could also of course, align it vertically, but for now, as already mentioned, I want to move it here sort of above my head. And that's basically it right now for the general text settings. Let's get back to the editing tab. And of course, what you'll notice right now is that the text has been placed before myself talking and of course also before the background image. And this is because here what you can see is that on the v4, the fourth video track is whether texts has been placed. So first of all, let's just move this element. If I move it here more and more to the left side, then you will see of course, that the text will be invisible because at the current moment in time, that takes has already been entered. So first of all, let's take the right end of the text again, move it to the end of the video. And then let's listen again. When I'll say that I want to introduce a welcome texts and let the text begins at that very moment in time, working with Adobe Premiere Pro. Now first of all, we want to replace the green screen with a background image. Then secondly, we want to introduce a welcome. So basically that's where I'm saying welcome. Here you can see in the audio that it should be at this moment that I'm saying welcome. So let's just take the left end of this text and move it to this moment and then maybe just listen again from this point. Then secondly, we want to introduce a welcome texts to your behind myself. Okay, looking good so far in terms of the moment of introduction. But now of course, what we need to do is change the layers here. So first of all, let's move down our background layer and then just take the welcome layer, the welcome texts element, and move it to V2 to be placed really below our video file and above our texture. Of course. Now you can see the text really behind myself. And again, we can just take that text selected. Of course, we will still have all the options available here. But what we want to do is just place it behind myself. So this is the second step that we've also now already done. And let this again, we have one more step that we need to follow through in this tutorial. Then secondly, we want to introduce and welcome texts to your behind myself. And finally we want to move myself out of the frame to the right side. Okay, one more step to go. As already mentioned, we want to move myself out of the frame to the right side, and we will do so by changing the position data of this MP4 file here. So you've already seen that inside the motion settings, we can e.g. change the scale as done with our background texture. But also we have some position data. In this case, we have an x value and a y value. The x value will determine the position on the x-axis and the y value, of course, will determine the position here on the y-axis. Now we want to select our MP4 file and then change the position here over time. So first of all, at this moment maybe let's just listen one more time when we might start the movement of the frame to the right side. Maybe just here out of the frame to the right side. So this would be to the right side. And let's just start the movement at this moment in time. So here we have the position as I've already said. And if we change the x value than what you will see that is that I'll be moving to the left or the right side. Now we want to bring it back to the standard value, which will be half of the general width. So therefore we will be directly in the middle, 940. Let's just hit this little stopwatch here. Now what this will do is create a keyframe to save the data from this position value at this moment in time. And if we move forward now to the end of this video here, or maybe just one frame backwards will also change the position value to the right side so that I'll be leaving the image. Then another key frame will be added with this x value here to save the current state here inside this keyframe. Now, anything before the first keyframe will be at 940. Anything behind or later on in time after the last keyframe will be at that value and anything in-between will be transferred linearly, 940-2250. So therefore, movement will be added by using the stopwatch here. So with a stopwatch, you are able to add animations and create keyframes and thereby change any value or animate any value you'd like. Of course, we can also animate the scale or rotation or any other of those values like e.g. the opacity to create maybe a transition at the end. But what we want to do for now in this tutorial, just to animate the position. So I think now we have followed all the steps necessary that I mentioned here in this tutorial. And therefore, let's just play this video one more time. With this little tutorial, we'd like to get to know the basics of working with Adobe Premiere Pro. Now first of all, we want to replace the green screen with a background image. Then secondly, we want to introduce a welcome texts here behind myself. And finally we want to move myself out of the frame to the right side. So that's it for this tutorial. You might have noticed that the green-screen has not been keyed out perfectly, but I think perfectly enough for our purposes at this state of the course. Of course, if you are working with a green screen, then you might need to adjust those settings a little bit more in detail. But as I've already mentioned, right now, it was about getting to know our very first effect. And we'll talk about all the things that we've done later on in the course and more in detail. So e.g. of course, we have many, many different options to animate our texts in general, we can also play around with those keyframes and e.g. change the general movement to not make them move linear, but just play around, open up a graph and just change the graph for the general movement of those keyframes. But as already mentioned, all those contents will be covered later on in the course. For now, we have finished our tutorial and we can continue introducing the different windows and the different tools here inside Premiere Pro and will do so in the next video. 5. Project Media, Tabs & Workflow: With regards to our little basic tutorial, we want to continue and discuss some more areas here inside Premiere Pro. Now first of all, I want to quickly speak about the project data here on the lower left side and then also discuss the different types here at the top, as well as the areas here right below. So first of all, of course, you already know that here inside our project files is where all the important media will be placed. So first of all, we have our background texture image file, and then of course also the tutorial MP4 video file. And what you can also see here is Tutorial sequence. So basically all that we've created here inside the timeline will also be placed here and then can also be imported e.g. to another sequence, just like we have imported the video file tutorial dot mp4. So if you're working with a very, very big project consisting of many different sequences with one main sequence. Then you can e.g. import the whole tutorial sequence just by drag dropping this sequence into the main sequence the same way that we have imported the tutorial MP4 video to this sequence here. And also all those different file types will be added with a different color here to give you a little bit better overview. So e.g. any image file will be marked in pink or purple, or any video file will be marked in blue or any sequence will be marked in green. If you want, you can change the colors by opening up the project preferences. Again, like you've seen in the last video. And also you can make the changes there if you open up the so-called labels tab. Now, continuing what we can also do as a renaming any file that we want by marking this file. And either just click in here or by hitting the enter button. And then e.g. we could change this one to be G image. Then closing this process, but again hitting the Enter button or by just pressing our left mouse button ending anywhere here besides the file that we want to rename. Secondly, what you can also see here, if you have opened up the list view are a lot of details, especially about any video file like e.g. here we have the frame rate, media, start media, and the whole duration as well as in or out point. We'll speak about those points later on. And you can see, as already mentioned, a lot of different details like also the aspect ratio and so on. And basically because we have created the whole tutorial sequence out of this MP4 file. This is why all the different data be the same for the sequence S for their video file itself. You can change this view to the icon view to see a little bit better on what's going on inside those files, or also change it to the free form view. But for now, we'll leave it with the so-called list view. Also, you can use the search bar here if you have a lot of different files imported to just shrink what you want to use and just type it. So like e.g. here, the tutorial files. So we have our sequence as well as our video, but I think that's self-explanatory. How to use this search bar? What we wanna do now is introduce a folder to give it a little more structure. And you could either do so by right-clicking into this area and choose new bin. Or what we can also do if I mark this and delete it for now is use this little button here right beside the new item button that we've already seen to also create a new bin. And what we wanna do is name this one, maybe zero-one overview. Hit Enter again, and then choose the tutorial as well as the MP4 file. By the way, you can choose several files by using the Control button and then selecting the second one, or e.g. this one here. And what we wanna do now is take our media, so the MP4 video as well as the background image. And then just take those files and place them into our overview been, which we then want to close to have a little bit of better overview here on what we are currently working on. Now. That's it basically for this area here. And now let's continue with the different tabs here at the top. So first of all, the firewall, you already know from a lot of different software programs is basically all the standard settings, like e.g. saving your project with the shortcut Control S. We will do so many times when working on our course. When you have created a new project and want to save it for the first time, then you want to choose a name to save. So therefore you have the Save As option. And you can also of course create a new project anytime by using the shortcut Control N, or just opening up this area here, you can create or open a project and you can also of course, open region recent projects you are working on. Later on we will talk about the different export options when we finally want to say e.g. a. Video to our laptop or PC. We can of course, import different files by opening up, especially wind or here using the shortcut Control, I. But of course, as I've already shown to you, what we normally do, well, we want to import files is just drag drop those files directly to our product project media. Then here you can also open up the project settings and change some general settings. But for now, we don't need to consider this in any more detail. So let's continue with the editing tab. And here you will find some basic options. You can also see in many other programs like e.g. undo your last step with the shortcut Control Z or redo your last step with control shift and that. And that's basically all you need to know here inside the editing tab. We've already spoken about the different preferences, like e.g. here, the label, that's where you can change any color you'd like here for the preview area. Now, for all the different other tabs here, we don't need to go into too much detail. You have already seen how to change e.g. sequence settings, which now is disabled because we're not working or we haven't activated the timeline here. If we now have activated our tutorial sequence, then we can of course open up our sequence settings and make changes there. That's basically all we need to discuss at this point in time. Also for democracy, e.g. we have some shortcuts to create a mark and mark out, but we'll speak about those in details later on in one of the upcoming videos. Also, that's the very same for the graphics as well as view and window taps. The Help tab we don't need at all. Maybe we can speak about the Window tab very quickly. You have already seen that e.g. here, you can go back to your saved layout here with the reset to save layout also, we can save a new workspace here. That's what we'll also cover later on in the course when we especially want to consider on working with upright videos like e.g. when we are creating an Instagram real, then we might change the view to, yeah, get the perfect view or the perfect work area to really work on an upright video. But as I mentioned, we'll talk about that later on. You can also individually take anything you want to see inside Adobe Premier Pro, like right now, of course, what we want to see is our effect, Effect and Effect Controls and many, many more. But if you feel you are missing here for one single tab, then you can just take that tap in any individual choice. So that's basically it for the top area. As already mentioned, we don't need to go into too much detail here. And here you'll see we are currently inside the editing tab. And that's For sure, the tab that you'll spend the most time on, because you can do anything inside this tab. I've already shown to you that we could apply effects by opening up here the Effects tab and see all our different effects here on the right side. But this will have the result that will lose some space here for our timelines. So basically, I'll do this when opening up the editing tab and just open up our effects here by choosing this little error here and then applying our effects directly on the lower left side. Also, we don't need to consider the learning area as will do so with this course, you'll learn everything you need to know on Premiere Pro from a to Z. And then we have our assembly area. This basically is just the project area with a little more space. We also consider that one later on. This is where we can make some changes before e.g. importing media to our sequences. The editing tab, you already know, and then we have the color tab. This is just basically specializing on the Lumetri color effect. So basically, this is just an effect. You could also apply the Lumetri color directly in the editing or effects tab and then change all you need to know here on the left side. But this one is really specializing on giving you the best overview for any color changes you want to make. And we'll also discuss that one in detail later on. The same applies for the Audio tab. We will speak about that one when we want to change our very own voice to the trailer voice. So here you can make all your audio changes, like e.g. giving your voice a preset and choosing the dialogue preset for that one. Or you might want to change a music and make that one even better sounding with changing to the music tab. But about that later on in detail and many, many more facts. Here we have the graphics tab, which is a very powerful one because you can apply, first of all, that templates that are offered directly by Adobe. And we can also import different presets here, like e.g. I. Did with the cinematic title, which is just an external preset that are imported and then changed for the most epic Premier Pro course of times. Also about that later on, a lot of more different stuff as well as here inside the editing tab, that's where we can change any texts, e.g. you have already seen that one. And then all that's left is the libraries one that we don't need to consider at this point in time. So that's it for this video about all the different types here at the top, as well as generally introducing the different areas here below our tab, as well as our project files. And in the next video we want to consider the area here where we can basically work on our clips before really importing those clips into a sequence. So that's what we're going to continue with in the next video. 6. Pre-editing area: Let's move on and continue with the introduction of different areas here inside of Premier Pro. And in this video, I want to consider the, as I call it, pre editing area that you can already see here on the upper left side. Now for this area as well, there are several ways to bring it up, e.g. here we are in the editing tab. But you might as well open up your Effects tab and then double-click any file under consideration, like e.g. our tutorial dot MP4 video file. Double-click that one to also bring up the Source tab here and start pre editing your video. But for now, let's go back to the editing tab as we have a little more space here to discuss those buttons here on the bottom. So first of all, of course, you can use your right arrow key to move forward frame by frame in the video. And use your left arrow key to move backward frame by frame. Make sure to have this area selected because of course, all those buttons also apply for the whole preview area, like here on the right side. If you're of course hit the right arrow now, then you will start moving forward frame-by-frame for this area here. But for now we want to talk about the pre editing area and the arrow buttons as well marked here at the bottom with this one moving forward one frame, and this one moving backward one frame. Then of course, you can use your space bar to play the video with this little tutorial. We'd like to get to know the basics of working with Adobe Premiere Pro. And also our pause the video again by hitting the space bar one more time. That's the same as using this little button here. But for now what we want to do is the first sentence that I said was basically just a sentence of introduction. And maybe you want to decide to not take over that sentence into our final sequence. And therefore, what we can do is use our pre editing area to cut out the first sentence. So here we are in time, That's just after the first sentence. And what I wanna do now is create an endpoint at that very moment. So therefore, I can either use the shortcut I to create this endpoint here. And you can already notice this area marked now in gray. Or you can also use this button here to create a mark in. And then also you can create a mark odd or outpoint, like e.g. at this point in time, I'd like to cut my video thereby I can use the shortcut 0. Or as already mentioned, use this button here to create a mark out. Now what you can also do is grab your in and out points and just move them manually. Like e.g. we want to enlarge our video and really put them out mark here to the very end of the video. So those are basically the buttons here, mark in and mark out. We've already discussed the left and right arrow as well as the play button. And now what you can also do is create some marks inside your video. So e.g. we'd like to mark a point where I say to introduce the welcome texts. So therefore we listen one more time and then stop the video at that point. First of all, we want to replace the green screen with a background image. Then secondly, we want to introduce, at this moment, I'll say welcome texts. So therefore maybe we move forward two frames more by using the right arrow button. Like at this moment here we'd like to select and add a mark. So therefore, we can either hit this button here to add a marker or use the shortcut M. And the very nice thing is that if we transfer this video now into our sequence, then first of all, we were only transfer the outpoint. And secondly also, we will also add the mark to our sequence and then really very fast have our point here where we can start adding the welcome text. So if we select this video area and then move it to our sequence, then what you'll see is that of course, the video as well as the audio track, will be transferred to the sequence. We have our marker here at this point so we can take our welcome texts. It will be locked at this point if we move it to the right side and then we can play a video. Then secondly, we want to introduce a welcome text here behind myself and directly have this text placed at the very right moment. Now what we can also do, I undo some steps with Control Z to bring back our welcome texts and then delete our video. We could also only at e.g. the video track that's done by using this little button here. So drag video only to the right side and you'll see that of course, only our video will be transferred without any audio source. And the contrary here, on this one, drag the audio only and you will only add your audio source from in to out point. So the first sentence of introduction will be cut. Now first of all, we want to replace it and it will start directly with anything we want to do in this tutorial. So that's basically a very nice way to sort of do some pre editing, cut your clips to what you really want to import, maybe also at your first markers so that you can easily adjust e.g. a. Music track or anything you'd like to place in certain moments of time. Basically, that's all we need to know right now for this preview area. And we can finish this video and continue with the next one. 7. Timeline, Source Patching, Destination Guidance, etc.: Let's continue. And in this video, focus on the timeline and all the different tools and buttons you see here on the left side of each of our tracks. So to begin with, let's consider the ICC here on the left side, which are, I think self-explanatory because all it will do is activate or deactivate the visibility of each of our tracks. So e.g. here, we have our welcome texts placed on video track number two. And if I just hit this eye to deactivate the track, then of course, you won't see the text anymore. And the same would apply if for all the different elements you would place on our second video track. Of course, I can also deactivate anything placed on video track number three, like we have done now with our MP4 video. And here, video track number one, That's where we have placed our background texture. And the same way, you can also activate and deactivate any of your audio tracks with the letter M here, telling you to mute each track, like e.g. here with our audio source. If I mute that one and then play our preview, then you'll notice that you won't hear myself anymore as if we have muted this track. And by the way, if you hit the Shift button while pressing any of those buttons here, like e.g. shift and mute this one. Then you will directly mute all the different audio tracks or Shift and hitting any of the ICF, then you will make all of those Tregs invisible. And you can do so with different buttons here like e.g. Shift and hit this lock, then you will directly lock each of the video tracks that we have added to our sequence. Also, that's what we want to continue with. This little lock here on the left side. This is basically very helpful if you have e.g. a. Main audio track and you really run a locket, it has already been placed. Should begin here at the very beginning and should end here. And you don't want to make any changes to that audio track like e.g. I. Have a dramatic Trek. Already edit here to our media files. And if I just import that one to my second audio file, and then first of all, play this. But before doing so, I think I need to definitely lower the level here because it's very loud, so maybe select it and make it -25. And now let's play that one. But this little tutorial, we'd like to get to know the basics of working with Adobe Premiere Pro. Now first. So first of all, you can notice that it already sounds a lot more dramatic. This little basic tutorial added with the dramatic music. But if I now select the luckier than you'll notice that here we have already made it visible that you can make any more changes to that one. So I cannot select this track, move it anywhere. Also, if I make cuts to all the different tracks, like I will show you in a second when we want to insert a video file, then this won't apply it to this track, so it's really locked. And as I've already mentioned, this can be very helpful. E.g. four main audio track that you really don't want to make any changes too. So therefore, you can just choose this luckier. And of course, do the very same for any video trick you would like to save as it is and just lock for any further adjustments. Now, let's continue with maybe this little button here and this will be the voice-over. So if I hit this button here on our audio track number one, then the counter will begin, and normally it will be 3 s. So you have 3 s to get ready and then your microphone activated. In my case, it will be the microphone that I'm currently recording with will be your source of choice and you can record anything you want. And we'll talk about that later on more in detail when we will indeed record our own voice and then adjust that one to a trailer voice. So this will just activate your source and you can record any audio file directly from your microphone, which then will be placed here inside the audio track selected. Now let's continue and speak about those little buttons here marked in blue. So first of all, on the very left side we have the source patching. And then here we have the so-called track targeting options. Now to better demonstrate you the effects of those buttons, let's one more time, a double-click our tutorial MP4 video file to open it up here inside the source step and maybe start pre editing. So far I didn't mention these two buttons here in the last video. And this is because I think it's easier to explain the functionality of those buttons in interaction with the source patching. So right now we have the A1 selected here on the left side. But for now let's maybe switch this one to a three. Just press your left mouse button here, and maybe also just activate our v4 for the source patching. And what we can do now, if I hit the Insert option, you will notice that with the v0, v1 as well as the A1, this would be the sources where we will place our material. And with the Insert option, this will lead to all the other tracks being cut at this moment in time and just continue when our edit sources have been finished. So one more time, Let's undo that. And you'll see that the tracks we'll be back in place in one single piece. And if I now press the insert, then you'll see that the tracks will be cut. Because I have yet added time, inserted time to just add my new tutorial MP4 video on my video trick for selected with this V1 source patching here. And the a three will be selected for my audio track and do that one more time. And for now, let's not choose the Insert option. You might also do so with the shortcut coma, but let's focus on the overwrite option. So again, with our V1, A1 put on V4 as well as A3. Now we want to choose override, and you'll see that again. Our video as well as audio data will be added, but no time will be inserted, but it will just be overwritten and edit to the sequence without cutting all the other files. And do that one more time. And maybe now we want to select a track where data has already been placed, like e.g. here on V3. Let's select that one and now choose overwrite. And you'll notice that the new source, the new video track, will be overwritten with the original data and do that one more time and hit the insert. And you'll see that this MP4 file will be cut like before. But now the new file where we placed directly here on video track number three, and do that one more time. And what you might also do is e.g. de-select all video files or a video tracks. Just sit here one more time. So now we will only add audio data if I choose e.g. the insert. You notice that again all the other tracks will be cut and move to the right side. But for now we just want to add our audio data here. So that's basically it for the source patching. You can determine, first of all, if you want to add both video as well as audio track. And you can determine where to place your video and audio files. And then with the insert and override functions, you can choose to either move and cut the tracks at that point to insert time or to just override and add those tracks to your sequence. Now, maybe it's best to now continue with the lock as well as the sink lock. Because these will also have some effects on inserting or overwriting your tracks. So if I e.g. again, lock my audio track here, my final file that I want to use the whole time and just lock it from moving. And if I hit Insert now again, then you'll see that this lock will also have an effect on the way the other clips here or cut. But of course, as you notice, my locked file won't be cut as, uh, as I really want to save it and not make any changes. That file controls that one more time to undo. And now in comparison, the sink lock will make sure that you can still move the track as a whole. But again, if I insert my new source here, then you'll notice that also this won't have any effect on the sink locked track, like in this case, my audio track number two. The difference basically is just that we're logging it, you really make sure that there won't be any changes at all made possible. While if I just sink lock that one, you will make sure that e.g. inserting won't have an effect on that track. Now controls that one more time to undo again. And now let's focus on the track targeting. And basically this is just an option to make sure where you will place your new clips like e.g. if I choose my welcome texts here. And now I want to copy and paste that one more time to another source track here, like e.g. I want to paste it on my video track number four. Then what I will do is just select the V4. And then with my welcome text selected here, control C, control V. And you'll notice that at the current moment in time, this track will then be pasted onto my video track number four. Controls that one more time to undo. And you can also select multiple tracks here. And if you then copy paste than it will be placed the lowest track selected. So right now, again with the text selected Control C, Control V. And you'll notice that the text will be placed on my video track number two. So the track targeting basically determines where your tracks and selection will be pasted and will be where the target of those tracks will be. So that's basically it for all the different buttons here on the left side. So now you know how to use the source patching as well as the log, as well as the track targeting options. We have discussed. The sink lock options, as well as the possibility to make a video track invisible or for the audio files, mute them. Here with the little s. What you can do is just solo an audio track. So e.g. if I just really want to focus on my own words to see whereas say welcome, and I want to introduce my text here, then I might just solo that track. And if I play the whole sequence now working with Adobe Premiere Pro, then you will see that basically for now, this one will be muted. Or if you have a lot of more different audio files than all of those files will be muted. And we can just focus on our first audio source here. Also, we have discussed the little microphone here giving you the possibility to record your own voice with the microphone selected. And then of course, what we can also quickly mentioned is that here at the very bottom, of course, you can zoom in and out of your timeline. And you can do the very same for the video tracks on the right side here. If you little more space and maybe focus on some details here. We'll also discuss some of those possibilities offered here inside the file directly later on. You can do the very same, of course, for your audio tracks. You might also double-click a trek to give you some more space. Double-click again to close it again. And then you can also e.g. select this area here to give you a little more space for your audio tracks, or bring this one down to give you a little more space. The video tricks. Now if you want to insert a track, then just right-click here and select Add Tracks. And then you could e.g. at one or more video Tregs are of course in the same way, add one or more audio tracks. Now, that's it for this section. And in the next one we want to continue and focus on the little symbols here above, the symbols that we have just discussed and also introduce the different tools here on the left side. So therefore, see you again in the next one. 8. Nesting, Alignment & Linked Clips: Moving on a rapidly towards the end of the basic section. So in this video, let's quickly discuss the five buttons here on top, as well as the play head position. And maybe we can directly begin with the player position, which of course states your current moment in time inside the sequence. And one thing we can do with this player position is just click in there with your left mouse button and leave the mouse button pressed. Then move to the right side to just move forward and move to the left sides to move backwards. Or what you might also do is just type in there and then manually change the moment you want to activate. So e.g. if we want to fly to 12 s and zero frames were just type that and with the Enter button, we can directly move to that moment in time. So basically a very self-explanatory. And therefore, let's move on and speak about this little button here, which basically determines how you want to use an insert a sequence into another sequence. Now this might sound a little difficult, but I quickly explain it to you to make it very easy. So therefore, we'll just right-click here inside our project files. And we want to add a new item, which in this case will be a new sequence. It doesn't really matter how we want to create the sequence in terms of frame rate or aspect ratio. Also, we want to leave the name with sequence 01, then type. Okay? And now with this button here activated, what we want to do is import the whole tutorial sequence. And you'll notice that this will lead as we have only our audio source activated. So let's press the v1 as well. And now again, import that one and you'll see that we will only import one video track as well as one audio source for our whole sequence. Well, if we leave this button deactivated, this will lead to the whole tutorial sequence basically be an imported as it has been created. So therefore, we have all those different video files like e.g. here, we have our text elements and as the background image. So with this button here, you can determine how to import the sequence if you want to use it as a nest. So as a combination, like we've done in the first place, or if you want to import all of those individual clips. Now, moving back to the tutorial sequence will continue with this little magnet here, which allows us to snap in the timeline. And this basically means if we want e.g. this element here to be locked at relevant positions like e.g. here at this marker. Or we might lock it here at the end of their texts. So basically any beginning of an element and the ending of an element or any marker will be used to sort of lock the files when moving along in the timeline. Well, if we have this one deactivated, then you can really just individually position your files and there will be no locks at certain relevant positions. But normally, to be honest, I'll just leave this one here activated and this one here at the very beginning as well. To have all those markers here really being useful for us when we e.g. want to add a text and then quickly position it along this marker here. Then what we here have is the Linked Selection, and therefore will basically need to focus on e.g. this MP4 file where we have a video as well as an audio source. So if I just select the audio, then you'll see that both our sources, so the video trick as well as the audio track, will be selected and will directly move both of those sources. Well, if we just leave this one, the Linked Selection year deactivated and now hit the video source. Then you'll see that it will only mark the video or the audio source. And we can move just the audio source, which then leads to this little number here, telling us that now video and audio source have been separated by 6 s and five frames. Now still those two sources are basically linked towards each other. So that's why if I move this one, there will be this little number. If I then link this one again, press this one and move it and we will link and move those again with the same time. So now we stick with these 4 s and 14 frames separated of audio as well as video file. But still, of course they are linked. That's why we have this little number here. While if we just right-click here and then say, we want this one to be unlinked. Then we can also select each one individually and there will be no numbers telling us that those files are separated. So that's a little different than deactivating the Linked Selection. And then write the right side of that, we have the possibility to again add a marker. You've already seen that one here inside our pre editing area, and it will do the very same here inside the sequence. So if we use this button, then you'll see that a marker has been added here. Or if I just have none of my tracks selected and then hit the end button, then you'll see that a marker will be added here for our sequence. And the same can be done, of course, with using the shortcut M. So that's basically all of those relevant buttons. Here to the very right, we have one more button. And the symbol is what you can see in many other software, basically just allowing you to have some more additional options, like e.g. if you don't want your names to appear here inside the different files than what you could do is just deactivate, Show Video Names and you won't see any more names. Maybe feel free to just browse those options. But to be honest, I've never changed anything inside this little tools options here. So that's basically all you need to know about the different tools here on top. Therefore, we will finish this little video and all that's left for us to discuss other little tools here on the left side, and we'll do so, speak about all the relevant tools here on the left in the next video, See you again in some seconds. 9. Tools: So this video will be the last part of the basic section and all that's left to discuss these little tools here, right in between our project data and our timeline. So first of all, before introducing the different tools, what I wanna do is I want to take the second folder from our course resources and directly import the whole folder into our project. So therefore, just select the whole folder, take it, place it into our project. And you'll notice that, of course, the folder will be added in a couple of seconds. And inside that folder we can find all the different clips that originally have been placed inside the folder. So here we have five clips from a little trip to Milan with also another audio file that we'll talk about in the next video. First of all, let's go ahead and take the first file from Milan and directly create a new sequence out of that file. So select the file, place it onto this little symbol. And you'll notice that of course, a new sequence will be created in the very same name as our original file. So first of all, I'm gonna go ahead and rename the sequence. Maybe let's write Milan sequence, then close this renaming process, grab the whole sequence, and just place it here outside of the folder, because inside that folder I really want to only place the original files. So first of all, let's bring up the sequence settings. So select the sequence area here or the timeline, and then choose sequence, sequence settings. Now what you will notice is that the sequence has been created in full HD. So thousand 920 pixels in width and 1080 pixels as height. And that's because our very first clip from Milan has been created in exactly this aspect ratio. Now, that's also the same ratio for the third, fourth, and fifth glib, but the second one, I intentionally left in for k. So first of all, let's import that clip onto our sequence. So take the clip, then makes sure to have a video source here also selected. And we want to import the clip then move it to our first audio track. Now what you can see here, of course, this is the beautiful Milan Cathedral, but only the middle area of the original shot will be shown. Because of course, this year, the preview area is full HD or the sequence is full HD, but our original shot has been taken in for k. So the easiest way or the most intentional way to change this one is maybe select it and open up our scale options. Move this one to 50% to scale it down from four K to full HD. And you'll notice that now our cathedral is back in its full beauty. But there's also another way of doing so. Controls are to first of all on the word. And then you could right-click this clip and choose Set to Frame Size. Now in this case, this will do the very same, scale, it down directly to 50 per cent. But in case you might not know the exact percentage of scale you need to choose. Therefore, you could always just go ahead and right-click this clip and then choose Set to Frame Size. Alright, now let's go ahead and take the other clips from the land. So the third, fourth, and fifth clip, we want to select those with using the Control button and then directly import those clips and place them right behind our second clip. So first of all, here we have the Little Tramp than we have our Cathedral. Here, we have a fountain. And then I think it's one image from the massage as well as another one in a park. So let's now go ahead and discuss the different tools here on the left side. Now what has already been selected is the very standard Selection Tool that you already know from other programs or even from your normal desktop. So with this one selected, what you can do is just mark any of those clips here. Move the clips of course. Or you can also draw a rectangle to mark several eclipse and then of course move all those different tracks selected here to the right or left side of your timeline. Now, the two that I'm most frequently used apart from this selection tool is the so-called razor sharp tool. And this is this little button here, which can also be activated by hitting the shortcut C. And what this will do is give you the possibility to cut any of those clips at a certain moment in time. So maybe here we have an audio track that we want to sync our video too. So let's e.g. make our first clip and at this moment year, so we just choose our razor tool, make a cut here, then switch back with v to the selection tool. Mark this clip here, choose Delete to get rid of that clip. And then what you can also do is select this little break here between the two clips and then hit Delete again to move all the other clips here, right to the end of our first clip from Milan. Now there's also another possibility to do the very same meaning to cut a clip than to delete the second part and to move all yellow clips right to the end of. Your clip that you just cut. Let me first of all, undo the last steps. And this is by using this little button here to activate the ripple edit tool. So therefore, let's take this one, also activated with the shortcut B. And if I now select the right and from my first meal and clip, you'll notice that if I move to the left, this will first of all, bring up two images right, in the preview area to discuss. So first of all, we have the trim on the left side and then we have the cathedral from the lens. So the next clip on the right side, and what you'll see with the time code there is the first one, the outpoint and for the second one, the end point. And of course, as I move more and more to the left, the outpoint from my trend clip will be changed. Why we want to stick with the very first frame for the end point of the second clip. So basically what this will do is if I now let go for my mouse, just move all the other clips right to the end of the newly created out point from this Milan clips. So it's the very same as if I had made a cut here at this point. Then take the second part of that first clip, delete it, and move all the other segments here right to the end of our first clip from Milan. Let's undo that one more time. So you'll notice grip the right end with the ripple edit tool, then move it to the left side to change the output from the tram, and then let go and move all your clips right at that moment in time. But to be honest, the way I normally do it would still be the truth, the razor tool, make a cut at that moment, and then select the second part, hit Delete, and then move all the clips by again, hitting the delete button and just move the other clips right to the end of the first clip. But still, there are some other tools here inside the third button. If you just press your left mouse button a little longer, what you'll notice is you could also select the rolling edit tool. And if, when, if I now again select here this transition from the first to the second clip and I move it e.g. to the right side. You'll notice that now both time codes will change. And this is because what I wanna do is move the outpoint from our first clip right to the right side. And also therefore move the endpoint for the second clip to the right side. So basically the third, fourth, and fifth formula will be left unchanged and only the area of transition or the point of transition will be changed. So here you'll notice of course, that now I have made the first living longer. And therefore of course, cut the second clip from the left side to change the end point. And this is made possible by leaving the mouse button press here and choosing the rolling edit tool or by using, of course the shortcut N to directly activate that tool. And the last one here is very, very easy. And this will just activate to change the speed of play for a selected clips. So therefore, let's quickly choose this rate stretch tool. And then e.g. take our fifth clip here at the very end and enlarge it. And you'll notice that this will change the duration. And you can see that the speed right now is only 43.6 per cent. So the endpoint and outpoint we're basically stay the same. But of course, as the speed now has been lowered, therefore, of course the clip itself longer, controls that again to undo. And now you already know what the selection tool, then all those different tools here on the third position as well as the razor tool here in position number four. And in position number two, we have the option to track, select forward with this one selected. Basically all you can do is just mark this clip here and any clip continuing on from the clip selected will be selected. And this is independent of where your different clips will be placed. So e.g. if I take this one here, move it to V2, move the audio source to A2. Do the same here for maybe bring it up to v3, bring this one down to a three. But still with this one, the track select forward tool that we can still of course select any clip to the right side, and even this one press a little longer to activate the Track Select Backward Tool. And then we can of course, still select anything to the left side from any clip selected. Now, if you want to only select certain clips as e.g. the video track number one. Then what you can do, let's bring it back to the track select forward tool. It's just also hit the Shift button. So Shift click here and you'll see that only the clips on our first video track will be selected. And of course, also only the clips on our first audio track will be selected. So that's basically it for this tool. And then what we can also use is the Slip tool. And what this will do is just leave the duration from this clip unchanged, but just moved in as well as the outpoint. So with our Milan track selected, let's hit our left mouse button and then move to the right side. Right now we can't make any changes here we are, because we have several clips selected, bring it back. And let's just again choose the slip tool and then move, select our first clip. And you'll see that if I bring this one to the left now, I will change the endpoint as well as the output. So basically, only the content from this clip will be changed while the duration will stick the very same. But honestly again, that's normally nothing I will choose are due in this way as I make my choices for the end points before importing the clips and then just cutting the clubs at the very end. But I think still it's very useful to know how to use this slip tool. Continuing on, we have the pen tool. This will allow us to basically draw any shape you'd like into our sequence here. And then of course also grab any point to move the shapes or directly choose another shape by again, leaving your left mouse button pressed, then bring it up to maybe open up a rectangle. Draw a rectangle here. Or what you could also do is of course, draw an ellipse. Now there's also another possibility to use this button here, but we'll discuss that one later on. So basically all you need to know for now is just that this one will allow you to draw and add shapes. Now, let's undo the last steps to get rid of the created shapes. And then we have the hand tool here, which basically allows us to move here inside the timeline. You can also do the same here with this one. And then we have the zoom tool, which will give you the possibility to zoom in e.g. and you have a better look here at this transition. Maybe better sing it with your audio file. But again, you can also do the very same when you have this point here marked in the timeline and then just zoom in to that point by using these two little points here at the downside, last but not least, is the Type tool that you already know. And this will allow us to just create any texts here, like e.g. Milano. And we can add this text and then of course, edit the text. But for now, let's again get rid of this text. And we have so far finished our basic sections. So you also know how to use the different tools and what we want to do in the next one, starting off with some practical examples will be to add the audio file and then start shrinking are different files to this audio track and also add a nice little texts. So therefore, I see you again in the next video. 10. Synching with music / audio track: So this section basically serves as a transition from the introduction part to the upcoming video editing overview. And as already mentioned, what we'd like to do now in this video is at our audio file and start sinking those clips to the beat of the music. Now before we kick that one off, Let's first of all begin and take our original files here and move them back to the V1 video source and A1 audio track. And now also we want to delete the graphics element here that has been added when I introduced the mask here. We don't need that one for now. And what we'd also like to do is get rid of the audio data for all our edit video clips. And generally we can do so by right-clicking this audio track here, A1 and choose Delete trick. Now, in general, it might not be bad to include audio from your original files like e.g. here from the tram. Because in combination with e.g. a. Music track, it can add a really nice dynamic to your final sequence when you e.g. want to create an Instagram real or YouTube channel intro. But for now as we just want to focus on sinking those videos to the beat of the music. We can really delete the audio for those videos. Later on, we will include some more audio and add that one, mix it up with a music track. But as already mentioned for now, let's only cover on one video and audio source. So we want to take the audio file at that one to the A1 audio track. And as this track, all those tracks edited directly inside of Premiere Pro will be quite loud for you when recording this course. And I want to make this one as convenient as possible for you. I will directly start and lower the level of that one to maybe -20. Now let's start and listen to the music trick. So in combination with the waveform that you can already see here, we will now start to sink our different clips to the beat of the music. So the waveform year can really be very useful. And now there are several ways to start sinking to the beat of the music. E.g. you might want to add markers at every single moment of an upcoming and beat. Or we can just go step-by-step and really start with our first clip here, send that one to the next beat, and then continue with the second on. So let's go back to the start and maybe we will find the first two points here in time where we might choose to either link this one to the second clip or maybe we also want to introduce the trim here by starting in a very fast tempo. Bring the trim your right to the center, and then start to slow this one down in a nice moment of the music here. Maybe this moment here would be a good moment to just make the transition to the tram slowing down. And then here, at this moment, I think it was, it would be a nice moment in time to start and let this clip and, and bring, bring back the second clip in to the scene. So first of all, let's see here with this first Milan clip, where the Trump starts to be right in the center of the clip. And this is maybe just about here. So let's make a cut there. Use the razor tool with C, Magna Carta, Europe. And then one more time we'll listen to it. So here, I think was the moment where we want to make the transition to the normal speed here. So what we wanna do is choose the shortcut R to bring up the Rate Stretch tool. Then take the right emptier and move this end to this moment here. And then with the normal selection tool V, we want to take our clip and continue this clip in normal speed. So we've played at one time. And I think there's already looks quite nice. And here we are at the next point in time where we can make a transition. So again, what we want to do use the shortcut C to bring up the razor tool that make the Cartier use the shortcut V, select that one and hit Delete. And to be honest, that's the way that I normally do it. Of course, as I've already shown you, you might also want to choose the ripple edit tool to save you some clicks. But I think it's very, very easy to use the shortcuts V and C and play around with those. And also use your selection tool here just for the space and then hit Delete again to move your next clip right to that scene. So here we are right now. Here would be the next point in time where we will make the transition. So again, either take the right end or use the shortcut C. Now let's take our third clip here. And let's see where would be the next point. And this is right here. Again, we want to take the right and move it just about here. And what we can do now, as we've already chosen the duration of that clip. Let's quickly take the slip tool and select our third clip and then maybe move it a little bit to the left to check out our new in and out points. So that inside this clip we'll really focus on the fountain right in the middle of our scene. And this should be just about here. And now what's left is the clip number four as well as number five. So here we have the one right in the massage and here we have the park. And maybe we want to switch those two clips up to really finish with the massage at the end. So therefore, we will take the selection tool, move that one right to the right side here and continue with clip number five. Move that one to the end, and let's have a short focus on that clip. And so far I don't really like that clip because first of all, the camera movement will go to the left side, then continue to the right side. So we're really just want to have a movement in one direction. So therefore, let's check when the camera will start to move only to the right side. And that's the case just right here. So we make a cut to the left side. And we want to make our clip begin at this point in time. And now move it here to the end. Then again, zoom in a little bit. And this will be the next point where we'll make our cut. Again, shortcut C, make the car to shortcut V, select the right side and hit Delete. Now again, hit the spacebar, hit the space here in-between clip number five and number four. And again, use the shortcut delete to get rid of the break in-between. And now again, what we might want to do is this clip is already speeding up and solve a time-lapse mode. But maybe we want to introduce this clip again by speeding it up a little more and then slowing down at the next moment. So we want to make the transition just about here. So maybe let's move forward until this moment here. And then again, use the shortcut C. Then use the shortcut R to switch to the speed function here. Grab the right end and move it to just about this moment here. And then take the shortcut V, grab our right part of this clip, move it to the end. And let's listen one more time to when we can make this clip finished. And I think that's just about here, or maybe even one bit later. Maybe here is even better because the music sort of starts to go over to a more API parts. So therefore we want to make this one and just about here. And I think in this way we have nicely send the videos to the beat of the music. That's therefore listen to the whole sequence one more time. Looking quite nice. I think so far. And remember this is really only just the raw tracks so far we did not add any color adjustments. Also, we didn't add any text element and so on. So right now we're really just focusing on sync in this one, the sequence to the beat of the music. So that's what we've done in this video. And now we want to continue and maybe spice it up with some transitions here from one clip to the other. And then later on also add a text element. So therefore it's you again for the next one. 11. Video Transitions: So let's continue and add our first video transitions to the sequence. So what we need to do is open up the effects tab either again here on the lower left side as I would normally do it. Or what you can also do is bring up the effects tab here on the upper side. For now, let's choose it here on the lower left side, bring up the video transitions folder. And you'll see that we have several categories of standard video transitions, like e.g. this solve effects, page peel, slide, wipe or Zoom transitions. And maybe in this case we want to begin and add our first slide transitions. So let's open up that folder and maybe add a split transition to the scene. Now, the first clip and the second clip, we'll both be our trims. So first of all, of course, speed and up until then centered in the whole scene, and then slowed down so that we don't need any transition, because this transition will only be disturbing for this sequence. So therefore, what we wanna do is add this transition here, right from the tram to our next scene, which will be the Milan Cathedral. So let's grab the split effect and place it here right on the change over from our second to our third clip. And now you can already see how this transition, transition will work. It will move apart our trend to the right sides and then introduce our Milan cathedral. Now we can always select this transition and also see it with our first image, image a, in this case the trend and image B. And if we just grab this point, urine play it, you'll see how this transition will work. You can also see the whole duration, in this case, 25 frames. And what we can do to lower the transition time, which in this case will be necessary, I think, to just fit to the dynamic of our sequence because this will just take roughly about a second, which is way too long. So therefore, we want to grab the right and move it to the inside. And you'll see that from both ends are transition will be cut. So therefore we will lower the duration to maybe about nine frames. Or you could also always just, just select here inside the duration and change it manually, like e.g. 12 frames. And you'll see that again, this change, change has been applied. Let's maybe switch it up to about eight frames. Choose, Okay? And then what we wanna do is play this scene one time. And I think so far, this looks quite nice. Now, you can also always see the transition here. On the right side as well. Here we have our first live as well as our second clip, and this is the time of transition. So we can also just move the transition rate to the right side or bring it back here to the center from our first two, our second scene. Now, let's continue and maybe add another transition here from the fountain to our park scene. And now maybe you want to continue and add a dissolve effect. Or in this case, an additive dissolve. Both of our images will be summed up. So let's choose that one. Again, grab it and place it here. Right in the change over moment from our Milan clip number three to our clip number five. And you'll see how this one works. So first of all, the second image will be added to the fountain scene. And then finally, we only want to show our park image. Now in this case, it isn't perfectly centered, so therefore, let's pick this one and bring it a little bit to the right side, Just like this. So that we have both of our images right in place. And maybe let's only focus on this additive dissolve effect. And we want to add that one to each transition moment. So therefore, what we can do is make this 1 h standard Transition and then always apply this one directly with a shortcut. So therefore, we can right-click this transition here and choose to select as our default transition. So that's what we wanna do. We wanna save this additive dissolve and then continue on with our product image as well as the pistachio. We want to select both of those clips by choosing the selection tool and then hit control D to apply our standard transition. Now you'll see that the additive transition has been added, but in this case, it has only been added to the right side. So starting at the moment where we want to introduce the massage. This is because our important from the passage year has been the very first frame. So there's no chance to enlarge in this scene to the left side and cut it over to this park scene. So what we need to do is get rid of this transition one more time, Right-click Clear. And we want to choose this one. Our passage that we have speeded up and now we want to cut some frames from the left side, like e.g. in this case, we will cut about seven frames, as you can see here below our file. And then again, choose the speed to use your shortcut R. And pick the left side and enlarging that one right to the moment of change over here. Because what we still of course need to make sure we cannot move the whole scene is that here in this moment, that will be a clean transition to the same scene that really played in another speed, speed. So we cannot change our N as well as our point from this scene. But what we need to do is only really changed our inputs to give us some time to now make the perfect transition here from number five to find number four. So now again, what we can do is go back to our selection to mark both of those clips. Choose Control D, and apply our standard additive dissolve transition. And now you'll notice that it will be placed to both the left as well as the right side step. We want to change the duration again, lower that one down to about eight frames. And here of course, we don't need any transition for the same reasons as with our trim clips at the beginning. Now, let's choose this transition here. Also lower the duration down to eight frames. And then I think we have one more transition to make right here from the cathedral to the fountains. So again, mark both of those clips, select Control D to apply the transition. Then open up our options and bring this one down to eight frames. Of course, the basic standard alignment, we want it to be centered at the cut. So this will make sure that we really have to transition to both left as well as right-side, which will make sure that we will still have the transition. At the very moment, you're fitting to the beat of our music. But instead, if we would bring the transition here right to the left side, then it will be too early and we'll bring it to the right side. It would be a little offset to the music to the right side. So now I think we have made sure to really have all our transitions here in the right moments. But what we wanna do is change our split transition here also to an additive transition. And we can easily do so and stick with all the settings, meaning we will keep our duration here that we've already chosen. If we just grab the additive dissolve again and place it here right on top of our split this off. Then you'll notice that now it has been replaced. And we will add up our trend and, or cathedral and prevent bringing up the cathedral. So that's it. I think we can play the whole sequence one time to check out if all our defaults are fine in place. Looking quite nice so far I think for the first sequence that we're going to create together, so far we are satisfied. But of course there are still some things we can do to further enhance this, like e.g. opening up our color correction tools and give this one some more contrast and also make all the other images a little better looking than originally taken in the shot. So that's what we want to focus on in the next video and therefore, see you again in some seconds. 12. Basic Color Editing and Adjustment Layers: Let's move on and in this video, consider our first color corrections. And to be honest, that's one of the very rare situations where I will actually leave the editing tab to work with another tab, which of course in this case will be the color tab. So the way that I don't normally do this is that first of all, I will focus on each individual clip and do some very basic color corrections, like e.g. if one clip is definitely overexposed and it will correct that one, another clip has been taken with insufficient contrast. And of course I will add contrast to just that clip. And then when all of the different lips will be evened out and sort of created very equal. Then later on, I will add a special look to all the different clips in the whole sequence. And that's one way to do that by introducing a special layer. And we will also do that in this video. But before we will start doing so, let's first of all correct our individual clips. So maybe we want to start as an example with this fountain clip. Then let's just select this clip, open up the Color tab, and start doing some basic corrections. First of all, what we are now doing are changing will be done inside the Lumetri color effect. That basically is really just an effect. So you can also add this one just by opening up the effect step or again, choosing and sticking with the editing tab and just adding this Lumetri color effect directly here on the lower left side. But I think inside the color options, this will work best here to directly open it up because it gives you a very nice overview to what you are currently working on. So I think this clip has way too few contrasts. So let's bring up the contrast options here and add some contrast to just this clip. Maybe play around with the exposure, also with the temperature, but I don't want to make too much changes here. Also the tint, I don't want to change. Maybe give this one a little less. Shadows. Bring up the whites just a little bit. And then bring down the black value here just to about -25 to 30. Now let's see this 11 more time with the effect applied and without the effect applied. And I think this already looks a lot better. So this would be the way I would pick every different clip just very quickly and do some basic corrections here inside this Basic Correction field here. And then of course we have some other ones, like the creator of the curves that we will cover on later on. But basically for each individual clip, all I need to do is just open up the basic correction here. Play around with those values very quickly and then sort of bring all the different clips to a, to an equal situation. So that's what I would do now for every individual clip, but I think it would be a little boring for you to just follow that one. So let's now get back to the editing tab and just imagine that we would do so very quickly for each individual clip. And now we have done the pavement, we have changed each individual clip. And what we wanna do now is give the whole sequence, especially look. Now, what we might do is just open up each individual clip again. Yeah, bringing up some Lumetri color effect, doing our changes, then copying this effect to every individual clip. But there's another way to make a very quick changes. That is by introducing the so-called adjustment layer. If you have seen my course on Adobe After Effects, then you already know what an adjustment layer is and how this works. Because both inside After Effects as well as here on Premiere Pro, those layers have the very same functionality. And you can easily make changes to basically any layer laying below our adjustment layer. To make this a little more clear, let's add the adjustment layer by going back to our project files. And then either here on a free-space right-click and open new item Adjustment layer. Or you can also hit this button here without any of the sequence here mark that you can create a new item, choose adjustment layer. Or you can also just open File New and choose adjustment layer here. In each case, a new window will open up and we want to give this adjustment layer the very same data as for the whole sequence hit Okay, here and there we are and have our adjustment layer. In this case, all we want to focus on with this adjustment layout will be some color correction. Therefore, let's rename the adjustment layer and name it color correction. Then of course, move this one out of our Milano folder and then add the color correction layer here, maybe on V3 of our sequence. Now, I've already mentioned that what this layer will do for us is any change that we want to apply it to the layer or any effect that we want to apply will have an effect. On everything that's laying below this color correction or this adjustment layer. So therefore, let's again open up the Color tab here and make, make some changes for our Lumetri color effect. And in this case, we don t want to make any basic corrections as we have done, which is which with each individual clip. But what we wanna do is bring up the Creative tab here. And there, we have the chance to apply so-called looks or look up tables, so-called labs. And we can either just choose from a different presets here, or we can also import labs that e.g. has been created external sources and I will show you how to import or safe labs later on in the course. But for now, let's just play around with the basic presets that we are given here. And e.g. choose the S L big look and you'll see how this might affect our drum clip here. Let's check out some different ones here. But of course, feel free to just browse those labs for yourself and see what we can find here. Also, we could pick some black and white looks, but I think for now, let's maybe stick with some gold orange or gold rush HDR. And I think this is looking quite nice. So let's maybe check this one out for all the different lips. Go back to our editing tab. And this will be the correction for our trend. But here of course, we also have like e.g. the Milan Cathedral still I think this is looking very nice and you'll notice that here we'll currently be the end of our adjustment layer, meaning that if I go back to this point in time, then the color won't be affected because of course, this adjustment layer is no longer in place. So here you will see with our effect applied and without the effect applied. Now of course, what we wanna do is enlarge this layer to the whole length of our sequence. So then we have the passage, as well as the park and all the different scenes here included with our color correction. So I think right now it's already looking a very nice with a special look here that we want to apply to the whole sequence. Just imagine that e.g. you are filming a western than you might notice that most of the cases, those Western firms will have a very special log. So that's basically just an adjustment layer where especially look has been placed. Finally, to give the whole film a very special color look. And now one thing more that I want to show you is that the adjustment layer basically also has all the different options, like a normal scene or a normal video. So therefore, we can also bring up the motion options here and e.g. scale this layer down. And you'll notice that then of course, the colors that will only be affected here in the center when we scale this one down. And of course, if we bring it back up to 100% or more than the whole layout will be colored. So you might move this one in x space. Then notice that the color will start to change here from the right to the left side, e.g. this is very often seen as a before and after. Look for different color presets. Like if you are a creator and you publish your very own lats set with different color corrections, then you might want to show this to your audience by first of all, showing an original raw clip and then bring up your first lot like this before after slider. And then show some different color corrections always with this before after slider, which basically is just an animation of your exposition in this case. So as already mentioned, you can also bring this one down, e.g. in opacity to 50 per cent. And you'll notice that now this is a mix of the original Carlos with our color correction for just 50 per cent. So feel free to play around with the adjustment layer. You now know how this one works. I've already mentioned that it will affect all the different layers laying below our adjustment layer, meaning that if I bring this one down to V2 and then grab the cathedral, bring it up to V3. Then of course, it won't be affected by the adjustment layer. So that's it for this section, we have made our very first a basic color adjustments, as well as given it a very special look inside the creative options. And in the next video, what we want to add is a text to our Milan sequence. See you again in the next one. 13. Addition regarding Adjustment Layers: Just a very short interception before we will then move on as promised and edit text elements to the sequence. Because in this video, I just wanted to give you a little addition with regards to adjustment layers and show you some more use cases, weigh out the choice I'm an adjustment layout might be well justified. So first of all, let's move the adjustment layer that we already created to v3. And then what I also did was I ended the last steps because if you take e.g. this individual clip, move it to V2, then bring it back to V1. You'll notice that the transitions have been destroyed. So therefore, I undid those steps to bring back our transitions that we have added before. And now we might want to decide and give our whole sequence a little more professional or a little more cinematic look by shrinking the content to a 21 to nine view instead of as red now 16 to nine. Or to be a little more precise, we want to export the video in 16 to nine, but give you some black borders, are some black bars to really shrink the content of the sequence to a 21 to nine of you. That's also can be done by an adjustment layer. So for now, let's leave this name here with color correction. But still we will do an apply the effect on this adjustment layer. But I think we can manage and not focus too much on the name choice here. So let's bring up and open up our effects. And in this case, we want to add a transform effect. So we'll come down to this folder transform here, open it up and we want to choose the crop effect here. Place this effect on the color correction adjustment layer. And then you'll see that, of course here we have this effect edit. And now we want to shrink it to a 21 to nine view. So therefore, what we need to do is changing the percentage here on the top as well as the bottom. And it will be roughly 12% for both the top and then of course for the bottom as well. As we have applied this effect onto our adjustment layer. Of course it will be done so for every individual clip, meaning for the whole length of our sequence. And I really think that this gives the whole sequence and more professional and more cinematic look. And really adds up to a very nice sequence that we just created. So one more time with our crop effect in place and without the crop effect, 21 to 9.69. And as already mentioned, of course, if we export this video, then of course it will be exported together with the black bars here. So the export won't be done in 21 to nine, but the content will be 21 to nine. What you could do, e.g. would maybe to add some subtitles. If you are creating an image firm or whatever, then you might add your subtitles here onto the area of the black bar. Now this is just one use case for an adjustment layer. And I'll show you another use case just right now because we can also use adjustment layers to e.g. create and have very quick access to repeating effects. Imagine that e.g. we want to not only blend our first two, our second senior with this editing tradition, but we might also add an effect onto this transition and we can do so with an adjustment layer. So again, I want to add an adjustment layer by choosing new item here. And of course then create an adjustment layer. Hit. Okay, and here we have the second adjustment layer, and we're just grab that layer and place it onto V2. And now let's zoom in here a little bit. And with our razor tool, cut this layer just to the length of our transition. So one card here and another cut here. And then with the selection tool, we will delete the first as well as the third part and just focus on the second part. Now to make it a little more visible, Let's first of all move this adjustment layer outside of our transition. And now let's add an effect to this adjustment layer. So again, open up the effects. And in this case, maybe we want to add a stylized effect here. And let's choose the find edges effect. Grab it again, place it onto our adjustment layer and you'll see that it will dramatically change the view of, in this case, our trim. Or maybe if we play it here onto the cathedral, you'll see that this image will really dramatically be changed. But what we can do with this Find Edges effect is a blended with the original. So right now we have the effect in full place, meaning zero per cent of original image. And of course, 100% We'll bring back the original without the effect applied. And then we could blend this one over like from 100 down to zero here in-between, to be honest, I think it looks really, really cool. But now we want to add this effect to the transition. Meaning what we want to do is add keyframes. So first of all, we will start adding our first keyframe by choosing the stopwatch here and blend with original by a percentage of 100. Then come to the middle of this transition. This adjustment layer, which will be at this moment here. Here we want to blend it to zero. And then let's go to this point in time and bring back our original. So we want to blend it with the original 400 per cent. So see that now, here we are with the original. Apply our effect at this point to 100% and then bring it down back to zero. And at this moment, where the keyframe is 400 per cent of the effect, meaning zero per cent of blending with the original. We want to again cut this clip to just save this moment and time and make it very easy together with our magnet here to just place it above our transition. So therefore, let's go back to our selection tool and then just choose now both of those clips and placed them perfectly above the transition here, which together with the magnet, will be locked so that it perfectly matches our transition. So let's see this one now. We have the tram and then first of all, it with a transition, both images will be summed up. And then with the effect will be this nice look that we just created. And now because we created this one with an adjustment layer, it's very easy to just duplicate this effect. So we can just mark both of those files here and just use Control C, Control V. Remember with your V to select it here to just create a copy control C control V. And then just move this copy to e.g. this place. Or what you can also do to create a copy is just press your alt button with those clips selected and then move this one to the right side. And you'll also create a copy in this way. So here again, e.g. we have the fountain. And now we have not only summed up both images, but also added this nice little effect. So let's play the sequence one more time. So that's it for this section. As ARIMA set just a small addition to some use cases for adjustment layers. And now let's really continue as I've already mentioned, and add a text element to our Milan sequence. 14. Text and shape options: We go ahead and in this video I want to add a nice little title element, like the one that you can already see here. Milan 2000s, 22, so that the whole world will actually know what our sequence will be all about. And then we also want to take the whole element and animate its position to finally make it look like this. Now what you need to know before we are going to start is that this is not any precreated essential graphics element. But in this video we were really created from scratch. So therefore, let's first of all it go ahead, select the element and hit Delete. So now what we are really starting from zero, and first of all, of course, we need to select the type tool and start to add our texts. So either we use this little button here or just use the shortcut T to activate this two. And then we want to press anywhere inside the preview area and start adding our texts, which in this case will be Milan 2022. Now in this case, it's already looking very similar to what I've just shown you. And this is because Adobe Premiere Pro will actually remember what you did last summer. It will remember what you created as last time inside this text element area. And therefore, of course, all the options will be taken over, which are in this case, that I activated the small caps button here, meaning that all the small written letters will actually be written in big, but in a little smaller size than the initially a big written letters. So of course, million 2022 will be transferred into this. And then I chose the text style to be Tahoma and the font size to be 100. And basically, all that I did was to choose a white color in this case. And maybe we can bring it somewhere here to the lower right side. So that's basically it for the text. And now I want to show you one option allowing you to create a banner where you might want to move the text from the right to the left side. And you could do so by introducing another layer, which in this case would just be a color layer. So therefore, again, we can choose this little button here to create a new item, just like we've done with the adjustment layer. But in this case, what we want to do is create a color matte. Of course, again, we'll stick with the settings choose, Okay? And we want to make it black. For now. We can just leave this for color matte as it will just be an example. And I want to add this color matte layer to our sequence. Just come here to the very top to create a fifth video track. And now you can already see that if I enlarge and our area here on our fifth video track, this layer has been added with basically it will just make the whole sequence black for this moment in time. Now what we want to do is select this layer and first of all, deactivate our uniform scale for this layer. Now, what this will mean is that we can now scale in x as well as Y dimension. And of course, what we want to do to create a banner is scale this one down in the y position, meaning we want to scale the heat off this layer. So we bring this one down to maybe about 15%. Just choose 15. And then for the position, we just want to move the y position and bring it above our text. And then of course, we want to change the color matte here with our text. So basically now this is just an example. But let's bring, of course, the color matte here below our texts. Then we want to select both of those layers, move it, move them to the very start. Also let them end. You're directly above our transition. And here we go. And we have this nice little banner, which we can of course, further enhanced by choosing it and maybe bringing down the opacity to about, let's say 60%. Then also again, bringing down the position a little more. And now what you can see is this nice little banners still allowing us to see through and check out the whole image. And of course, what we can do is start animating the position of this text element here. So maybe what we want to do is come back to our very first frame. Choosing the stopwatch here than moving this one in terms of its x position to the right side. By the way, you can make fast movements by hitting the shift button. Then bringing it to the right side. Then move forward maybe let's say about eight frames to about here, and then bring this one into the scene. Let's say to the position of the trim here. Then move forward some more frames to about here. Further move it in its x value to the left side, but really slowing down. Then to the very end of this one, very quickly, leave the scene to the left side. Let's bring it back one frame to see where we currently are. So move it outside of the scene to the left side. Just like this. Alright, so now let's check what we just created. Click it one more time. And I think it's looking quite nice already. Now, it might be that there is a little bounce-back effect if you are recreating this tutorial when the text is flying and fast and then here at this moment is slowing down. It might be that the textbook fly back to the right side just a little bit. And this will be because Adobe Premiere Pro will try to solve these keyframes in an intelligent way and recreate a sort of intelligent way of demonstrating the keyframes or the movement of those key frames. And if the texts were flying very fast and then slowing down, it might be that it starts to bounce back just a little bit. And this is because of the way those key frames will be interpreted. So to get rid of this little movement which might be appearing, if you are just recreating this tutorial, what you need to do is select all those keyframes. So maybe select just one, then hit Control a to activate all of those keyframes. Then right-click the keyframe and choose Spatial Interpolation and deactivated from a Bezier. But start really activating the linear option. Now this will really make sure that the movement will be linearly done from key-frame, key-frame. And definitely no bounce-back effect, then we'll start to appear. So we play this one more time. And basically by introducing a color matt, you have one way of creating such a banner. But in this case, what we want to do now is start to create an element. An element which will be very similar to what I've shown you at the beginning. And this is just to add a nice little rectangle here on the left side in the color of our trim. And then also have a rectangle here behind the text element. And therefore, we don't need this column at anymore, and we will just select it and choose to delete it. I just wanted to show you that you can also create such calorimeter and e.g. create banners or maybe some elements to show subtitles. Or also maybe if you want to show your name here on the upper left side, maybe add just the calorimeter here on the upper left side behind your texts. Of course, you are free to create whatever you want. But in this case, we want to animate this graphics element here. Right now is consisting only of the texts, but we want to now add two rectangles. So first of all, with this one selected, let's choose the Pen tool that you can see here. And if you press it for a longer time, you will have those three options here. And we of course want to now choose the rectangle tool. And we will begin by adding a small little rectangle here on the left side, just like this. And as Adobe Premier Pro will remember what you did last time, you created such an element. This is why, because the color is already chosen to be in the color of the trend. But of course, it's very easy for you. You just choose the picker here and pick the tram, which I won't do in this moment because again, with this little yellow mouse, in fact, it will definitely decide for a very different color than what the term actually is. So stick with the color that has already been chosen. So this will be our rectangle to the left side of this element. And now we want to add another rectangle here and place it behind our texts, maybe just like this. And now of course, what we need to do is change the position of this second shape we just created and move it to position number three. So bring it behind our text, as well as behind this rectangle here on the left. And then what we want to do is choose the fill color to be black. And lower this one down in terms of its opacity to maybe, let's say 60%. Basically that's the element I just created. Let's one more time. Choose the text, maybe move it down just a little bit to about here. And now I think it's looking like the element we have just seen in the preview. And what is also very nice is that the keyframes we have added before will be affected for the whole element. So therefore, as we have animated the element as a whole and the two shapes will be placed inside the element. This means that all the keyframes, of course, start to move the rectangles as well. And I think you're at the beginning. As we have enlarged our elements to the left side, we need to adjust the exposition just a little bit to bring it outside of the image. And now let's check this one out by playing with the spacebar. I think this is looking quite nice for the very first sequence we're just creating. But I actually don't want the element to disappear here at the very end. So therefore, we'll take the last keyframe deleted and move the third key frame to the very end so that the element will just fly in and slow down and start to disappear here with our transitional effect. We play this one more time. And that's basically it for this section. Now, in the next video, we want to get a little more advanced and use this rectangle as a cursor tidal effect. And therefore use this rectangle to move along above our texts and thereby introducing the text itself with just this little element in the color of our trap. Now, if this sounds a little difficult than Don't worry, we'll do so in the very next video. 15. Advanced text animation: So this is what we are currently looking at. And this is how we'd like it to look at the end of the segment. So we really want to use this brown rectangle at the beginning, sort of a cursor effect revealing our text. And therefore we need to dive a little deeper into different text as well as shape options and combine the shapes created to be able to make this one work as sort of a cursor effect and thereby reveal our Milan 22 text. So let's go ahead and first of all, grip this element that I just created and deleted. And again begin with what we have just managed to create in the last video. So first of all, let's select the elements. And again, of course here we have our different shapes. First of all, on top, shape number one will be the bar here at the left, our cursor. Then of course we have the text element. And in third position behind our text and behind our brown bar, we have the second shape here, which is the rectangle that we have lowered in opacity. Now, first of all, we animated the position of the hole elements to bring it from the right side here into the scene and then moving out of the scene at the end or no, we deleted that one, but we kept it in the scene but just moved it a little more to the left side. Now, first of all, what we can also do is animate the position of each of those elements individually. Therefore, here on the left side, not only have the whole vector motion for the element, but you can also bring up e.g. our first shape. Open that one up and come down a little bit until you have the Transform options and can individually e.g. animate your exposition of this element. And you'll see that the brown bar will start to move individually. And that's what we are going to create in just a second because of course we want to bring the brown bar here from the right side of our text to the left side of our texts without moving the text and thereby revealing the text. So first of all, I will undo that one. Then what we need to do before we start to animate our brown bar here is to link the position of our second shape. So the rectangle here in the background with the lowered opacity to the position of our brown bar. And we do so by activating the shape, the second one. And then what we want to do is open up the responsive design position here on the right side. And then pin this one to our Shape 01. So the brown rectangle here on the left side. And then we need to select all of the different edges that we want to link. And in this case, we will just select the middle here to link all of the edges to the position data of our brown rectangle. And if I now again go back to this element here and start to animate the position. What you'll notice is that if I move the brown rectangle, then in the same matter, the element in the background, meaning the second shape, will also be moved to the left and to the right side. Now I'm going to undo that one again. And what we want to do now is also create a mask for our texts, which will be this rectangle here in the background. So only when this rectangle here, we'll cover the text. We want the text to be revealed. So what we need to do therefore is first of all, take our second shape, move it to the second position so above our text. And you'll notice that currently with the lower opacity, this one being that the text will get a little gray because of course, this second shape is now laying above our text element. And then we come down here to the lower side and choose Mask with shape. Then what we want to do is bring up the opacity to 100%. And then you'll see that the texts will now be fully revealed. But if we now again take our first shape, which is linked to the positional data of the rectangle here for our text. And we again move the individual position for this element. Then you'll start to notice that if I move this one to the right side, of course as well, the second shape will be moved and as this shape is a mask for our text, of course here on the left side of this bar, the texts will be invisible. So again, we bring this one further to the right side and then open it up to the left side to then reveal our text. One more time in some more words to make it very clear for you. First of all, we have the first shape here. What we did was to link the position of the first shape to the position of the second shape, meaning that everything we will do in terms of its position for the first shape will also have an effect on the second shape. And as the second shape here will be a rectangle right to the right side. And we'll also use that one in the second step as a mask for our text. This will mean that if we move the cursor to the right side above our text, but everything on the left side of this bar will be invisible for the texts because of course they are. The second shape won't be in place as this is just going to the right side of our cursor. Now all we need to do is basically just animate the position individually for the first shape. So therefore, we'll select that one, go to our very first frame. And let's maybe in the beginning, start to deactivate the positional data for the elements in total. Therefore, I just hit the stopwatch to deactivate it. This will delete all our keyframes we hit, okay, and what we wanna do is bring this one into the scene. Remember, with hitting the shift button, you can move a little faster. So there we are. And right now we won't have any movement here inside this element. And now what we wanna do is open the individual shapes. 01. It starts to animate the position of this one. So let's bring up our first keyframe. Move this one to the right size. Just outside of our scene like this. And then maybe we, we move forward couple of frames, let's say, to about 18 frames. And now we want to bring this one into the scene. So grab our position here and just move it to the left side to fully reveal our text. Now, let's play this one more time. This way we have created this nice little cursor revealing effect. And now we can also of course, go ahead and start to animate the position of the whole element again. And maybe we will do so, introduce a keyframe here at the start, and then move forward to just about here and bring this one a little more to the left side to add one more dynamic movement here. Then move this key frame right to the end of the element and make sure that it won't stop moving. And now let's play this one more time. Maybe we can even bring some more movement. So take this element, move it a little more to the left. Just like this. Should be okay, like this. Let's check it out one more time. And I think this is looking quite cool as a nice little cursor tidal effect. Of course, you're free to do further adjustments like e.g. you might also start to animate the opacity of this brown rectangle, this cursor to maybe bring this one up to 100% opacity, then lower down quickly to zero, bring it back to 100 to make it blink like a real cursor. But for now, the important things that I wanted to show you is that you are able to link different shapes to each other by using this responsive design option. You see here, you can also link each edge individually. And what you can also do is use e.g. shapes as a mask to reveal our texts. So that's the way that we have created a little more advanced text effect and thereby we can finish this section. And what we wanna do in the next section is sort of save everything we have done inside our very own graphics elements so that we can thereby apply this cursor tidal effect very easily to any of our future projects. So therefore, see you again in the next one. 16. Create and export an animation preset: So basically, all that we did in the last video was to sort of create our very own essential graphics element. And of course, you already know that we can not only edit this element, but we might also open up the browse tab here and directly starts to import pre-created elements like e.g. we might go ahead and search for title elements, then just browse the different ones provided here and maybe start to just take e.g. this modern type of element and directly import that one to our sequence. And in this case, we are unable to connect and find the font, which doesn't really matter because till this element will be imported. And then we can just go ahead and of course again, move the whole element, start individualizing our texts like e.g. we want to write Mulan 2000s 20 to change the episode texts for a short trip or something similar, and of course as well, can change the colors to fit better with our sequence. But basically, this is nothing less than just a combination of different shapes and text elements, just like we have created for our cursor tidal effect. And in contrast to just importing this pre-created element, we can also go ahead and save our own element, S, one element that we then want to make available here inside the browse tab. And we can do so by right-clicking this element and choose Export As Motion Graphics template. Now this we first of all save the project and then we can decide for a name. Maybe let's go ahead and name this one. Curves a title and I want to save on my local drive directly inside the course resources. So I will provide you with this preset that we are just going to create. Name. It curves a title and we hit, Okay. And then this will take a couple of seconds, but I think we will manage to stay live together here in the process of exporting this element. And there we are. And now if we open up the browse tab here, we can go ahead and start importing a motion graphics template with this little button here. And we want to choose our curves, a title here. Open it up. And you'll see that if we now start to search for that one, curves are. We'd see that here we have the cursor title element ready to be directly chosen and overtaken into our project, into our sequence. And then of course we can again select this one individually, change our texts as well as our shapes. But basically what we have done is we made this element available for future use a very, very easily here inside the templates tab. And this one curves or tidal effect will be the one that I will provide to you inside the course resources with a little more neutral color here. The light blue one, which basically is just the color here from all those elements of Premiere Pro. And I change the text to Premier Pro. But again, of course you can just take that element, mark the element, and change the text to whatever you want. So this is a way to just grip your very own presets. And it shows directly that it's kind of open source how to use the essential graphics tab, meaning that everyone basically can create their very own Essential Graphics. And you can also just import sources from other creators, presets that they have created. And that's what we want to cover in the next video. Meaning we want to see how we can import external sources in terms of Essential Graphics elements, but also in terms of labs. So color packages that you can directly import. 17. Envato Elements & import of Essential Graphics and LUTs: Alright, so this video will be all about imparting essential graphics elements, as well as so-called lookup tables from external sources to further enhance your very own projects and sequences. And therefore, I really won't get tired of mentioning a platform that I personally absolutely love to use. And that is the one that you can already see here, elements and bottle. Now, if you have already seen another one of my courses, then you might already know Envato Elements. This is basically a personal recommendation that I give in every single one of my courses. But again, I'm in no way an affiliate, meaning I won't have any profit if you decide to open up a subscription on this platform. Now we're absolutely love it because it has a very different categories to choose from and to enhance your projects. So e.g. you could bring up the presentation templates here and download some pre-created elements. For your PowerPoint presentations. You could use tons of different stock photos as well as videos. They'll have fonts as well as sound effects and even a music titles. And of course, also there's a folder or category here for different video templates in a lot of different software products such as Adobe After Effects, Premier Pro, apple Motion, Final Cut Pro, and DaVinci Resolve. Now before we dive deeper into this category, Let's quickly talk about the pricing, which currently will be €14.50 per month. Or you can also go ahead and start with a seven day free trial to use and browse through all of the different assets. And again, if you are a student and you will have some benefit, which in this case will be a 31% discount to all those prices. Now let's get back to the main page and open up the video templates for Premiere Pro. Now, maybe we want to go ahead and browse for thumb for some lower thirds elements, which will be sort of a banners that you could use that, uh, pretreated elements just the same way that we have just exported our very own curves, that title effect. So e.g. if you choose this package here that you could see in the preview, you will be provided with different MOG ART files, which will be motion graphics template files. And they can be imported, as already mentioned in the very same way as we have imported. Our very own occurs at title element. So e.g. you just browse those elements here if you want to go ahead and choose some neon elements, then here we have neon lower thirds and you'll just open up a product page, download from there or directly hit this little button to download such a package. You can already see that just for the lower thirds, concentrated on only Premier Pro, you'll have more than 2000 of those elements. And the great thing about this platform is that tons of elements will be added to day in and day out. I think more than 10,000 photos will be added per day so that every single day new content will be added to this platform. Now, you can not only e.g. it shows some graphics elements to download, but we could also do is go ahead and download some lab packages. So those are the so-called lookup tables, which will basically provides you with different packages to transfer your coloring. So here you see this one, e.g. in before and after. You have some warm lots and you have thousands of different templates to choose from. And basically, most of those packages will be able to be imported into Premier Pro, as you can see here with this little symbol there. So here again, you could just go ahead, hit on that page, hit the Download button, and choose to download such a large package. And I will now consider how to import first of all, the essential graphics element one more time. And then also quickly talk about the so-called labs packages. So therefore, let's get back to Premier Pro. And I've already shown you how you can import such graphics elements like our very own that we have exported. Again, of course, you just bring up this little button here on the lower right side. And then in my case, I want to open up my Premier Pro folder as I have e.g. downloaded this creative lower thirds. We've just seen on the Envato Elements page, bring up that folder, open up our MOFERT motion graphics template. And there we go and have all creative lower thirds. Bringing that one up. In this case, it's already existing. Let's override. And then I can search this one. And here we go and have our creative lower thirds ready to be directly imported onto our sequence. And in this case, as we've seen for the element, all the different elements will directly be available inside this element. And you can just de-select e.g. lower third number one and activate lower third number two. And then of course again, go ahead and individualize your text as well as all the colorings. So that's a way how to use an external graphics element. And now let's quickly consider how to. Import a so-called lot element. And therefore, we want to select our color correction adjustment layer. Then bring up the color tab here. And here inside the Lumetri color effect. In our basic correction menu, you can already see the Input LUT drop-down. So let's bring up that one and choose to browse. Now here I am already inside one of my loves folders. But for now let's get back to my Premier Pro folder. That's where I'm saving all my different elements. And I have one folder named lots with now three different packages. And let's bring up the ultra color package that I just downloaded from. And about two elements, dive deeper into the labs folder. And you can see that here we have a different categories such as e.g. cinematic labs, cool lots, people, pop product. And also we have a folder named urban. And now this might fit best to the sequence we are just creating. So let's open up the urban folder. And what you can see here are ten different cube files. Now, cube, this is because this will be a three-dimensional lattice. So basically there are two different categories, one dimensional as well as three-dimensional lattice. The three-dimensional alerts will have the ending cube, and that is the absolute standard to use. All those labs will be doing is basically just a series of mathematical operations to change and transfer your colors. Therefore, those lats are not limited to the use inside of e.g. Premier Pro, but they can also be used in other video editing software such as Adobe After Effects or Sony Vegas or whatever program you are using. So let's now go ahead, take the first one, open that one up and you'll see that the colors will be transferred in this way, which to be honest, is already looking very, very nice. But let's get back here. Choose Browse again, and the very same folder that we last chose will be opened up. And now Go ahead, take the second file. We have some different colors here. And that's the way how you might browse all the different color lots here. But for now I want to stick with the first fight as I think those colors were already looking quite nice. And therefore, let's get back to the editing tab. And as we have applied this one to the whole adjustment layer, you will of course see that all the colors will be changed for each individual clip. And it's already looking very, very nice for this Milan sequence. So in this video, you have seen first of all, the platform and B2 elements. Then I've shown to you one more time how you can download and import graphics elements and also how you can use labs provided by external sources to directly have a nice effect on your coloring inside the sequence you are just working on. So therefore, that's it for this video. And now we want to go ahead and start to export our sequence. We are satisfied with how this first video turned out. And now of course, we want to save this one to our local hard drive, and therefore we will get started first of all, in the next video, I will show you how you can save an image is still fire from this sequence. And then of course we want to go ahead and save this one and different video formats. 18. Export image file: So we have finished working on our sequence. And now of course, the next logical step would be to go ahead and export the sequence to save it onto our local hard drive. Now, before we start doing so, and then finally create a video file out of this. There also might be several reasons why we might want to decide an export, an image file of a certain frame of this to also save that one onto our hard drive. Like imagine e.g. we want to create a YouTube video, upload this video to YouTube than they are. Of course, we also have the option to upload our very own thumbnail. And if we move backwards a couple of frames like e.g. to this one here. Then we have our nice little text effects still in place, telling us what the video will be all about. We have the nice-looking tremor in the background. So maybe what we want to do is go ahead and save this frame here as an image. And the easiest option to do so would be to choose this little button telling us to export the frame. So let's just select that button and then we can choose a name for our file. So let's write something like Milan thumbnail. And for the format we want to stick with PNG because this will really give you the best results. But of course, you also have several other image file formats to choose from. And for the path inside my Premier Pro folder, I have created another project folder which will be Milan underscore 2022, and that's the location I want to use. So let's just choose, Okay, and if I open up that folder now of course, no surprise for you that inside that folder, what you will find is the image file that we have just exported. And this file will have the very same dimensions as the sequence that we are currently working in. Meaning that it will be 1920 times 1080 pixels. And the size of that image, in this case will be about ten, about two megabyte. So that's the file that we have just exported. And this could be used as a nice thumbnail for our YouTube video. Now, that's one way to export an image file by just using this little button here. But there's another way of exporting your file and that will be to directly use the Export window. Meaning if I choose File Export Media, then this will bring up the window that we will also use to export the sequence as a video file. But we might also choose the format to be an image, which in this case will be p and g. Now, if you choose PNG or other image formats in this scenario, then what you need to make sure is that you will really only export this one frame. So let's for now close this 11 more time. And the first option to make sure that you will really only export this frame would be to just shrink your in and out area to only this frame. So right now we have the whole sequence selected. But if we choose to move the endpoint and then 0 to move the outpoint, then now we really only concentrate on this one frame. And if we then again choose File, Export Media or use the shortcut Control M, then we now can select a name for our PNG file. So let's maybe write me land thumbnail. And what I also always make sure if I choose it this way is to finish this one with an, with an underscore because it will be added with running numbers. Meaning that of course, if you have several frames to be rendered, than it will be rendered in one image file per frame. So it would be Milan thumbnail underscore 0102 and so on. So let's go ahead and save it. And then we want to make sure to use the maximum render quality. Although this will be more important if we were to render as a video file, but still, I'll always make sure to have this one ticked and then choose Export. And now of course we have another file, edit here, which will be Milan thumbnail underscore one, which will be the running number for our very first frame, and in this case also the very last frame rendered. And to be honest to me, that's a little more convenient way to random my files because this really ensures me that that are rendered in the best settings possible. So normally, even if I render image files, I'll do so by opening up my export window. Now there's another way of making sure that you will really only render this frame. And therefore, you don't need to shrink your in and out points. But what you could also do is just open up that window again, File Export media, and then makes sure to de-select export as sequence. So therefore, even if you have many, many frames selected, only the current frame and time will really be rendered when choosing the format to be PNG. So those are the three options I wanted to show you how to export your file and save as a PNG file. Now we have our thumbnails set, and in the next video, Let's go ahead and save the sequence as a video. 19. Export video file: MP4: Alright, so in the last video, we have already exported an image file out of our sequence to maybe create a YouTube thumbnail. And now we want to continue and save the whole sequence as a video file. Generally spoken, I would really say that all you need to remember are only two different video formats. The first of those formats will be the one under consideration in this video, and that one will be our choice for Net, say, all the normal sequence is created like this MLN sequence. While the second format will give us some more options. Some are rendering possibilities, like to e.g. include the so-called alpha channel. But I'll talk about that one more in detail in the next section. For now, let's just make sure that we have the in and out points selected in a way that our whole sequence will be included. And then again, we want to bring up the Export window by choosing File Export Media. And the first thing we need to do, of course, is to change the format from an image file, a video file. And again, we have many of those to choose from, but the one that I definitely suggest using will be the H.264 format. Now, basically, H.264 is just the video codec used inside the MP4 container, meaning that the final fire will be an MP4 file and the codec used will be the H.264 codec. Codec will ensure two things for us. First of all, the Phi created will have a great quality. And secondly, the file size will definitely be acceptable. Now you might also choose some other video format, such as e.g. the AVI format, which will definitely also create a video of great quality. But this formats will also have fires that will get a very, very big in, let's say no time. Like in this case we have 14 s to render. And I'd really say that if you choose the AVI format than your file size might be 1 gb or even more. So. Therefore, let's get back to the H.264 video codec, which will by the way, also greatly work with platforms such as e.g. YouTube. And now let's consider some of those options offered here below our video format. Now first of all, what you might even do is add an effect here. After we have edited our video, like e.g. at another Lumetri color correction. But of course, that's what we're focused on in the editing time. So therefore, no need to. That's another effect here later on, but even that could be possible and you might just browse for those options to check for yourself. What you could also do is change some video settings, like e.g. the basic settings, meaning the width and the height of our video that we have selected inside the sequence settings. But of course, we want to stick with the full HD and as well, we want to have our frame rate stick to your width, 29 frames per second. But you might even change those later on in this little tab here. And you can also change the audio settings or add some captions. And what you might also do is choose to publish later on. So that means that if you want to render a fire and if that process is ready, then it will directly be published on platforms such as e.g. YouTube. But for now, all we want to do is to just save this file to our local hard drive. And of course we want the video as well as the audio material to be included. So we'll leave both of those buttons, you're ticked. And what I also always do is to choose to render in maximum quality to really make sure that we have the best file finally created. Now if we come down here inside the video tab, there's one thing that I quickly want to mention and that is the bit rate of our video. And in this case this will be ten as our target bit rate. And in most of the cases, you can just keep it as it is. And it sort of gives some information about how much details, how much information should be included in 1 s of video material. And this will also be dependent on the file size or on the width and height that are file will be created so on for k, the target bit rate should be higher than if we have a full HD video. Also, if you e.g. include, let's say a drone video short and for k that you render down to full HD. So your sequence will be created in full HD. Then this might be one of the rare situations where you might want to change the bit rate to make it a bit higher, to really make sure that still, after scaling down your drone shot, it will still be in great quality rendered. So that's just one thing that I wanted to mention. If in some cases your video doesn't look as nice, then you might want to change the bit rate and e.g. double this one to 20. But what you also need to see is that the file size will also be the double, like in this case 38 mb. So that's basically it for all the options here on the right side and here on the left side, you can make further adjustments in terms of the video in and out points that you want to be included, like e.g. here we have the in and out point that we have selected in our sequence. And the source range that we want to render will be exactly this sequence in art. But you could also grab the output here, move it further to the right side. And then your source range will directly change to accustom area that we have just created. Also, you could switch this up and render the work area or even the entire sequence. But we have chosen wisely our in and out point, and therefore we would want the sequence in our area to be rendered. So that's it for all the different settings, we will render an MP4 file, and now I will just choose this Export button. Okay, now we have started the encoding process and 40 s are remaining, and I think I will save you those seconds. So therefore, see you again after the process is finished. Alright, so S, the estimated rendering time, it was corrected several times to a lower number. I'd say 10 s after I finished the last video. Here I am again. And the sequence has already finished rendering. And the file size is also pretty much as estimated, about 19 megabyte. And now let's check out and play this sequence. Alright, so as you have seen, the video quality is really looking pretty nice. And the file size is definitely also acceptable. And that's why one more time, I'd really suggest using the H.264 format. Now still we will consider another format in the next video and why we will consider that one. I'll tell you in the next sequence. 20. Export video file: MOV: So in this section, I quickly want to mention another video format that I feel in some cases might be relevant and you definitely should know about. So for now, let's just imagine the scenario that we want to render only our title element, Milan 2000s 22. So we don't want to include the tram and the background yet still we want to be able to render this element in a way so that we can later on import that element back onto our project files. Maybe place it on the fifth video trachea, let's say at about 8 s. And then again, be able to see all that's happening behind that element, like these different MP4 files. So what we need to do first of all, of course, is to switch off the color correction adjustment layer, as well as the V1 video layer with all our different MP4 files. And now what we want to achieve is that this black area here around our title element will be rendered as transparent. And therefore we need to choose and switch to a different video format. Now before doing so, let's take the outpoint and shrink it right to the end of this title element. And now let's go ahead and choose File Export Media. Now here we are with the H.264 format from the last video. But for now what we want to choose is QuickTime. And this will create an MOV file, which basically is the standard file for Apple products. And also what we want to do is deactivate the export audio option because we really only want to concentrate on this title element of video effect. Now, we'll leave the range, of course, inside the in and out point. What we need to do in order to be able to render as transparent or to include the alpha channel will be to switch the video codec here and choose Animation. And if we scroll down further year into the video settings, then what we also need to change is the depth from eight bits per channel to eight bits per channel plus alpha. The alpha here will make sure that the black areas scene will be rendered as transparent. So let's quickly change the output name. Maybe two. Cursor effect. Choose to save inside our project folder, and then we want to export. Now this will only take a couple of seconds, so let's get through together. And there we are. Bring up our Milan folder and we have the cursor effect as the rendered video file inside our project. Now we will take that fire imparted back to our project data and choose the file and place it inside our video here, or inside our sequence. Let's say here later on. If we now activate the color correction as well as our V1 video track, then what you'll notice is that we see both the tidal effect here in the foreground, as well as behind this effect, our MP4 file. And this again is achieved by choosing to include the alpha channels. So that's an option which you might want to consider like e.g. if you have your own YouTube channel and you want to, at any point in your video include a subscribe button or a like button. Then this might be an option to render that file as an MOV file with transparent areas. And I think as I'm currently recording with OBS Studio, I even have some presets here. So maybe if I choose this button here, then you might be able to now see here on the left side an element that has been written out in exactly that way, which basically is only an MOV file concentrating on this Subscribe button. So that's why I was showing you the option to render as MOV file. And together with the MP4 file, those are the two files formats that I would consider for my projects. And now, to finalize this sequence, what we also want to consider in the next video will be to outsource your rendering processes to another program from Adobe, which will be this so-called Adobe Media Encoder. 21. Export video file: Adobe Media Encoder: Now this will be the last lecture of this section. And what we'd like to do again is to render our whole sequence. But in this case we want to outsource the process so that it's done in another program, which in this case will be the Adobe Media Encoder. Now before we start doing so, let's first of all select our MOV file with the cursor effect that we have just imported and deleted one from our sequence. And then we also want to grab our out point and move it back to its original place so that the whole sequence will be included. And then we can go ahead, use the shortcut Control M to open up the export window. And this might take a couple of seconds, but there we are, and I've already chosen the right format. In this case, we want to create an MP4 file. Now, let's quickly go ahead and change the output name to maybe something like Milan sequence a and E for Adobe Media Encoder. Then choose Save. And now the only difference is that at the bottom we don't want to hit the Export button, but we will choose q. Now in case your Adobe Media Encoder is not already opened up, then the process of hitting the Q button inside of Adobe Premiere Pro, we're directly initialized to start this program. But as I had, this program already opened, that's why it just switch windows. You can see that our file has been added to the queue. So we have chosen the format to be H.264 and our name will be Milan sequence AME and an MP4 file will be created. Now, the great thing about this Media Encoder is that you can just do your daily work, creates some projects, work on sequences inside of Adobe Premier Pro, but also create your compositions inside of Adobe After Effects. And then at the end of the day, when you maybe want to go to sleep, you have built your queue and you just hit this little green arrow here and all those different files will be rendered for you automatically. Also, what you can do is do some adjustments after you have sent those files to the Media Encoder, like e.g. if we now decide to not render and create an H.264 or an MP4 file, you could just open up this drop-down and maybe switch it up to create e.g. a. Quicktime file. Generally they are again, tons of different file formats to choose from. I think there are even more formats that inside of Adobe Premiere Pro, but in our case, we have wisely chosen the format to be H264. I just wanted to show you that you have a lot of different options. Also, you can change your bit rate and different other settings like the ratio and so on. So in general, I don't want to lose too many words about this Media Encoder. I've already mentioned that it will be included in the Creative Cloud. But in the Creative Cloud only, meaning that you cannot buy this program as an individual product, but it would really only be part of the creative cloud. That's why I'm using it. I really liked to use it because it simplifies a lot of processes. I can concentrate on working with my sequences. And at the end of the day, when I'm no longer at the PC or laptop, I'll just hit this little button to start rendering my cube. So that's it for this lecture and for this whole section, we have talked about many different things, many different rendering options have created our Milan sequence, and it's now we will finished working with the Moulin sequence and start from scratch with a nice and new project. Therefore, see you again in the next video. 22. What we're up to: Instagram Travel Reel: You've been introduced to the program Adobe Premiere Pro. And I've also given you a basic overview. You know how to create your sequences, how to add effects, and how to render your files. But now it's really time to move on and deal with some more advanced stuff, some new techniques as well as effects that so far haven't been mentioned in this course. And I want to do so in connection with our very own Instagram travel real that you can already see here, opened up inside the program. Now, the great thing about this will be that will be able to use licensed music directly from Instagram and still sync the video to the beat of the music. Now, to make it a little more clear, I've already connected my mobile phone and you should be able to see Just right now. So here I am inside the Instagram app and let's quickly take a look at the real that we're going to create together. They say one line. So that's why they say one line. You've got. That's fine. So as already mentioned, the music track is linked directly from Instagram, which of course has some advantages. Like first of all, you won't have any copyright issues. And secondly, your video, urea has a lot more potential to go viral if you use the music tracks directly linked from Instagram. Yet still, we will be able to combine this music track with our very own sound effects, like e.g. at the beginning, IF edit my own trailer voice. And at the end, I also added the sound of the quad bike. That is only one thing that we are going to cover in the next videos. For now, let's get back to Adobe Premier Pro so I can show you some more things that we are going to deal with. Now. First of all, I want to give you a quick digression on how to be able to use this music track from Instagram and still sync the video to the beat of the music. And then we want to continue and create our very own trailer voice. After that, we are going to deal with the video material. First of all, we want to give an optimized layout for upright videos, just like the one that you can already see here. And then we want to deal with some more advanced effects like time remapping, as you can see here. So the use of different speeds at different moments in time. And also I want to consider changing the colors of only some parts of an image, like e.g. with this image here, if you take a look at the heaven and I turn off this effect and you'll see that only the color of the heaven will be changed. So you'll already see that a lot of things are going on in the next videos, and therefore, let's waste no time and get started. 23. Digression: Sync Instagram Reels with licensed music in Premiere Pro: I want to start this series by showing you my routine of R. I'm finding inspiring music tracks directly inside the Instagram real section. Then save those tracks to start and create my own videos inside of Adobe Premiere Pro. And of course, sink the video to the beat of those music tracks and then upload the created reels back to Instagram and link the music tracks used. So therefore, just for a second, Let's again, I leave Adobe Premiere Pro and initialize my own mobile phone screen that you should be able to see just right now. So here I am on Instagram right now on my profile. And if I hit this little button in the middle, on the downside, then of course the real section will open up. And let's say this music tracks is inspiring us, so we want to save it and use it for a future real that we're going to create for ourselves. So all we need to do is come here to the lower left side. We have the track is playing and then decides to save this audio. And now in the next step, let's imagine that the real has already been created inside of a Premier Pro. I'm going to show you how to do that and sync it to the music later on. But for now, we are working with the already created video. What we need to do to upload this will be to open up our profile. And then here on the upper right side, there will be this little plus icon. And we're going to choose plus and want to create a real. And the first thing we wanna do now is switch this front camera here so that you won't see my ugly face. And then I'll open up this little button here on the lower left side to start and upload a video. And in this case, this video will be the created real without the music track used, meaning there will be sound effects, in this case, my own voice at the beginning, as well as the site of the quad bike at the end. But the trek won't be included. So we choose this one. Save one life. So that's why I traveled the world. And as already mentioned, that it's all you've got. This now is our created real, but without the final music track. So for now, what we want to add is the music track. So therefore we hit the music button here on the left side. And then we come to our saved files. And we might use the audio that we have just added, which is the original audio here on the top. So for now, this is not the video or the audio that we use to sync our real, which is, I think this one. But still the process is the very same. So for now, let's just stick with the audio that we just saved while browsing the real section. So we'll take this one. And then we choose Done and hit next. Well, for now of course, the only thing you are able to hear is the newly added music sound. And the sound that we have added for our real, for the original video. Now it's no longer hearable, meaning the sound of the chord as well as my own trailer voice. So we need to add that one. And for doing so, we will choose the music button here on top. And then we can, on the left side, activate the original audio, the camera audio, which is the audio from the original video. And we also want to lower a little bit the music track that we have. Just edit. Bring it down to about this value here. And now let's choose Done and listen to our video. One line. That's why I travel the world. One. So that's the way to combine both the original music file from Instagram, which of course, as I've already mentioned right now, is not the Father has been used to sync this video, but it's the same process. And combine that with our original sound effects, which in this case will be the trailer voice, as well as the sound of the quad bike at the end. And if we now at next and published, we are really on the safe side, meaning we won't have any copyright issues as this track is originally linked from Instagram. Which will by the way, also dramatically increase your chance of going viral if you are choosing a track that has already been played millions of times. So the only question that's still left open is how we can create a real in Premier Pro. Sunk the video clips to the beat of the music track from Instagram and then finally, render the whole file without even including the music track. And the answer on how we do that is very simple, which is basically just to come back here on my mobile phone, open up the audio again where we have all our saved files so that I'm just ready to play the file that we have just found on the Instagram Rios. And then let's get back to Adobe Premier Pro. And all we need to do now is start a record with the track that we will then start playing and record with the microphone that I'm currently also using to record the course. Now, before we will do so, let's quickly mute all the other audio tracks so that we don't get disturbed. And let's one more time I bring up the options here for the voice-over record. Although I have made my preferences to choose the microphone that I'm currently using for this course. Sometimes it gets messed up. So therefore, I want to make sure and open up the voice of a record settings. Here we are for the sauce with this microphone that I'm currently using. What I could also go for the laptop microphone, but the quality will be a little better with this USB microphone. Now, although the quality won't be as important as we will just use this trick to really be able to sync the video to the beat of the music by having a look at the waveform here. And then finally, we will mute that track so the quality won't really matter. But still let's go ahead and start the record. A counter three-to-one were starts when the counter hits zero. I will also play that file from my mobile and start recording. So there we are and we edit the music track to our A3 audio track inside of Adobe Premiere Pro. So now we can continue and take the waveform of this trig to start answering our video clips to the beat of the music trick. And then later on when we're done with the Instagram real, all we need to do is just mute this original audio track. Some UTA three audio tracks. Bring back all our other tracks so that we can hear the sound of e.g. our quote here at the end and then render this video. Then we'll continue as I've shown to you at the beginning of this video. So you just combine this video with its own sound with the music track directly linked from Instagram. So I hope this process got clear for you. That's the way I'm doing it. And now let's get started with the Instagram real inside of Adobe Premiere Pro and check out some nice effects and techniques. 24. Turn your own words into a Trailer Voice and save your own audio presets: So here we are inside a new end empty project. And really other added so far was to just take the course resources or better said, the fourth formula from the course resources with all the different files from Mexico and directly import those materials to our project files. So inside this folder, you will find some drone shots as well as different GoPro clips and the flag of Mexico. So basically just all the different files that are used to create the Instagram real. Also, there will be an audio file, which unfortunately cannot be an original music track directly from Instagram. Because of course I cannot download the material from Instagram and provide it to you. So therefore, I just chose this track to be a no copyright sound. But still I think we managed to create a nice real in-sync to this music file. Also are already chose this file to create a new sequence out of it. Meaning, I scroll down here inside the project files, selected the audio file, and then right-clicked and show us new sequence from clip. Now let's maybe begin by renaming the sequence. So hit the enter button and let's write Instagram real, because this will be the sequence that we'll be working on. Now let's begin by having a look at our music file. Okay, So this will create a different vibe, some Latin beats, but I think it fits very well to what we are going to create with all those Mexico clips. So what we want to do in this video will be to create our very own cinematic trailer voice. So maybe we want to add and combine this music track with an inspirational centers on why you need to travel the world. So therefore, what we want to do is hit the record button again and I will give it a little sentence here directly with my microphone. Before doing so, I want to mute my laptop so that I won't get disturbed. And now I'll hit the play button. Here are the microphone button and start recording a little sentence. So that's why my world. Alright, let's solo this track. I'm not sure if you were able to hear what. I just recall it because I'm muted the laptop, but let's bring it back in place. And now with this track soloed, Let's play what I just recorded. We've got one life. So that's why I travel the world. Okay, that's the voice that we want to use and now transferred to a sort of trailer voice. Before doing so, maybe let's see you that one in combination with the original music file. I already chose that one to be -12 decibel to lower it down a little bit. And now let's play both of those fights in combination. One line. So that's why. Alright, now the first thing we wanna do with this file selected is to just open up the Audio tab here and then give this sound a little preset here. Now you have different of those presets to choose from. And in our case, of course, it won't be a music track as well as it won't be a sound effects or an ambient sound, but it will be a dialogue or anything that's been placed or isn't. Combination of speech will be chosen to be dialogue. So therefore, let's go ahead and choose the dialogue preset. And we want to open up the different presets and choose this one to be balanced male voice. Now again, I solo this track and let's see the difference. We've got one life. So that's why I travel the world. And I think it's definitely noticeable that this already sounds a little bit better and definitely more clear. And now what we need to do in order to create a cinematic trailer voice will be to add some effects. Therefore, I'll switch back to the editing tab as you've already known, or you've already seen that I will add all those different effects directly here on the lower left side. Now we need to add two effects. The first of those effects will create our reverb, and the second effect will sort of deepen our voice. Therefore, let's bring up the effects. Of course, in our case, it will be audio effects. And first of all, let's bring up the reverb folder and add the studio Reverb. So just as for the video files as well, we just take that effect and place it onto our audio source. And now we should already be able to hear a difference because the studio Reverb will be placed with a standard settings. So let's have a look at that one. We've got one life. So that's why I travel the world. And you can already hear that some reverb has been added, but now we want to bring up the custom setups. So hit this little edit button here. And for the presets, we want to change this one to a great hall. Now this will definitely dramatically change what you are hearing. Let's have another look. We've got one life. So that's why I travel the world. And basically we want to leave most of those settings just as they are, like the diffusion as well as the width and so on. All we want to change are just the two values inside the output level. So first of all, let's increase the drive value to 100%. And then we also want to lower the wet value to, let's say, 20 per cent. And we can also do so by directly choosing the percentage number, changing it to whatever we like. So in this case 20 per cent. And now let's listen to this one more time. We've got one life. So that's why I travel the world. And I think this already sounds very nice in terms of the reverb. So we are done with this first effect, and now let's add a second effect. And this effect can be found in the time and pitch folder and will be the pitch shifter effect. So again, let's take that effect, place it directly onto our audio file. And then we again want to bring up the custom setup options. Now here we have two different values to change inside the pitch transpose. Let's begin with the semitones. And if I lower this value to, let's say about minus two, I'm already quite sure that my voice will be a lot to D, but let's listen to this and see what we have created. We've got one life. So that's why a trivial the world. Okay, this sounds more like a horror or science fiction movie than an Instagram Reels. So therefore, let's maybe bring the semitones back to minus one and again, have a taste of what we have edit. We've got one life. So that's why I travel the world. And I think this already sounds quite nice. Now, still you can make more detailed adjustments by changing the sense value. Basically, one semitone is equal to 100 cents. So therefore, take a look at the ratio which now is 0.9, 439. And if I bring back the semitones to zero and then move down the sense to -100. Then again we will arrive at the ratio 0.9, 439. Now, I think the voice was a little too deep, so therefore, let's maybe increase the sense to about, let's say -70. And again, play this one more time. We've got one life. So that's why I travel the world. And I think this sounds like a very nice cinematic trailer voice that we have just created. Now, let's hear this one in combination with our original music track. One line. So that's why a trip. Let's maybe increase the level of this music track just a little bit at about two and listen to this one more time. We've got one line. So that's why I travel the world. And then I think we have created a very nice audio file for our Instagram, real. So still I think there are a lot of different situations and different projects. We're such a trailer voice might be added. So let's just imagine we are creating a cinematic title sequence and we want to spice up the sequence with our own voice in the background. So therefore, what we are going to do in the last minutes of this video will be to save everything that we've done so far as a preset that we can then use in future projects in just a matter of seconds. So therefore, with our audio source selected, what we wanna do is bring up the effects that we've added. In this case, the studio reverb, as well as the pitch shifter. Remember, you can select several effects by using the Control button. And then we want to save those effects as a preset. So right-click and choose Save Preset. And maybe let's give it a name such as trailer voice. And then we want to save this as a preset. Now here, forgone, this is the German word for presets. I don't know why it's written in German, but what you'll see is that the trailer voice has been added. And for now, let's come back to our project files. And I've already placed another audio file there, which will be the epic audio MP3. And I place and take that one to create a new sequence. Before playing that one, I lower the level for you to, let's say about -12 and -15. And let's listen to this file. So this is definitely a very different dynamic, but let's maybe again at our very own words and then apply the preset that we have just created. So therefore, again, I switch off the sound from my laptop for a second and then start to record a little speech. Once, once a ton of time in a world, world beyond your nation. Now, let's have a look at that one and listen to it one time before applying the effect. Once upon a time in a world beyond imagination. And then we want to sync it to the music, Let's say at about here. And we want to apply the preset that we have just created. So again, let's open up the effects and take our trailer voice, place it onto the audio source. And then let's see here what we have spoken once upon a time in a world beyond imagination. Now let's see both in combination. Once upon a time. In the world, beyond imagination. I think it fits a little better here at this moment in time. And also maybe if I continue with this one, maybe what I'll do is make a little cut here. At this moment. Take that one and move it to the next moment of the music just right here. And now again, let's listen to this. Once upon a time. In the world, you want imagination. And I think there's already sounds very nice. I have a lot of thoughts in my head how I'd continue with creating a little silly metric title sequence for this sound. But that's it for this video. We have added our own voice and changed it to cinematic trailer voice. So that's it in terms of the audio production here for our Instagram real, of course, we will add the audio sound of the chord at the end. But for now, let's go ahead and continue with the video. 25. Save your own layout / workspace for upright videos: Now before we start arranging our video files, let's go ahead and optimize this work area for an upright video such as the Instagram real that we're going to create. So first of all, I want to open the sequence settings and change the frame size to an upright video. So let's choose 1080 pixels as the new width and 1920s as our new height. So that we'll be working in nine to 16 and then we want to choose, Okay, now this will be the new preview area offered. And it's very easy to notice that a lot of plays on the left as well as on the right side, gets wasted. So what we want to do here is grab the whole preview area and move it over to the right side with our left mouse button pressed until this little green rectangle will arrive. And then we want to let go so that the whole area will be moved over to the right side. Now let's do some place is left over here on the left as well as on the right side. So what we wanna do is take the left border and move it further over to the right side so that we can really concentrate on only this preview area. Now of course, what we also need to adjust are the different windows here at the bottom. And the most important thing will be that of course we'll have enough space for our timeline. So first of all, let's take the level here, move it over to the right side, make it very small. And then let's also take the project files here, move them over a little bit more to the left side and do the very same for our tools. They don't need too much rays. So that again, now we have enough space to really concentrate working on our timeline. This of course, apart from the preview area, is the most important windows. So that's why we want to have a lot of space here for being able to work inside this area. Now, I'm also using an ultra wide screen, and I feel that's really the optimal choice to work inside of Adobe Premier Pro. But in this case, I'm recording in full HD. This will be the screen to be, but I think that's still, there'll be enough space to work inside this timeline area. Now what we want to do is save this layout for us to be able to just directly open it when we want to work for upright videos in the future. So therefore, what we want to choose is Window Workspaces save as new workspace. And in this case I want to save maybe Instagram layout, so choose, Okay. And in this case, my workspace is already existing, but I'll choose yes to replace it. So if we go back to the editing tab, then right now it will look like this because we have changed the editing tab to create this Instagram tab. But at any point in time, we can also just reset this editing tab, or basically just any tab by opening up Window workspaces and reset to saved layout. And now we're back to the basic editing layout. And still here if we open up this little window, we also have the Instagram layout directly available and this will change all the settings are the different windows so that we can now really focus on working with an upright video. Now, that's it for this video. And now, let's get started and create the Instagram real. 26. General preliminary work with scale and color correction for the Instagram Reel: So let's get started and I've used the last couple of minutes to pre-create the new Instagram real with the adjusted music file for myself. And therefore, let's have a look at what we're going to create together in the next videos. You've got one line. So let's go for it. We've got one line. So let's go for it. So I did make some adjustments in comparison to the first real, like e.g. here at the beginning, I edited this flickering flag. We're sort of fits the beat of the music. Also, I made some rearrangements of the clips, change the time remapping, but we'll manage our way together and create this Instagram real together from scratch. So therefore, let's now get back to Adobe Premiere Pro. And here we are inside our Instagram real sequence where currently only the music track, as well as our own voice change to a cinematic trailer voice have been edit. Now, before we start editing, Let's browse our project files and add some more structure inside those files. So first of all, here we have the Mexico folder with all the different video material. So what I wanna do is I want to rename this folder here To video material. And then I want to add another folder, which will be the folder for all of the different music files. So we have the audio as well as the epic audio MP3 files. And we want to place both of those files inside the music folder. And then I want to add one more folder, which will be the folder for our own voice records, and therefore, this will be the name. And let's directly choose the audio as well as the second one that we have created and place both of those files inside the voice folder. So now we have three different folders and two sequences that we have just created while the epic audio sequence will no longer be needed. And now let's go ahead and first of all, rearrange the voice here that will be matched with the music track that we have added to the sequence. And I've noticed that at the beginning, this track is not slow, but it will get even better here, let's say at about ten or 12 s. So let's listen to the track one more time at the beginning. And then here there will be some more Drive. So let's listen to that also one more time. So what I wanna do is I want to start our Instagram real, let's say at about somewhere here. This may be worth just about perfect because there was this little flickering sound that we might use to add the Mexican flag. So therefore, let's use the razor tool and cut our clip at this moment here, and then grab the first part and delete it. Move over our trachea to the beginning. And let's now check if this track fits our own voice. So that's why I travel the world. Move it over maybe just a little bit to the right side. We've got one line. So that's why a trauma one. That was just a little bit too much here when the bead sold off accelerates, we want this already to be ended. So therefore, I think it's perfect just like this. Let's do it one more time. Alright, so this looks perfect so far. And now let's go ahead and add our clips. And there's one way that I like to use for that, to have a good overview of all the clips that we might use. And that is to just grab all the different video materials. So let's take all the different files inside this folder, except our Mexican flag here. So we'll choose to mark our first clip. And then with Control Shift selected, I want to also select the last clip here so that all the different clips in-between will be selected. And then we're just choose those clips and move them over here to the right side. Also, we don't want to disturb the music track here, so let's place them just like this. And now let's again get some more space for our timeline here. And this is one way of just dragging all the different files onto our sequence. When the whole Instagram real has already entered, the rear will be at about ten or 12 s. So here at the very end, it won't disturb our working area, but still we can manage and really browse all those different lips very, very fast. And now you can notice that, except from the very last clip with the quad bike, none of those clips has audio included, so that's where we want to delete. Audio tracks here. So what we want to do is select all of those clips except the last one. And then right-click and choose to unlink so that we'd be able to individually select the audio tracks here and then just delete those. As already mentioned, apart from the very last clip with our quad included. So that's one way of arranging your clips. As already mentioned, you can now very easily browse all those different clips. And now before arranging the different lips, I want to make sure that we have the right scale here for our Instagram real. So let's, let's just browse all the different clips, starting with this one here, we just select the clip, open up the effect controls, and there we have our scale. And let's now see if we can scale this down a little bit. And I think just about, let's say 90%. It should be well arranged. And now I do so for basically all the different lips so that I don't need to make any further adjustments later on when really adding those clips to our real. So bring the scale down to 90. 90 is the number to choose from, basically all those different files here. Let's see if we can get even smaller. But no, in this case, 90 as well. And now I do so for other different clips and then I'll be back with the next part. Alright, so I have selected all the individual eclipse and change the scale so where some clips could be scaled down to about 90%, some others needed to be scaled up to about 130%. And the most important thing, of course, is that we don't see any black bars here at the top as well as the bottom. And that will scale down your clips as much as possible. Now continuing on, there's another issue when changing from a wide original video to an upright video that we now want to create, which maybe that the object in focus is no longer really in place like e.g. here with our quad bike driver, you'll notice that he'll be very much at the right side. So what we want to also change as the next step will be the x position of our clip to bring back the object into the center of our clip. So this will be the next step for all the different clips here inside our timeline. Now, by the way, of course, this procedure only makes sense if you are sure that nearly all of those clips will be used in the final real or the final sequence that you are going to create. Of course, if you have thousands of different video materials here, and you only will decide to select ten of those clips for your final video, then you should not import all those different lips, meaning thousands of clips, and do those adjustments, adjustments in advance before then finally deciding to only take ten of those clips. But in this case, as I'm sure that nearly all of those, if not all of those clips where we used for our Instagram real, I like to do, let's say, easy stupid work in advance, and then start really working and arranging those clips later on. So the second step again, would be to just navigate through the different clips here and again play around with the X position to bring back the object into the center of our video. And then there's one final step that I'd like to do in advance when I'm sure that I'll be using all those clips here. And that is to do some basic color corrections. Like, let's maybe begin with this clip and the little turtle year or the big turtle in that case. But what we wanna do is open up the Color tab here and then do some basic corrections inside our Lumetri color effect. So for this one here, I think that we bring down the temperature to the max value of about -100. And then also let's browse all those different settings that we have here. Bring down the exposure a little bit, increase the contrast. And then let's see for the highlights here, maybe also add some highlights. Bring down the shadow value. And in that way, I will just quickly browse through all the different clips again and do some basic color corrections. And I think it's already looking a lot better right now. Let's see the before and after with our Lumetri color effect and without all our Lumetri color effect. So I think this looks a lot better. So as already mentioned, that's what I will do for all the different clips right now so that we have a basic setting made for all the different clips. Not the editing tab is the right one, but the Instagram to be the right one. And then when we have done so for all the individual fires, we are finished with our adjustments. Meaning we have now done three things. First of all, we have made sure that the scale fits the frame size of our Instagram upright video. Secondly, we have also changed the exposition so that the object will be right in shape and right in the center of our video. And lastly, we've also added some basic color corrections to create a basic setting for all the different video clips. So that's it for this lecture. And then we want to now continue and start arranging our clips inside the relevant area here at the beginning. So therefore it see you again in the next video. 27. Arrangement of clips Part 1: Mask & the Track Matte effect: So I have adjusted all the individual eclipse in terms of deposition as well as of course their are basic coloring. And I really have to say that I'm always fascinated by just how very quick changes can really affect the mood as well as the general look of every individual fire. Like e.g. take a look at this drone shots here on the right side, currently with the Lumetri color effect activated. And if I now deactivate this effect, then you can really easily notice that the changes are quite dramatic. Although I have taken only, let's say 10 s to do those basic corrections. So as already mentioned, I've done so for all the individual eclipse. And now we are well-prepared to start rearranging the clips and sync to the beat of the music. Now, before really kicking it off and starts to bring those clips into the relevant area here at the beginning, Let's maybe just quickly browse through the different clips so that we will then be able to save some time later on when we directly know which clip might fit best at which point in time. So starting with our first drone shot, this is just a clip where basically the direction of the camera will move upward. And then at the end, also the drug will start to fly forward. Then here, continuing as the second clip, which is basically just a vertical view of the beach. You have already seen that one. Then we have a third clip where we will fly at very low height and just above this little boat here. And then following is a fourth drone shot, which is a quite long video in this case, where we will fly above this boat here. And then at the end, I think, also move upward with our drone to have a nice little view here of the Mexican jungle. So let's see what we can extract from that clip later on, because I've already said it's quite long. And we have one more drone shot. I think. There it is. Where someone has jumping into the water and also the drone then is lifting upwards to the Mexican Jenga, right in the middle of nowhere, to be honest. Okay. And then we also have some GoPro videos like this one here where people are playing football at the beach. I think this one fits very well to the general vibe that we want to create with our Instagram real, although the goalkeeper seems to be quite desperate. But still I think we will definitely include this clip into our sequence. And then we have the second drone shot here, which is one of the newest seven wonders of the world, the Chichen Itza. So definitely we should not leave out that one as well. Then we have one more shot here of a beach or of a beach bar here at the background. And now we have two shots underwater. First one here with this little fish in four groups. And the second one you have already seen that we have the turtle. I think I need to move that one a little bit to the right side to be honest. And maybe a little more. 600s should dwell. Okay? And finally here at the end we have the chord clip, which will also be the end of our Instagram real s there we have some audio material included. So now as we have an overview about all these different clips, Let's start sinking and creating our Instagram real. So therefore, we'll switch back to the very beginning. Want to hear what the music will be all about at the beginning. We've got one life. Of course, before doing so, I need to unmute this track. We've got one line. Okay, and there you have this vibrant little start of the music. So what we wanna do is add the Mexican flag and sort of switch it on and off and create this little flickering effect. So, but first of all, let's see which drone shot we can place in the background. Because I'm to be honest, a friend of starting from cry from quite far away, meaning we want to start with a drone shot in this case. And maybe let's take this one here and place it directly as our first shot. So regret that one. Move it back to the start of course. And then we want to zoom in here. And let's make a cut of this clip when the flickering effect is over. So let's play that one more time. Zoom in just a little bit. Okay, I need to zoom in some more to see whether the effect will be over. And I think it's at this point already. But I want to listen one more time. Okay? This would be the point where the effect should already be finished. So we want to hit C to do a cut at this point. And now let's import the Mexican flag from our project files. So we'll open the project data here and inside our video material, there will have the Mexican flag. We'll take that one, place it above our drone shot here on our V3 video track. And now I also want to do the cut here at the end of this effect of the vibrant music and then take the right part and deleted from our sequence. Now, generally I don't want to show the Mexican flag and full opacity. Opacity, meaning I will select this Mexican flag here, then open up, of course, the effect controls and bring up the opacity and change that value to, let's say 70%. Now, what we could do to create a flickering effect would be to use keyframes here and switch from 7020 per cent and back to sovereignty. But we're going to create that effect in another way by basically just ending this little element here and bringing it back, ending it again, bringing it back. And we'll see about that one in just a couple of seconds. But for now, let's just switch off the keyframes here, because we can really stick with 70%. But what we'd like to do here is shrink and limit our drone shot to just the Mexican flag area here. Now there are several ways to do so. The easiest one, the most intuitive one would be to mark, to select our drone shot here. And then we'll have our motion options. And what we want to do here is bring up the opacity and choose the create four-point polygon mask or create a general mask here. So either just choose this or this button here. But for now let's bring up a rectangle. And then you can already see that our shot will be limited to this area. And all we need to do is just grab this one here, move it over to the right side, and grab each of those edges here to just fit our Mexican flag. So this would be one way to limit our drone shot in the background to this Mexican flag. But in this case, I want to show you another way which is to use an effect for that one. So therefore, again, I want to undo the last steps to delete the mask again, or I can just select that mask and hit Delete. There we are back with our original shot. So with our drone shot selected, what I wanna do is bring up the effects tab and then close our color correction folder and open the folder. And inside that folder, we'll have the so-called Track Matte key. Now we choose this effect here and place it onto our drone shot. And then let's open up the Effect Options here. And now what we wanna do is we want to choose met for our drone shot. So in this case, we will choose our V3 video layer. So if we switch the mat to video three, then what that will do is limit the view of our drone shot too. The alpha channel of this Mexican flag here. And right now it has been darkened a little bit, which is because the Mexican flag has been lowered in terms of its opacity. So let's just bring the opacity back to 100 per cent. As you now see that the dimensions are the view of our drone shot has been limited to our Mexican flag. And now of course, what has happened is that we can no longer see the Mexican flag itself. So what we need to do is just add another video track. At tracks. Let's Plays one video track here, choose, Okay. And we want to duplicate or a Mexican flag either by copying and pasting or what we can also do is select the pattern and choose our Mexican flag and move it upward. And we have edit a copy of that one. And if we again select the upper Mexican flag and lower the opacity to 70%. Then you'll see that we have created the very same effect as we have done with the mask before. And now let's go on and create the flickering effect. So what we'd like to do in this case is just move forward frame by frame and shrink the Mexican flag to just one frame. And then take that element again, copy it by using the Alt button to create another copy of that one. Leave out one frame. Move the copy to the third frame, create another copy, move it to the fifth frame and maybe one more copy here to the seventh frame. Now let's see what we have created by playing it along with our music track. We've got maybe one more time. We've gone. And I think this is exactly the effect that we want to achieve. We have the flickering Mexican flag here. And at the moment where the flickering is over, we also want to enlarge the whole shot to the full image size. So we have seen two different methods allowing us to shrink our drone shot to the dimension of the Mexican flag. The first method was to just apply a mask here inside the effect controls. And the second one was to use another effect, which will be the Track Matte key effect. And this effect, of course, is not limited to, let's say, easy shapes such as this rectangle here for the Mexican flag. But you can basically use any graphics element as well as any layer that you'd like to apply as your mat. So e.g. if we come forward a little bit to this drone shot, and then we'll just quickly add a text element. Let's say M xc for Mexico. And let's make that one a little bigger to have a nice view. Move it here maybe to the middle of the shot. Then we can of course, also take that element as our channel where we want the drone shots to get through. So therefore, let's take the Track Matte effect very quickly here. Move down, copy this effect, place it onto the second part of the drone shot. And then we have again our V3, the selected met. So therefore, this texts element will decide what will get through and what we can see from this drone shot. And then of course we can also start animating, Let's say e.g. the scale of that element to create a very nice transition, e.g. where you might introduce your drone shot just like this. And then you have your MHC or whatever you want to introduce. So you can of course also use this track matte effect as a transition. And basically there are no limitations for whatever you want to create. But for now, that's it for this video, we have started with our Instagram real created this nice little flickering effect, and let's now continue with the next one. 28. Time Remapping / Speed Ramping explained: Along with our already well-known method, Let's now continue arranging the different video files to the beat of our music track. And therefore, I want to switch back to the beginning of this sequence one more time, then use the space bar to play the trick again and find the next appropriate moment where we'd like this second drone shots to finally end. We've got one line. Let's listen to that one more time. We've got one line. And I think this should be the right moment where we want to make the switch to the next shot. So let's zoom in there to see if we have really selected the exact correct frame. And following along our waveform, I think this is the frame to choose. So therefore, we can now make the switch to the eraser tool. Make a cut at this moment, choose the right side and of course, delete the side. And then we also want to do the very same for our mexico texts year, which was just an example used for the treatment effect from the last video. And now let's go ahead and zoom out here, flight over to the right side where we have placed our original shots. And maybe now we want to continue with this drone shot number three, which is basically just a layover off the boat here. So let's select that clip, zoom out a little more and take the clip, move it over to the left side. So that will start to fly over back to our relevant area where we are creating the real. And now let's place this video just byte here and select a moment in time at about here so that when we are going to zoom back, we were really zoomed just around that moment. Now again, now we need to listen to the music track to see how much time we have for this third drone shot on online. And I think it's easy to notice that this will be a nice moment where we can make the next switch. So therefore, we don't have too much time for this third drone shot. And that's why now we need to concentrate on the relevant area, the relevant moment of the shot that we really liked to have included in our Instagram, real. And I think in this case it will be the very beginning because here we have the boat still in place while at the end, we have already flown over the board. So therefore, that's really concentrate on the beginning of the shot and start the short directly in the first frame. Now what we can also do to maybe include a little more, is switched to the Rate Stretch tool, either by this little button here or by using the shortcut R. And then select the right end of this shot and start to speed up that shot just a little bit. Let's say too just about here. So that we are going to play, let's say at about 150 to 160% of speed. And then we have already chosen the frame where we would like to end this shot, which will be just right here. So again, we'd want to choose the razor tool and make a cut at this moment, select the right side and hit delete. So in this course, you've already learned how to adjust the speed of basically any element in selection, either by opening up the Rate Stretch tool with this little button here on the left side or with a shortcut R. And directly grip your clip to make the changes and have your percentage of speed inside these little brackets. Just like we've done with the third drone shot some seconds ago. Or what you could also always do is just right-click in your clip and open up the speed duration settings and manually make your changes directly inside this percentage value. Now, in both cases, of course, the speed will be changed linearly and evenly for the whole duration of the clip. Meaning that the shot will be played at 157% at the beginning of the shot as well as in the middle and of course also at the end. Now, there's another concept allowing us to make some more dynamic changes. And this is the concept of the so-called Time remapping or speed ramping. In order to better introduce you to this concept, I have already imported another file, which in this case will be a rally car. So here we have the rally dot MOV file, and let's now go ahead, take that file and create a new sequence out of that clip. For now to have a better overview, let's switch back for the editing tab, because this is a white video. And let's mute the audio because we really only want to concentrate on the video material. So let's play what we are seeing here and then introduce the concept of time remapping. Alright, so far, nothing really spectacular is happening is just the rally car passing the camera that has been placed here in this shot. Now what we wanna do, first of all, is we'd like to have some more space for this video sequence here are for this video trick. So therefore, what we can do is either coming here to the very top of the V0, V1 video track and then enlarging the size here. Or we can also double-click here to give us some more space. And you can also, if we double-click again, use the old pattern and your mouse wheel with this video track here. To create some more space for the video track. Now, in any of those cases, what you'll start to notice, first of all, is a little preview image and also this little white line here. And in the standard case, this white line represents the opacity of our shot. So right now we are working with 100% opacity, but we can also take this line here and lower the opacity. You'll see the value here written in gray. Let's say two at about 50 per cent. And let go here and you'll see that the opacity has changed. And now of course the opacity has changed for the whole duration of our shot. But what we can also do is directly introduce keyframes here inside the preview area of this shot. And that's done by using the Control button. So if I press Control, you'll see how the cursor will switch. And I quote e.g. add a keyframe at this moment here by clicking on the white line. And let's say we want to add another keyframe at this moment. So again, hit the Control button, add another keyframe. And now we have added two keyframes. And then we can select e.g. this keyframe here, move it upward. And in this way, we have created a ram. The change over time here for the opacity, our rally car. So here we are in 50% opacity. And then moving forward, we will introduce more and more opacity until at this moment, we'll finish with, I think, about 80 to 90% opacity. So as already mentioned, the standard case will be that this line will represent the opacity. But for now let's undo the last steps, move it back to 100% opacity. And what we can do now is switch what we'd like to be shown here inside this video trick. So therefore we right-click the clip, come down to the very last option, which is show clip keyframes. And then we want to switch to time remapping speed. Now, in this case, it might be hidden behind myself as I'm recording this course. Therefore, I tell it to you one more time. Choose Show Clip Keyframes, time remapping and speed. And you'll see that here it has been switched. And now again we have a white line, but in this case, it won't represent the opacity, but the playing speed of our video clip. So maybe let's find some relevant moments of this shot. So here the car is outside of the scene, and then it comes into the scene. So maybe let's make a keyframe at this moment here. So again, choose Control and click at this moment onto the line. And then let's move forward a couple of frames to, let's say at about here. And we want to make another keyframe there. And then the car will leave the scene. Now, let's zoom into that sequence just a little bit more. And what we wanna do now is slowed down this clip here inside the first and second keyframe. So when the car would really be in the center of the scene. So therefore, we will take this line, lower it and you'll see that the percentage will move down and this will be the percentage of speed. Let's maybe lower that one to let say, 30%. And to make it even more clear, let's take all those moments here on the left side of the first keyframe and speeding them up. And of course, what this will lead to is that all the key frames will move to the left side as we will fasten up our clip. And therefore, of course, need less time to come to this moment here. So we maybe want to choose, let's say 180 per cent. And also we want to move up to speed here, behind or after our second key frame. And this will of course, also shorten the time of our clip and should be fine like this. And now let's play the whole scene one time so that you'll notice what we have currently created. When the car is coming into the scene, we have lowered the speed to about 30%. And here at the end we have speed and the whole scene up. So we're playing around with different speed. But the thing is, all that we've done so far could easily also be created by just cutting our Eclipse. If we make a cut at this moment with the razor tool and another cut at this moment. And we choose the speed for the first part to be 180, for the second part would be 30. And for the third part to be 180 per cent, then we would have achieved the very same. But there's another great advantage of the time remapping concept and that is that we can also adjust the edges here. So right now, we directly fall from 180 per cent of speed down to 30%. But what we can do now, if we zoom into this a little bit, we can just grab this point here, then move it over to the right side so that we will create this nice little dynamic here, falling down from 180 per cent of speed down to 30% of speed. Not in one frame, but over a time of, let's say, two or three frames. And we want to do the very same year at the end. So therefore, let's just take this moment and move over the frame to the right side to also add this nice dynamic. And we can make it look even better and completely get rid of the edges here by choosing this little blue dots directly below our keyframe. To then sort of creates a curve instead of this line from the slope to the fast speed. I hope you can see what I'm currently creating with my left mouse button pressed and move this over to the left side to then create this nice dynamic curve here for the transition part from the slow, too fast speed. Now, let's move back to the beginning and do the very same there. So I want to zoom out for a second. Move over to this moment, zoom in again, then select this point here to activate the keyframe. And then directly below this key frame, you'll see the small blue button here. Take that one, move it over to the right side to change this linear line towards sort of nice curve for the transition from the fast to the slow speed. Now let's play the whole clip one more time to see what we have so far created. And I think this looks really, really nice with our car flying into the scene quite fast and then slowing down here dynamically and leaving the scene pretty fast again at the end. So this is the concept of time remapping. We are now able to really adjust frame-by-frame with any individual speed and any individual transition that we'd like to add. And now we want to use this concept to also make a transition from one video clip to another by e.g. speeding up the first clip, then moving over to the second clip, again taken over the adjusted speed. So coming into the second clip, we have higher speed and then slowing down by the concept of time remapping to be back at normal speed. So that's what we're going to cover in the next section. 29. Arrangement of clips Part 2: Time Remapping transition: With our concept of time remapping in mind, let's now go ahead and add the next two video clips to our Instagram real sequence. So we'll open up the sequence. And first of all, I want to switch back to the Instagram layer that we have created by choosing this little button here so that we will really have the perfect view for our upright video. And let's now go ahead and listen to the music track again and see where we can add the next two video files. So that's one. Listen to that one more time. So that's why I think this would be a nice moment where we want to end the next drone shot. And then we'll continue with another one that we are going to end just about here. So let's maybe see which clips we might want to use to add the time remapping concepts. So therefore, I want to zoom out one more time. And let's see which shots we have. So this will be the first drone shot. I'll show you another effect with that one later on. Then we have drone shot number four. And for this shot, we sort of have a lot of time before finally arriving here at the board. So maybe this will be a nice shot for the second one with our time remapping concept, meaning that we are going to fly in very fast, let's say like about 500 or 600 per cent of speed. And then we want to slow down when the boat is finally in-focus. So what we need is one more clip for the first one to first of all, play a normal speed and then start to speed up to also about 500 to 600%. And I think therefore we might really well use this drone shot here where someone has jumping into the water. We're going to play that enormous speed. And then you're at the end. When we are moving upward above the jungle, we're going to speed that up and then move over to drone shot number four also start to play the one at high-speed and finally slowing down to normal speed. So let's go ahead and start with the first chart. First, of course, and this will be the fifth one. So we'll take that, move it over to the left side until arriving here in our relevant area. And then I want to pick this moment in time so that, again, zoom around that moment. And let's listen one more time to see how much time we have for that shot. So that's why the trouble. Here is the moment where the music starts to Flickr and I want to make the transition. So all in all, we don't have too much time. It will be just about this frame where we already want to make the change. So therefore, let's first of all move this clip to the emptier and see if we can generally cut some frames here on the left side of the chart. And maybe we want to start just about here. So there we want to make the cut. And now let's go ahead and create some more space here inside this shot to be able to readjust the time. So therefore, I want to double-click. And now I can see already the white line here, which currently is representing the opacity. So what I wanna do again is right-click the shot and come down to the very bottom. Choose to show Clip Keyframes and switch this one to time remapping speed. So as already mentioned, the moment where we want to make this way, which I think was just about here. I listened to that one more time to be sure. So that's why the triple loop. Alright, so it's at this moment, so 323, we are going to remember that one. And then of course, we need to now again, a lot of time, let's say At about this moment is where we want to make the switch and definitely speed up our clips. So therefore, I use Control click to create a keyframe here. And then we want to move the right side here to really speed it up to, let's say, about 500 per cent. And you already can see how the whole clip will be shortened because of course, I'll play it at a much higher speeds. So therefore, the end will be taken over to the left side. And let's see now as 323, we have already flying over here above the jungle. So I think that's a very nice way to end this shot. So therefore, let's go ahead and take the right end here and move it over this moment in time. Now again, we want to readjust the transitional area here between the normal and the highest speed. So therefore, we will take this little point. And let's zoom in even more. And we want to take this point, move it over to the right side. And then also take this little dot here to create the curve effect that I have just shown to you in our rarely car sequence. So this will be our first clip, starting with the normal speed. And then at this moment here, on out. The Jungle very, very fast. And now let's go ahead and continue with the next shot, which was a drone shot number four. So we go ahead and take that one. And also of course, move it over to the left side. For now, let's quickly change the position of drone shot number four and this one here at the very beginning. And then again, we want to take that shot and move it over to the left side to our relevant area. Now come back to the moment that we are currently working on. And let's listen to the music One more time to see where we want to make the switch. But I think it was at this moment here. Exactly. So we don't have too much time for this whole shot, which is a very long one. So therefore, what we first of all want to do is take this drone shot number four and see where we want to have our boat and focus or where the high-speed should definitely n. So here I'm already are still far away from the boat. And maybe it's just about this moment here or some frames earlier. Let's say here where we want to come back to normal speed. So what I'm going to do again is right-click this shot and choose Show Clip Keyframes, time remapping and speed again. And at this moment I want to create my keyframe. Then of course, I start now by speeding this clip up in the first time. So here on the left side, then continue my first shot with the high-speed blend over to the second one, also in high-speed and then slow down to normal speech at the end of this short. So we'll take the left side here. And maybe in this case we even want to bring it up to 600%. Just like this. And then again, what we want to do is consider the transitional area here. So therefore again, I want to zoom in at this point. Take it creates this linear fall down, and then also select the little dot here and create a nice little curve effect here, just like this. And now let's bring it over a little more to the left side. So we want to finish at this moment, I think it was one more time to make sure. Alright, so as this moment here, there we want the clip to already n. So therefore, we need to make a lot of space here at the very beginning, just about like, let's say here. Or maybe even some frames more should be well, like this. And then we want to move it over right to the end of that shot. Okay, maybe one or two frames more here. Let's say like this. And here we want the clip to them. Finally n, So we make a cut with the razor tool see, cut our drone shot at this moment, select the right side and choose to delete. So what we've done is created a transition with the time remapping effect one more time, we will start with this drone shot in normal speed. Someone's jumping into the water. Then finally we lift off and take very, very high-speed. Then we come into this shot also with high-speed, and finally slowed down when the boat is here in-focus. Alright, so the effect of time remapping really isn't the easiest thing to process for Adobe Premiere Pro. And that's why I chose to create a new in and out point to now be able to give you a preview of what we've created without any disturbance. That's why the travel the world. Let's check that out one more time. So that's why travel the world. And I really think we have created an isolated transition from our drone shot number five to our next shot, which has the drone shot number four by the use of speed ramping. So that's it for this section. And then we want to continue with the next video. 30. Arrangement of clips Part 3: Advanced color editing of subareas: So next step on our mission to create the Instagram travel real. And therefore, let's again continue by listening to the music track from this point on and find appropriate moments where we can make the switch to the next video clips. Let's listen to that one more time. Although to be honest, I already have an idea in mind on how we might continue here. So basically, I think that this will be the main moment in terms of the music. And therefore, I also want to give an impressive video file here. And what fits best, I think will be the Chichen Itza, new wonder of the world. So we'll continue with that one. And after that, we have a nice moment where we can quickly show two more scenes. And I think what will fit best at that moment will be to show the two underwater scenes. So that's how we are going to continue. By the way, you already know what this procedure. So by the way, if you are only interested in some new stuff, then you might switch the next two or 3 min because then we'll continue with another file where I want to show you some advanced coloring. But before doing so, let's add the three files that I've already mentioned. So we're going to start with Chichen Itza, which will be this one. So let's select the file again and move it over to the left side, right here to the end of our sequence or to the end of our Instagram, Trello urea so far. Let's zoom in here. And first of all, check where this monument will be best in place, which is maybe just about here. So this should be the beginning. And if we want to move it over right to the end, then listen again and see where we want to make the cut. I think it's just at this moment here. So I want to use the Razor Tool again, cut this one just there, and delete the right side. And now let's take maybe directly both of our underwater files. So GoPro number five as well as GoPro number six, select both of them. And again, move both files to the end of our sequence. And we want to zoom in again. And now let's listen one more time to see where we can make those quick changes here. I think I need to zoom in a little bit more. And this is the moment of the beginning that we've already created. And I think already at this moment, I want to make the switch to the next shot. So therefore, let's see where this fish here is perfectly in focus. And maybe we want the beginning to be just about here. So grab that one from the left side, move it over, and use the Razor Tool to cut here, then choose the right side, hit Delete. And also what we wanna do is click inside this space here also delete, delete the space to move over the next, next shot. And then again, Let's see how much time we have for that one. I think at this moment it should end. So therefore it, Let's see where the turtle will be perfectly in focus. We have a lot of camera movement. So therefore, let's maybe begin at this frame here. Move it over and then choose this frame here again, use the razor to omega cut, switch to the right side and delete that seed. Now let's play that one more time. Alright, so here I chose a false point. I think it's already at this point here where I want to make the switch. And then at this point I already want to blend over to the next shot. So I think it's better like this. Let's see that one more time. Yes, that's exactly the way I want it to be. So very quick. Underwater shots here and now let's continue with the next shot, which in this case, I think will be the shot at the beach where the kids are playing football. So I think it was this one, the first GoPro shot. Let's take that one and move it over right to the end of our sequence. And with this clip, I want to show you some advanced coloring options. Because if you here take a look at the heaven only then you will see that it sort of looks a little rainy, which doesn't really fit to the data that we want to create and the general mood of the sunny Mexico that yeah, we just want to show in this real. So what we're going to do now is basically change only the coloring of the heaven here. And before doing so, let's quickly cut this clip to see how much time we have. And I think here we want to make the transition. So let's see where this one will be. I think someone is doing a trick later on. So let's check out. Include that moment. There we go. So that's the moment where we'd like it to start. Make the cut, delete the first part, and move over the file right to the end of the last shot. And here's the moment where we'd like it to N. So again, use the razor tool and delete the right side. So what we wanna do now is first of all, create a copy of this GoPro shot to then be able to only adjust the coloring of the heaven in the copy that we will just create. So either choose Control C, Control V to create a copy or hit the button and then just move upward. This GoPro shot to our second video frame, or in this case, our third video track to create a copy. And with this one selected here, what we wanna do now is bring up the effect controls and start to create a mask. So we want to choose the free draw tool here for the upper GoPro shot. And in this case to be able to start outside of the frame, what I also want to do is change the zoom level here from fit through maybe 25%. Now, it doesn't have to be perfect, but let's just roughly tried to create a mask covering only the heaven of this scene. So therefore, we want to begin here at the left side, then create another point here, maybe at the building. Leave the left mouse button pressed to be able to create this little curve here. And then let's zoom in there one more time. Create our next point. Let's just roughly fly around the building here and zoom out again to 25 per cent. And then here outside of the scene, let's just continue with the mask until then finishing off. And really only include the heaven inside of that mask. And now if we want to go ahead with this GoPro shot selected, we already have added the Lumetri color effect for our basic color corrections. But let's now again open up the Color tab here to do some adjustments. And if we now e.g. switch the tint here, then you'll notice that really only the tint inside of our mask will change, which in this case of course, will only be the area for our heaven here. So what we want to do now is give this a little less rainy look and maybe at sort of a sunset impression there. So maybe let's switch the tint just a little bit and also increase the temperature here. And of course, you are very free to decide on how you want your changes to be. And of course you can make a lot of more adjustments like e.g. now, if we have created this little sunset effect, than what we might also do is create another mask here just for the ocean part to maybe also adjust the watercolor here, which might be a little more red in that case. But now it's just about the idea of how you can easily change some parts of your image to create a very different mood here. I think like this, it looks a lot better. Let's get back to our Instagram view here and then see what we have just created here. And I think it looks already very nice, like a really cool sunset here. And one more time here we have our new layer with the adjusted Heaven color. And if I switch off this layer maybe for a second, then you notice this was the original shot. Look in a bit rainy and cloudy there. And now with our color adjustments, it looks a lot better, like a really nice sunset here. And as already mentioned, you can of course change whatever area you want. In this case, it would be the heaven. You might as well also continue and adjust the color of the ocean only or maybe here the sand area. This was just to show you the basic idea of creating and changing some areas of your shot. And of course we can do so for basically any clip we like, like e.g. I. Can also imagine doing so for the heaven here of the Chichen Itza shots. Then of course we select the mask here just around the monument. Choose to heaven and maybe increase the white value to make the heaven a little brighter. And as already mentioned, you can do whatever you like. Of course it gets a lot easier if they haven't sort of stay still in the shot and isn't really moving. What you can also do if you have a video clip and the heaven or whatever you are trying to mask is moving, then you can as well animate the mask path. So choose to keyframe that one and of course follow along the mask for whatever area you are covering. So that's it for some more advanced color corrections here. We have adjusted the coloring here of the heaven for our beach shot here with the football scene. And now let's move along and continue with the next video. 31. Arrangement of clips Part 4: Final edits: So this will be the last part of our Instagram treble real serious. And therefore, let's go ahead and finalize the sequence by maybe adding one or two more original video files. And you already know the procedure, meaning we're going to play the music track to then have a look at where we can make some transitions to include one or two more original files. Let's listen one more time. I think here we have a nice chance to include one more video file with some steps or some cracks inside that file. Now what I'm precisely talking about, it will get very clear in just a matter of seconds. So therefore, let's quickly zoom out here, fly over to our arrangement of clips. And let's maybe consider this drone shot number one, where we basically have the vertical view of our beach. And at the end, we're also going to move forward here above the jungle. And I think we want to skip that part, so only consider the movement of the camera. So let's generally end this shot just right here. And then we want to take it and move it over here just to the end of the sequence that we are currently working on. Again, let's zoom in there. Then I want to listen to the music one more time because I think we could include two moments where we want to cut this shot here, then move forward a couple of frames. So we want to skip some frames from the shot. And then again continue with the very same drone shot. A thing at about this moment, meaning at 7 s and 15 frames, could be a nice moment where we want to sort of add a little crack in this drone shot. So first of all, let's skip the first frames of that shot in general, and let's maybe begin at this moment. Move it over to the left side. And then at 07:15, that's the mark. Remember, we want to make a cut here, so we'll select the eraser tool. Make a cut. Let's zoom in there a little more and see how long the drone shot will be in total. Alright, so let's maybe start and skip just about these frames here until at about that moment here. And we want to make another Cartier. Use the selection tool. Choose this middle part here, hit Delete. Also now a delete, the space in-between. So that's what we have created so far. Now we want to add one more step. And let's see in the music where this moment might be. And it's just about here. So there again, we want to use the razor tool and make a cut there and move forward a couple of frames to just about, let's say here. Then again, select the middle part, delete and also delete the space. So that's what we have created. And I think this is looking very nice and fits very well to the beat of the music. So again, let's see where we can finally end this first drone shot. And that was just at this moment. So here we want to again use the razor tool, of course, to make a Cartier. And then we want to blend over to our final clip, which will be the quad bike together with the sound from that bike. So here we have it. Let's select it, move it over to the end of our sequence. Again, zoom in there. And then also this clip is very long. So let's see. When we want to start it. Maybe just about here. Shrink the clip, move it over to the end. And then let's for a second, just a mute the sound of that one to here where we can finally end our whole sequence. I think it's about this moment here. So here we want to finally end the whole Instagram real and thereby again select the razor tool, make a cut there, and of course select the right side and delete it. So now let's see the sounds in combination. So far it sounds quite nice. But what we also want to do is first of all, introduce the sound of that quad bike with some keyframes. Let's come down here to the Audio Options. And we want to keyframe the levels. So at the beginning it should be, let's say -18. And then let's move forward. Some frames here we are at the eight second and eight frames. Mark. Maybe move forward six frames and bring this one up to, let's say minus four. I think in general it was quite large. So therefore, let's stay with minus four and play that one more time. So far, I think the sounds very nice. Alright, so we are done arranging all the different video clips to create our Instagram real and know what we'd like to do at the very end is at some general adjustments. And you already know how to do so. Meaning we want to select the project area and then choose File, New Adjustment Layer. Let's hit Okay, and directly take that layer to place it here on top on our V4 video trick. And then of course we want to grab the right end and large that layer to cover the whole sequence. And then let's maybe choose the Chichen Itza monument. And with that one in view, Let's select the adjustment layer, move over to the color tab, and now do some more adjustments. Now, apart from the basic corrections that we have already added to each individual clip, Let's now maybe move down to the creative options here and add a general look for our whole sequence. And in this case, I don't want to add an external look that I have imported, but what I want to use are just some or any of these preset that has already been added by Adobe Premiere Pro. So maybe let's move down here and try the SL gold, orange. That's a little bit too hard in my opinion. So maybe the Gold Rush HDR is already looking very nice. So let's stick with that one. Move back to the editing tab, or in this case to our special Instagram view. And let's see for some other clips, if this looks quite nice. So maybe with this drone shot, but I think the colors are really looking great. And that's a nice Instagram real with a great vibe that we now would like to render. One more thing I want to add before then really rendering that one. And that is a transition to finalize this shot. So therefore, let's quickly bring up the effects tab here and then open up the video transitions and maybe add a Zoom here at the very end of that quad bike shot. So therefore, let's open up the Zoom folder here and choose crosses. Zoom. Place that one on our GoPro shot here at the right side. And then what we definitely want to do is shorten the transition here to, let's say maybe five or six frames. So here we add frame number nine. So let's maybe choose frame number two or three, and then take that zoom transition, move it over here to this point so that we will be zooming out very quick here at the end and finalize our sequence. Now, let's see that one in motion one more time. I think this is looking very nice to end our whole Instagram travel real. So what I'm going to do now is choose this one to be my new outpoint. Then of course, move over to the very beginning for my employment and render the whole real that we have created inside the last videos, the last lectures. And then let's have a final look at what we have done and achieved together. We've got one line. So that's why I travel the world. We've got one line. So that's why I travel the world. Now, of course, as I've mentioned at the very beginning of this whole section, if you now want to go ahead and upload the real to Instagram and use the music directly from there. Then what you are going to do is just mute this track here. So just hit this little button and export the whole video with only our own voice, as well as the quad bike sound included. So in the last videos, you've gotten to know first of all, you can add a mask as well as the Track Matte effect to sort of create this little effect here at the beginning. Also, we've seen about the concept of time remapping and speed ramping. And we have even made some sky replacement by only really changing the colors of certain parts of an image. So therefore, I hope you learned something in the last videos. You liked this one to create our very own Instagram treble real. And now let's give it a check mark and continue with the next video. 32. EXTRA: Clip repository: In this as well as the next video, I just want to give you two very quick additions with regards to all that we did to finally create our Instagram, Trevor, real. And one thing that we did at the very beginning was to sort of create our own file repository of file storage here at the right side, far away from the relevant area that we then finally want to create. And then be able to directly switch and have a look at all the different files. Now of course, the conventional ways to have a look at those files would be to open up the video material folder and then e.g. a. Double-click this drone shot here. Analyzing the drone shot in the pre editing area, maybe already changed the in and out point and then go ahead import that file. Now I think it works a lot faster in this case if we will just take all the different shots. Because so far we already sure that we will use most of them and directly browse through the different shots here on the right side. Now, in this video, I want to show you another method allowing us to create a repository. We can also very quickly have a look at all the different files. For that one. Again, we'll open up our video material folder here. And then we want to select all the different MP4 files just like before. And what we wanna do now is not direct those files into our Instagram real sequence, but create a very own sequence as sort of our Phi repository. So I want to right-click those fires and choose New Sequence From Clip. And now let's directly go ahead and rename that one. And let's maybe write file storage here. And thereby will directly know that this sequence will be where we will place all the different clips. And of course now again, we can directly see those different files here. And maybe go ahead and choose the one that we'd like to introduce to our Instagram real sequence. So therefore inside the sequence, we don't need to move around here to the right side to grab the clip, then fly back to the relevant area. But instead, we want to switch to the file storage sequence. And then e.g. let's take this one here, copy it by Control C. Move back to the Instagram area and make sure that we have the right video track mark, like e.g. this one here. And then just paste those clips with using control V. Now in advance we can of course, again delete the audio track here, but that's basically all the same that we've already done for the Instagram real here at the very beginning on the right side. Now I just wanted to very quickly show you this method, also allowing us to create the repository. And now of course, it's your choice how you would treat the different clips. You can either do your pre editing here inside the upper left corner, or you might import your clips directly to your Instagram real sequence. Or you can of course, also create a very new sequence and have a look at the different files inside that sequence. So that's it for this video. And now let's move on and have another edition in the next one. 33. EXTRA: Quick sync to music: One more extra lesson, and this time it's all about speed sinking our video material to the beat of the music track. Now, therefore, I have already imported some example, a material like this, drums dot WAV audio file and some video material, which in this case are basically just all the different clips from Milan. So let's go ahead and take our audio file and create a new sequence out of that file. And before we really start to sink to that beat, let's first of all go ahead and listen to it one time. So I'll just lower the level and then we want to play this. So let's say that from this point on, we'd like to thank our video material to the beat of the music track. And what I can do now is just play this track one more time. And why playing? Use the shortcut M to add markers and relevant points in time where we then want to make our transitions from one clip to another. Let's do so. I'll use the space bar to play this and hit the shortcut M at relevant moments when playing the track. Okay, I think that's already enough. As an example, I've added five markers here. And then I want to move back with my current moment in time to just before the first marker. And then we're already done with pre editing our timeline area. And now what we also want to do is edit our video material. So let's first of all, maybe in this case, open up the assembly here and then move over to the video material folder by double-clicking. And in this case, I have already chosen the icon view, which gives us a little overview of what the clips will be about. And now first of all, we want to set the order that we'd like the different lips to be then later on automatically imported onto our sequence. And we will do so by simply renaming the clips. So therefore, maybe we want to begin with the Tramp lip here. So we just choose the clip enter and let's name it 11. And then maybe you want to continue with the massage, choose to clip. Let's name that one too. And maybe then following along in the cathedral clip number three. This will be Clip number four, and here we have Clip number five. Now one more thing we can also do is choosing an endpoint for our different clips. Meaning that e.g. at this first marker, this would be the very first frame that we'd like to include with our clip. So therefore, let's do that as an example here with our trunk lives. So I double-click that clip. It will open up here on the right side. And of course we don't want the first frames to be included when the trend is still far away. But let's maybe start at just this frame. So at this moment in time, I want to choose I, to create an implant. And that's what you could basically do now for all the different clips. So decide for different inputs. And then we are also finished pre editing the different clips here. Therefore, let's now move back to the editing area. And what we wanna do now is open up our video material folder. Select the five files we have just adjusted, and then choose this button here to automate, to sequence. And now we have some options to choose from. First of all, for the ordering, we want to use the sort order that we have just actively created by changing the names. And the way we want to place it is, of course, at the unnumbered markers that we have added insult to the beat of the music. And then one more thing that we also like to do is ignore the audio materials are really just import the video material from the different clips. If we have now chosen a point in time right before all the different markers, then now we can choose OK here. And you'll see that all the five sequences, 12345 will be edit and the transition will be just at the marker points that we have actively set. And what you can also see it with the trim. That of course, all those frames just before the end point won't be included. So that really at this point, just add our first marker. We will directly start with the end point. Now I think one clip has been edits or has been created in for K. I think it was this cathedral clip you can already see here because it's not fully in place. But just to be sure, let's select all those different clips. Right-click and choose scale to frame size. Then we are back with the Holocaust cathedral in place. And now we can go ahead and play what we have just created. That's really a very, very quick method to be able to adjust your video material to the beat of the music. I'd really say that it's a matter of seconds. In this case, it was a matter of minutes because I was already also explaining in the same time and sort of slowing down the whole process basically is very, very easy. You set your markers while playing the music track onetime, then do your pre adjustments maybe in the assembly area or by directly double-clicking here from project data. And then you just hit this little button and directly sync to the beat of the music track. So that's it for this extra lesson. And now let's really this whole section and see you again in the next video. 34. Image stabilization of shaky footage: Alright, in this as well as the next video, we want to first of all stabilize, shaky drone shot. And then secondly, what we'd also like to do is try to track an object with the help of Adobe Premiere Pro. So what you can already see here is one of the two files that are put together in the course resources, which is the video named shaky dot mp4. We'll take a look at that one in just a second. But what I also want to show you is what we're going to cover in the next section. And that will be the aim to track myself running from the right to the left side of the image. Then also duplicate myself several times and add another text element which altogether will be following the original image or the original person here running from the right to the left side of the frame. This will be the content of the next video. And now let's get back to our shaky video, which as I've already said, is just an original drone shot in best weather conditions where I'll be running through a frame. And as you can see here in the upper left to upper right corner, this shot is pretty shaky. So we want to get that one a little bit more stabilized with the help of an effect inside Premiere Pro. Now, the price you need to pay in order to get this shot more stabilized is that it will be a little bit zoomed in. And this is because of course, we need some space here at the sides to just stabilize the shot. But first things first, let's just apply the effect which will be here, of course, in the Effects tab, you'll open the video effects, the Distort folder. And there we sort of want to get rid of our distortion by using the Warp Stabilizer effect. So we'll take that one, grab it, and just add it to the shaky MP4 video. By the way, there will be a third video inside the course resources, which will be named stabilized dot mp4. And this basically is just the result of what we're going to do in this section by using the Warp Stabilizer effect. So here you can already see this effect working frame-by-frame. Currently we are at frame 45 from I think 200 and something frames, 241 frames. So we need to get this one a little bit more time. It's just analyzing right now, which is the first of two steps and the second step, the image will be stabilized frame by frame. So I think I'll say a few minutes, just 1 min remaining, but we'll see again when this effect is finished analyzing. So just a couple of frames remaining. And now the first step has been finished and we are inside the second step of stabilizing, which now also has been finished. So let's just take a look at the final result. I think this really looks amazing. A very, very smooth. And without the whole lot of shakiness that our original clip has shown. Now, maybe let's just compare the before and after shots. So therefore, I either hit Control C and Control V to create a copy. Or what I can also do is hit the Alt button and then just move this file to the right side to also create a copy of our shaky dot mp4 video and L4. The first one, what I wanna do is just either delete this effect or just turn it off. And let's take a look at the original file. So you can really see the whole lot of shakiness there. And now using the Warp Stabilizer effect, very, very smooth. And also what you can do is you have some options here inside this effect that you might want to change, change. But honestly, I never did so I never changed any of those standard settings here because I have so far been very satisfied with the results using those standard settings. But maybe you just want to change e.g. the result from a smooth motion to no motion. Just feel free to use this clip and try out for yourself with the different settings here inside this effect. And I also already mentioned that you hadn't need to give a little sacrifice in order to stabilize this shot. In this case, of course it is a zoom. So here you can already see that we scaled this one up to 111% because of course, we need to stabilize the shot in terms of x and y position as well as rotation. So therefore, we need some space here to the sides, which in this case will of course be invisible here outside the frame. But therefore, what we need to do is just scale this one, which will be automatically done by this effect. Maybe you also want to see this regarding the original file. So I can just move it up above our original file. And here you have the stabilized one. And if I turn off this layer here you have the original file and you see the scale that has been applied. But all in all, I think the result, as already mentioned, is pretty fine. Very, very shaky in its original, and very, very smooth using just this one, Warp Stabilizer effect. So that's it for this section. And now let's continue. Move on for the tracking of video. And you've already seen what we want to do, which will be a little bit more technical and therefore, I think the video will be a little longer, but the result, as you can see, I think, looks pretty interesting. So therefore, see you again in the next video. 35. Object tracking: So this is what we are trying to recreate in this video. And therefore, let's get started by again taking our original file at trekking dot mp4 and creating a new sequence out of that video. Now, I need to begin this segment with a little downside, which is that there is no possibility to do original or conventional object tracking inside Adobe Premier Pro. But in this video we will develop a way, an idea of a using the data from myself too, e.g. that texts fly along with this person or duplicate this person as you've seen in the preview tracking sequence here. But if you're more interested, the whole topic of object tracking as well as analyzing positional data in general. Then I'd like to refer to my course on Adobe After Effects, which has also already been published on this platform. There'll be a whole section covering just this topic, meaning that we want to analyze positional data at objects to existing scenes, but also remove objects from existing scenes. And to make it a little more clear, I brought a preview from just that section from the Adobe After Effects course that I'd like to show you at this point in time. So as I've already mentioned, this is just a summary from that one singers section from the course. And in general, one can really say that After Effects is a very advanced program allowing you to e.g. work in 3D space. Therefore, we will also have a section on creating our very own 3D mobile model that we want to let fly in space. Also, we are going to create our own car accident. Again, we want to animate a video to the beat of the music and many, many more. So feel free to watch the preview video from that course. And then of course, I'd be more than happy to welcome you and see you again in the Adobe After Effects course. But now, let's get back to Adobe Premiere Pro and our aim of using this data from the person here to let a text fly along with that person. And before we want to do that, what we want to do and start this one is create a new sequence and add a text to that sequence, and then import the whole sequence to this tracking sequence. So therefore we will choose file new sequence or use the shortcut Control N. And then we want to stick with the HDB settings. Ten ADP and 30 frames per second should be fine. Let's just directly rename that one, maybe two text element. Hit. Okay? And here we are inside a new and empty sequence. And what we want to do in this sequence is just at a very basic text here. I don't want to spend too much time on that one. Let's just open up the graphics tab here. Come down to the templates. And maybe at a very basic one like this one here, boat coming up. We're just take that and create a new video out of that graphic. Here we go with a small animation. And first of all, what we want to do is make it a little larger and also move it to the center here, or maybe a little bit more to the upper corner. And then I want the animation to appear from the center. So therefore, I move this point here, which will be the anchor point to the center of our texts. So now the animation really starts from the middle. And then of course I want to change the text itself. Maybe let's write something like distance h 0.0 km to give some information on the person running through the scene, which in this case hasn't been 8 km, but who will know? So therefore, let's just send other texts. And maybe what we can also do is add a line from here to the lower left corner, and that line then we'll follow the bag of the person later on. So therefore, we want to choose the pen tool, start our line maybe here, and finish that line, maybe about here. And then with this line selected, we want to deactivate the fill and activate the stroke and then make it a little thicker. Maybe to fit the thickness of this line here at the top as well as the line at the bottom. So maybe about six should be fine. And then as you've already seen that there is a small animation for the text or for the graphic. I think I have moved the anchor point of that one. So let's again take that anchor point to the center. Move the whole text a little bit. Then I want to animate the line that we just added also in a very basic way. So therefore, what we can do is just again, come back to our Editing Tab. Take the shape, which is this one here. Open it up and let's just animate e.g. the scale. So at this point here, the animation has been finished. So therefore, we want to create a keyframe there with 100 per cent of scale. Then come back to the beginning and scale it down to zero. So let's just see. And it should be fine like this. And maybe make the thickness a little lower to about five. And this looks fine for our purposes. So back to our tracking sequence. Let's just take that text element here and add it to our tracking sequence. Of course, this text right now is not moving at all apart from the general animation. And now we want to let this text go along with the person. Now first of all, I want to make the text a little longer to just fit the length of the trekking video. And therefore we come back to our text elements. Take the text, make it a little longer, go back to our tracking and just fit that text element to our tracking video. Now I've already mentioned that it's not possible to use original object tracking. And therefore, the first possibility that we want to use now is just do it manually by k, by creating some keyframes. So with our texts element selected, we want to open the motion data and just track the position. So hit the stopwatch, take that element and maybe also select the motion here so that it's a little more easy to just take that element and move it along with the person. Let's just look at the back of the person year and always make sure that the line will finish at the back of the person. And now, what I'm always doing this, I don't go forward frame by frame, but I start at the beginning, then move forward a lot of frames. Here we can still see the person alleged. Let's just take that element and place it here so that it still fits. And then what we've done is we've added a general movement here a long time with this text element, and now of course we need to readjust that more and more. So I always sort of split those areas here, come to the middle of two keyframes. And again, makes sure that the element will fit. And that's a way of sort of making sure that the whole element will be perfectly aligned with the person. Also, by the way, here you can see the whole path of our animated element that we just creating. And what I want to do now, and we'll skip for you is just add some more keyframes until this sequence here, we'll move along with the person. So see you again when I've finished doing so, I've added a couple of more keyframes to follow along with the person. And therefore, let's just check out the video of the current situation. Looking good. So far I'd say apart from here at the very end, it sort of seems as if the text is falling down, which doesn't really represent the movement of the person. Now, although the person has already been disappeared, I think it would be a lot more realistic if the texts were just continue its movement to the left side instead of sort of falling down at this moment in time. And I've already mentioned that here you can see the graph created by those keyframes. And now what we can do is just grab any point of that graph, like e.g. this one here. And just move those points. And if I move this point here a little upward to just continue the movement off the path to the left than this will prevent the texts from falling down. But instead, just continue the movement right to the left side until then at the end, leaving the image along with the person. So here maybe we need to adjust this keyframe to finally make this text disappeared to the left. And I think in this way we've created a nice little animation where the text will follow along with the person. And that's one way of sort of tracking an object. Which in this case, unfortunately it's the manual way. So we need to create those key frames all by ourselves. But that's the only possibility to make a whole sequence or even a text element follow along with an object you want to track. Now I will continue and show you another method that at least allows us to track parts of a video. And that's made possible by using masks. So what we want to do is select the tracking dot mp4 original fire, and then open up our opacity options and create a mask. So just hit this button here to create a new ellipse. And then first of all, we want to grab the whole ellipse and move it to cover the person. And then we wanna take each point of that mask and shrink the whole mask to cover only the upper body off the person because I think. That stands out a little bit better from the environment with that blue shirts. So maybe it's a little easier to follow along and to automatically track for Premiere Pro. And I think like this, it should be fine. And then we have some buttons here. And now what we want to do is use this button here to trek forward one frame and time. And you'll see that the mask will automatically follow along. And instead of hitting this button here, frame-by-frame, what we can also do is just hit play and then the mask will be tracked along with the video here. So you can see the progress. And now let's just wait a couple of seconds and then I'll be back with the trekked mask. There we are. And here you can see the mask will follow along nicely as long as the person is still inside the scene. Now, basically, this is also just a set of keyframes that has been created. But unfortunately we cannot use this data and e.g. a. Link this positional data or this mask path to this text element. This is possible inside of Adobe After Effects or one more time. If you're interested in this topic, then feel free to check out the course on After Effects. But what we want to do now is just use this mask here to duplicate myself and then change the color of the shirt. So first of all, we want to take the original file and duplicate that one by either using shortcuts Control C and Control V, or by using the Alt button. And that's the way I want to do it now to create a copy, then move the text element to the very top. And first of all, for the lower trachea, we want to get rid of our mask. So just select the mask and hit Delete. So now it will really look as if we're working with the original file. But the difference is that now we have access to the mask by using this trick here. So first of all, let's just deactivate the original file one more time. And then what I wanna do is enlarge this mask. So therefore we'll expand it, use the mask expansion so that we'll really cover the whole person, maybe like this. And then what I also want to do is give it a little bit more feathered, maybe like 15. And now it should be fine like this. So let's bring back in place our original file. And then if we move this one here in time, then of course, what you'll notice is that here two persons will start to appear inside the setting. Let's zoom in here a little bit and maybe give it a little less time like this. Here you can see two persons running inside this scene. And the second person, of course, is just this layer here with the mask where we have just added a little more time so that the person will be running from the right to the left side a little later in time. And of course, what we can do is just change this color by using an effect. So we'll open up the effects, video effects, and inside the color correction, you will find the change to color effect. Let's just grab that one. Edit to the scene. Open up the effect here, and choose a from a color that we want to change. Grab this tool here and just pick my shirt, which now seems to be orange. And I think that's because of this little yellow circle that you're seeing just to help you follow the mouse. So I will just deactivate that circle for a sec and then just grab this tool again. And this looks a little better. So the shirt is blue. And now let's pick a color where we want the shirt to be seen. Maybe you make a greenish it okay. And then I also want to change not on the, not only the hue but the hue and lightness, while the hue and saturation even better so that it really looks as if I'm running with a green shirt. Let's just create another copy by again Control C, control V, or using the Alt button. Move it down. Again. Give us some more time. Here. There we are with three persons and then maybe for this one, we have our effect here. And let's just pick another color here, maybe make it sort of orange. And then we are with three persons running through the scene here and also the text following our person. So I've shown you two methods. The first method, unfortunately, as already mentioned, has to be done manually, and the second method will give us a little possibility to use some data here and create copies of myself running through the scene. So that's it for this video and for this section. So in the first one, we have stabilized our shaky drone footage as seen. And now we have created this nice setting here out of myself running through the scene like this. And then we first of all added a text element done manually. And we've added two more copies of myself running through the scene. So that's it in terms of tracking objects and therefore see you again in the next video. 36. What we plan to do: Youtube Sports Intro: So this would be the last big project of this course. And what we'd like to create together is our very own YouTube channel intro. Now, first of all, I know that they are already a lot of pre-created elements and pre-created Premiere Pro projects with YouTube channel intros out there that you can basically just import and change to your own purposes to let say player, the boring way. But in this case, we really want to create the whole intro together from scratch. Now before I'll explain to you in detail what we're going to cover. Let's directly have a look at the final result. So our dear friend, the running rabbit, will take over in just a couple of seconds. But for now, let's quickly switch back to Premier Pro so you can have a look at the final project and how the different clips will be arranged. So in the next sections, we want to deal with overlay layers. We want to cover nests. Again, we want to create our very own text effect, just like the one you can see here for the V log text. So again, this won't be any precreated element, but we're really be built up together from zero. And also of course, all the different video material used here is again available inside the course resources. But in this case, we want to keep it as general as possible, meaning that e.g. this video clip can really easily be changed in the matter of just one single second. Also, at the end of this section, we want to directly link to Adobe After Effects to be able to import a composition from that program. So again, you'll see a lot of different things are on our agenda and therefore, let's waste no time and get started with the next video. 37. Nests as a superordinate arrangement of clips: So let's get started. And in this case, I want to get started by closing everything that I've painfully worked on in the last couple of hours. So therefore, let's choose our project, YouTube channel intro, right-click and close that project. So now let's go ahead and create a new project. Either choose file new project, or in this case, this window here has been a little faster. So therefore, I'll choose New Project. And we will name this one YouTube channel. Intro, then hit. Okay? And of course this new project will be created. And inside the project, we want to go ahead and begin as usual by directly importing our course resources. And in this case, first of all, I want to move back to folder number five with the running files. And I'll take both the stabilized a drone shot. So the result from our shaky drone shot, take that one as well as the tracking video and import both of those files into our project files. And then also I want to open up folder number six and tag all the different files from that folder, from file number one to our audio file and import all of those to our project files as well. Now, let's continue. And first of all, at some restructure here for our files. So we create a new folder, name that one video material. Then we want to take the stabilized the first, third, as well as the trekking MP4 file. And this one here, two point MP4. Take all those files and move them into the video material folder, create another folder called overlays. And of course, we'll take the first, second, and third overlay, move them into that folder. We speak about overlays later on. And we want to add one more folder, which will be audio. And we will place the sport intro MP3 file into that folder. And now let's continue to take the MP3 file and create a new sequence out of that file. Then directly take the sequence, move it out of all those folders. Rename the sequence, and let's name it. Gentle intro. So in our case, we have, I think five different video sources here that we'd like to include stabilized and before 123 as well as the trekking video. And I think it fits quite well. Here we want to bring up the first 1 s one, third, one, fourth one, and then blend over to the last video clip here, clip number five. So maybe let's directly have a look at the audio file that we are going to use for our YouTube channel intro. Alright, so now to have a better overview, let's bring up our video material inside the assembly here. Open up the video material folder and switch to the icon view. So now we can see what we're dealing with. I think This definitely should be the last clip, as with the warrior and background, it gives us a nice picture to reveal the logo of our YouTube channel. And maybe this one stabilized or MP3 or MP4 might be a nice shot to begin with. So we want to take that shot imported onto our sequence here. Before doing so, make sure that we only have the V1 selected here. So we really only want to import the video source placed at one inside the sequence. And now let's see if we can cut some frames here at the beginning of that shot. Maybe to just about here. Then move it to the very beginning. And we want to of course make the cut at this moment for this video are for this audio file. It's really very simple to see where we can make the cut and blend over to the next file. So here, switch to the Razor Tool, make your cut. And again select the right side, hit Delete. And what we wanna do now is use another concept that we so far haven't mentioned, which is the concept of putting this video file here inside another sequence and thereby create a nest. So we will select this clip and then right-click it and choose nest. And in this case we want to keep it as simple as possible. So therefore, let's directly rename that sequence two, 01 hit. Okay? And you'll see that here, our video file has been replaced with this newly created sequence 01. Yet still we are able to see the drone shot, which is of course because here inside the sequence will be placed our stabilized dot mp4 drone shot. Now to work with the concept of Nest has some general advantages. And the biggest, of course, is that we can work with several copies of this sequence, 01 at different effects. And then if we decide to later on change the original file used inside that sequence, we can easily do so just by opening up our sequence 01. Change the original file year and all that's been applied to that sequence will definitely be taken over the newly created file. Now this might sound a little difficult at this point in time, but I think it will be clear later on when we are going to do so and replace the file used here inside this nest or this newly created sequence. For now, let's just go ahead and import all the other files. And then for those files as well, put them into different nests. So maybe in this case we want to continue with our second shot, import it. And I think here we can really begin at the first frame of that shot. Make a cut at this moment again. See cut it. Selection tool and delete the right side. Then select that clip, right-click, choose nest. And let's send that 10 to hit. Okay? And we want to continue with this one here, also imported. Let's see if we can leave out some frames here at the beginning. Right shall be well, to begin just about here. So we shrink it from the left side and move it over. Let it end at this moment here. And then again, cut it from the right side and put it into an S, right-click, choose nest, and rename that 103. And here at the end of our YouTube channel intro, I want to switch it up just a little bit by quickly changing between clip number four and clip number five several times. So therefore, let's have a look at the music track at that moment one more time. And you'll notice that here the drumbeat sort of starts to kick off. And therefore we want to switch between clip number 4545 and do that maybe three or four times. So therefore, let's take the trekking dot mp4 and again, import that one onto our sequence. See again, if we can leave out some of the first frames here, maybe we want to begin just about here. So move it over here right to the end of that sequence. And then this will be the moment where the trekking dot mp4 should finally end. So again, use the Razor Tool, make a cut at this moment, default all of the right side here. And we want to also take the first one here and place it just above the tracking dot mp4 file. And now before we continue with it, with this one, Let's quickly take the trekking MP4, right-click and choose nest and place that inside our sequence 04. So let's see one more time where we should make the first switch to clip number five. I think it's just about exactly at this moment here where we want to make the switch. So let's check clip number one dot mp4, where we want to start off with that one. I think it's just at this frame. So we take that one, move it over to this moment. Let's zoom in there it just a little bit exactly at this moment, which we can see here at the waveform that we want to make the switch. And before we do so, let's again right-click that clip and place it into an S, which will be the sequence 05. So now, at this moment here we want to make the next switch back to clip number four. So we use the razor tool here to cut it there. Then colored here again, here, and here at the end one more time. And now we want to select the second part here, delete and the fourth part, and delete that one as well. So now we'll switch starting with the first row with the fourth clip here. Move over to number 524,524.5. So let's play that one time to see what we've created. Alright, so I think it looks quite nice like this and also works nice to the beat of the music. Here at the end, we'll move over here and reveal the wall where we then at the end one to show our logo. So I think that's the right clip to end our whole YouTube intro. And now with this selection or the way that we've cut this clip, I'll show you another advantage that I've already mentioned, but I think now it will get more clear of why the usage of such a nest. Here's a great advantage and really makes your life a lot easier. So imagine that now we'd like to switch this clip number five, but in this case, of course, we've used the clip here at the beginning, then use it another time. Here in the middle as well as here at the end. One last time. Now, if we'd like to change this clip in its original, then what we'd have to do was to replace this position as well as this and also the copy here at the end. But what we can do now by the usage of such a nest is just to open up the sequence here, double-click to open up sequence number five and e.g. we can then use this one here or any sequence that you have introduced or maybe created for yourself. We'll take that one, place it above the original file, and then let's make sure and also switch off the second file. Although of course we won't see it anyways. But still if we now move back to the channel intro, then you'll see that it has been replaced in all the different copies used here for sequence number 05. And therefore, the effect will still be in place. So therefore, really, I'd highly recommend using nests when creating your own sequence. To keep it really simple, I have a nice overview and be able to directly switch an original clip. Really just one single second. But for now, I want to delete this second one and come back to our original file. We are we crossing here from the left to the right side with the wall in the background. And now let's have a look at the arrangement that we created in this video. Alright, so that's basically it for this section. What's most important to me was that you got to know the concept of nests. I think, and I hope it got very clear for you. And therefore, we can finish this video and continue with the next one. 38. Individual coloring and new effects: We have arranged all of our clips and now we'd like to continue and add a special color scheme to our whole YouTube channel intro. And this color scheme, Of course, might e.g. fit the general color scheme of, let's say, your own YouTube channel. And when we finished doing so, then we also want to introduce some more effects that so far haven't been mentioned in this course. But for now, let's begin with the general adjustments. And when I mentioned General adjustments, you already know what's coming. In this case. Again, we want to open file new. Of course, with our project file selected File New and create a new adjustment layer. Choose OK here and will directly take that layer and place it here on V3 above all the other video files. Then of course we want to enlarge that layer to really cover the whole sequence. And with this layer selected, we want to do some color corrections now. But in this case, we don't want to open the color tab here and work inside the Lumetri color effect. But we want to apply another effect. So let's open up the effects tab here on the lower left side. Then open the video effects color correction folder. And let's take the tint effect. So we want to place that effect onto our adjustment layer. And first of all, this will have the results that all we can see, our only black and white colors. And this is because basically all the darker colors will be mapped to black and all the lighter colors will be mapped to y, or let's say gray colors only. Therefore, all the original colors will get lost. But in this case, we want to change this black and white value here to a color of, let's say, our own YouTube channel. And to make an example here, the color of our channel will be blue. So therefore we want to map black. Two, Let's choose here and come to the blue colors and maybe choose a dark blue just like this. Then we want to change the white color here. And also maybe choose a very light blue here. So that the whole color scheme from our YouTube channel intro will be about the color blue. Maybe we want to make it a little lighter here and a little clearer in blue, even just like that. And also what we'd like to add is maybe some contrasts. So therefore, let's open up the brightness and contrast. Take that one, also placed it onto our adjustment layer and increase the contrast to, let's say, maybe 50 for all of our clips. And I think this is already looking quite nice. So this should really well the general colors off our YouTube channel. So that's about it for the adjustment layer. And now let's go ahead and maybe add some more effects. So we want to begin with this first clip here with our little drone shot that has been stabilized. And the effect that I'd like to add now is the replicate effect. Of course, I can use the search bar here or open up the stylized folder inside the video effects. And then take the replicate effect and place it onto our first clip, or better set onto our first sequence here. Now, what you can do here inside this effect is choose account, which of course, will tell you how many times you want to repeat your image in x and y. So in this case we want to repeat two times an x and two times in y. And you can even move up this value up to 16 times to have a total of 256 repetitions of our original shot. And maybe let's take this counter here and start to animate it to give a nice beginning of our YouTube channel intro. So at the very first frame, you want to choose the count to be 16. So let's activate the stopwatch here. And then let's move forward maybe seven or eight frames and bring down this value to the lowest possible, which will be two. So let's see that in combination with our track. And I think this is a really nice introduction for our own intro. Alright, so we have replicated that 14 times in total. And now we wanna do it a little different here for the second shot because they are actually running here more on the left side. So I want to also use another effect, which in this case will be the transform effect. And this effect won't be placed inside the Transform folder, but it will be found inside the Distort folder. So let's take the transform effect here, place it onto the second sequence, and then open up our transform options here. And we want to move the x position to bring the person, in this case me here to the right side. Maybe what we wanna do is double the original value. So 960 times two will be 1920. So we're going to move over here to the right side. And now let's create a copy of that sequence. So choose the output turn, select your sequence, move it to V2. And we have created a copy. And now here for the one at the bottom, we want to deactivate the Transform effect that we're going to move back here to the left side. So that's the way how you can actually replicate in only the exposition. And now let's again apply the replicate effect just to the left side. Take that effect, place it here. The second sequence. And I think it's already looking quite nice. So we have basically four repetitions created inside is effect, but we can only see two of them. Because here on the right side, of course, this is where this sequence here, welcome to place. Now let's add one more effect, maybe for this sequence here. As there is a lot of space here at the bottom. Let's maybe go ahead and create a mirror effect, meaning that we want to replicate the legs of the runner here to this lower side of the file. So I think the effect isn't named morale. So let's move to the Transform folder here. Open up that folder and it will be the vertical flip effect. Of course it isn't named a mirror because we have to create the mirror effect for ourselves. With this effect, or we will do is just flip this image. So we therefore we take the effect, place it onto our sequence number three, and then again create a copy of this sequence. Thereby we will create the mirror effect for ourselves. Again, use the Alt button and move up the sequence. And for the lower sequence, we want to delete this effect. So with that one selected, delete the vertical flip. And here with the sequence on top, we now want to go ahead and create a quick mask here. So we choose this tool here, and then just roughly draw a mask to this area here with our running person. Let's zoom in a little bit to 25% and bring it back to fit. And let's now select the emotion years so that we can easily adjust the position, bring it down to, let's say at about here. And what we have to make sure is that the x value will be left unchanged, so 960. And now we also want to lower the opacity to make it look a little better. So let's first of all deactivate the stopwatch and then bring down this value to, let's say 70%. Now of course, feel free to play with the values here to maybe create an even better effect. But I think for this purpose here, it's already looking pretty nice, like a cool mirroring effect here. So I think that's it for this sequence, we have added some replication here at the very start, also some more replication, as well as some transform options here to move myself to the right side. So now let's see how we are currently doing and what's the actual state for our YouTube channel intro. Alright, that's it for this video. And in the next one, we'd really like to add some more dynamic by working with overlays. So we want to put another video here or another file above all the different sequences here to make it really look a lot better and very dynamic. So therefore, it see you again in the next one. 39. Overlays for even more dynamic: As already mentioned in the last video, we now want to add an overlay to the whole YouTube channel intro sequence. So therefore inside our project files, let's bring up the overlays folder and maybe directly take overlay number one, grab that file and drag it onto our sequence, but place it here at the right side so that it won't disturb anything that we've created so far. So let's first of all have a look at what this file is all about. Well, and as you can see, basically this file only show sort of a futuristic tunnel system. But we want to use this file to combine it with the intro that we've already created so far. Before we can start doing so, what we need to make sure is that this overlay will at least cover the whole frame size here. So therefore, we want to open up the options here and bring up the scale value to at least about 160. So it should be fine just like this. And now we want to take this overlay, move it to the very top. And then we can also directly move it to the left so that a new video track will automatically be added. And we have placed this overlay on V4. And then we can also shrink it to the end of our sequence. And if we now take a moment here where we have so far created the sequence, then what you'll of course notice is that all we so far see will be just this overlay because of course, this will be shown with 100% opacity. So therefore, any layer below won't be visible at all. But what we can do now to combine this overlay with anything that's laying below is activate a different blend mode here. Now, the blend mode that I always like to start with is the Linear Dodge here. And then you can already notice that this sort of creates the effect that I've shown to you in the preview for our YouTube channel intro course, you are free to choose whatever option you like. There are many different to choose from, and also many different effects that will be created when choosing any of those options. Like e.g. if I choose the saturation one here, then what you'll notice is that the blue colors from our adjustment layers, we're basically only get through in the extreme original colors of our tunnel system. I think it's really doesn't look too bad. Maybe we could even combine this one, this effect here, with some more layers. And of course, basically anything that you want to create is more or less limitless. Feel free to just browse through those different options here. But in my case, what I want to stick with is the Linear Dodge Add effect here. And then because I think it's a little too hard or too much of the tunnel system. What I'm still seeing, I can still go ahead and lower the opacity for that one to maybe 70 or even, let's say 40%. Maybe the color dodge itself looks a little better here. But I think it's already looking pretty nice in combination with the running clips here in the background, together with the blue color scheme for our YouTube channel. Now I want to play this one more time for you to see what we've created so far. And it might be a little difficult to render very quickly here for Premiere Pro. And that's why what I wanna do is choose the endpoint here and the odd point right at the end of our sequence. And I want to choose sequence, render in to out. Alright, so the outpoint area has been pre-rendered and that's why now I can show you the full preview without any disturbance. And I really think this is already looking like a very nice and dynamic YouTube channel intro for our very own sport channel. So that miss out. Running rabbit can grab all the subscribers that he definitely deserves. Now one more thing that I want to add is here at the very end, when later on I want to add the logo. What I want to do is lower the opacity of that tunnel system to zero. So therefore, maybe let's begin At this moment here and choose our adjustment layer. We don't want to choose the adjustment layer, sorry, you want to choose the overlay? Of course they are. We'll just select this value here for our opacity. Move it over the keyframe to just this frame. And then let's move forward. Just a couple of frames to add about here. Or maybe even some forams more and lower the opacity of that system to zero. So that finally here at the end, we'll really have a clear view of our YouTube logo. So one more thing that I want to show to you at the end of this video, and that is that even very different. Original files are original overlays will still create very cool and dynamic effects. So therefore, let's go ahead take the second overlay that I added inside the course materials. Again, drag that one into our sequence and have a look at the file that we have just added. Now this is even a less spectacular, but basically just a segment of color blocks here. But for now, let's still replace our overlay number one with this overlay number to file and play around with some different blend modes here. So maybe we want to choose linear burn here. Definitely too hard. Overlay. Already looking quite nice. I think. Color Dodge also looking very nice. But I think the overlay effect that I've just added is already looking very nice. And if I now again lower the opacity to let say maybe 50, then I also think that this effect pretty much fits very well. First of all, to all those replications here and adds up to the whole dynamic of our sporty YouTube channel. Now again, I want to choose sequence, render into art to give you one more impression of this second overlay. Also looking quite nice. I think, although I would definitely speed up the playtime of this second overlay layer. Yet still, you are of course, free to choose whichever way you like. I have also included another file inside the course resources. So you might want to choose that one. Or of course, you can import your own overlay or even create your very own overlay. Now, in this case, what I want to use is the overlay number one that we've created at the beginning of this video. And we have also already included the keyframe here at the end to decrease the opacity from our tunnel system. So I'd say we've definitely paved the way to now include our very own YouTube logo. And we want to do so by directly linking to Adobe After Effects and importing a composition from that program. So that's what we're going to do in the next video. 40. Connect to After Effects with Dynamic Link: So this video will be all about linking Adobe Premiere Pro and Adobe After Effects. And I'd like to show you different methods of how you can import sequences as well as compositions from one program to the other. Now, to begin with, let's maybe imagine that we have created our YouTube channel intro here inside of Adobe Premiere Pro, but we want to make some final adjustments in Adobe After Effects. So the first thing that we could use is the whole project file from Premier Pro. So in this case, our project is named YouTube channel intro, and we have placed that project inside the Premier Pro folder. You can see it here, YouTube channel intro. And this file will be an Adobe Premiere project file. So we can take the whole file now open up After Effects. I've already done so because this is the birthplace from our running rabbit here. And now we could take that file from the Premier Pro folder here and import the whole Premier Pro project to the project files inside of After Effects. Now a new window will open up and we'll be asked which sequence we'd like to import. And then this case, of course, we want to import the final sequence, the channel intro, choose okay here. Then what you'll see here will be the premier project file. And if we just take that file and place it onto this little button, which will be to create a new composition of that fires are basically very similar to creating a new sequence inside of Premiere Pro. Then what you will see that here we have our whole intro that we have created in Premiere Pro. And now the connection to our Premier Pro project file really is life, meaning that if we're going to switch back to Premier Pro and we do some very quick and obvious changes, like e.g. selecting the adjustment layer and changing the color scheme of our intro from blue to, let's say, red color like this. And we'll switch back to After Effects. Then, after a couple of moments, you will see that the changes have been applied here as well. And now we might go ahead here inside of After Effects and add the logo that we've been creating inside of After Effects. So we want to take that composition and add it as a layer here. And then maybe we can include our running rapid logo, open up the position and scale data, and scale it down to, let's say, 50 per cent. And move it over to the lower right side. Leave it here for the whole sequence. So for our whole YouTube channel intro, then do the final rendering inside of After Effects. So the great advantage is that we no longer need to, first of all render the file and create a video from Premiere Pro. Then import that video file to After Effects, add our logo and render the file one more time to create our final sequence. But what we can directly do is just import the whole project here, then do our changes and only render directly from After Effects. Now, the disadvantage in this case is that for the project file that we have imported, we no longer have access to all the individual video clips used. But it will only be this one layer for the whole project. And therefore, I want to introduce a second method, which is to, first of all, switch back to Premier Pro and now select some individual elements from this sequence that we'd like to transfer to after effects. So e.g. let's take those five elements here and then choose right-click. Replace with After Effects composition. Now, in case After Effects hasn't already been opened up, then this is the moment where the program would automatically start. But as I'm currently already working in an After Effects project, this is why the data, the elements, and the compositions will just be added to the project that I'm currently working on. And here you can see a newly created composition has been edit YouTube channel intro linked comp 0606 in this case, because I've already done so five times before. And inside that composition, you can find the elements that we just decided to transfer to After Effects, like e.g. we have two references of our second sequence, which was me running here across the field. One reference is the person here on the right side, and the other reference is the person here on the left side. Yet again, you can already see the downside, which is that in this case, switching back to Premier Pro, all the different adjustments that we apply it to the individual eclipse here in Premier Pro get lost. Meaning that now we don't see the replicate effect placed on the left copy of our reference anymore. Also, of course here at the beginning, the animation will get lost and basically just each individual element or effect that has been added to any of those sequences. So right now you can see this is just The element that has been added, the link com 06, which will be the exact element that we are currently working on here and seeing in After Effects. So it's very important to get clear in advance how you want to link the two products to be able to either not get lost with your effects. And secondly, to really add the elements in the program that you are working on. So therefore, let's undo the last steps. This was just to make it clear for you how you can link the products in those two methods. Let's close this linked comp and switching back to Premiere Pro. Let's also undo to transfer those sequences. And now what we can maybe do is take only this sequence number for me running here and transferring that sequence to Adobe After Effects to then add an effect inside of After Effects that we can't really add here in Premier Pro. So that would be one way of definitely using the link between those two programs. So therefore, we want to right-click again and choose replace with After Effects composition. And if we now switch back to After Effects, then of course here we have the newly created composition 09 with just our sequence zero for inside of that composition. Now let's maybe try to add a very quick effect inside of After Effects that we aren't able to create in Premier Pro, like e.g. we want to very quickly delete the person here from the scene. So therefore, I want to choose a mask here and draw a rough shape around the person just like that. And then I'll start to animate the mask path again by using the stopwatch, just as with Premiere Pro. Now in this case, of course, you don't need to follow along very precisely. If you're interested in e.g. this topic, then of course, I would really welcome you in the After Effects course. But for now, let's just Continue and follow the person with this mask. So for now I want to deactivate the view of that mask. Move to the last frame. Take the whole mask and move it over here to the person. And then let's see if in-between the mask will perfectly follow along. And this is the case. And now what we want to do is use this mask to subtract this area and pass over this mask to the German inodes Bezier to film or an English content aware fill with the aim of replacing this area here. So we want to choose generate Fill Layer. And now this will take a couple of seconds. Think. We'll be able to just wait for those seconds. The analysis is already running. And you can see that this layer has been created for the first frame. And now if we just continue to see the whole video, then this is not a still image, as you can see here from the trees shaking. But me as a person has been perfectly replaced. And if we now switch back to Premier Pro, then you'll notice, of course, that also this adjusted composition, as we have linked it to After Effects, will be created and will have the effect that we no longer are able to see the person. Still. Let's undo that here in Premier Pro, bring back our original file. And what we now finally like to do is introduce the logo here to the last shot. So again, we want to take only that sequence, right-click and choose replace with After Effects composition. Then move back to After Effects and add our logo that I've created here in After Effects to just that composition. So it will be this one, logo or After Effects. We want to add it here. And let's see if it's already matching in terms of the placement here. Let's maybe also animate the opacity at the very beginning. So I want to open up the Opacity options. Start at a value of zero, move forward just a couple of frames to about here, and bring it up to 100. And I think this should already do the job. So with this link composition number ten, let's switch back to Premier Pro. And now, a couple of moments later, we can see that this logo now has been added. And we'll see that the logo will come to place and our running rabbits will be revealed. So that's it for this video, I've shown to you how you can easily link Adobe Premiere Pro and After Effects with different methods. And therefore we have now already included are running robot logo. And so far, all that's now left to do will be to add the final text element. And that's what we're going to cover in the next section. 41. Create own text effect, offset and echo: So all that's left for us to do is to create the text element. And then, let's say include four different headings describing the contents of our YouTube channel. Now before we start doing so, let's quickly reset the general color scheme here by choosing our adjustment layer and then changing the tint color here from red, black to blue, just like the color of our YouTube channel. And now we're set to go and create the title element. We want to include four different headings. The first one will be played here just in sync with the first sequence, the second one in sync with the second sequence, the third one here. When the third sequence is playing, and we want to play the last one here, just around the fourth sequence. And here at the end, we already have our YouTube logo reveal. So there we no longer need any text element. And I've just chosen the elements as an example to be vlogs, running fitness and motivation, maybe describing all the contents that we are going to cover in our YouTube channel. And let's maybe create the text element with this little running sequence here. So we want to choose the type tool and then just click anywhere here in the preview area and type running. So let's switch to the selection tool and open up our graphics tab here. And inside that one, choose the edit options here. So first of all, with our text selected, what I wanna do is change the font to be area. And I want the font size to be, let's say 150. And we want the text in general to be centered so that when copying that one later on or the newly created text will also be in the middle. Then we want to align the text vertically as well as horizontally in the center of our area here. And maybe what we'd also like to do is switch that one too bold. And I think it's already looking quite fine just like this. So that's it for the basic creation of that texts. And you can already see that another video track has also already been edit. So let's get some more space here and moved on the different audio tracks. So now we are really able to see this running texts that has just been created. Let's now match this text in terms of the length with our second sequence. And what we wanna do now is take the text and move it over here to the right side to really be able to fully concentrate on the effect that we're going to create. Now, first of all, we have a texture in the middle. And then we also want to add another text moving upward and a third text moving downward, somatic, somatically to the one that is going upward. So what we wanna do is create three copies. So we take the texts, use the Alt button, move it down one time, move it down one more time. So now we have basically three copies of our texts. And let's maybe consider the one here on top as the texts that will move upward. One in the center as the texts that will stay here in the center. And of course, the last one here as the texts that is going downward. And maybe we want to start with the last one. So we want to create the effect of the text moving downward and therefore will open up the effects tab here. And we want to start with an, with an effect which is called Offset. You'll find that one inside the Distort folder. So we grab that effect, place it onto our third text. And now what we can do with this effect is shift the center. In this case, we want to shift the y position. So if we increase this value, then you'll see that the text will start to move downward and maybe let's bring it downwards to 800. So what we need to remember that the, what we need to remember is that the original value was, I think 550. Let's undo one more time. Yeah, 550. So we'll change it to 800, meaning we're going to add 260 here. And the same way of course, we later on when I subtract 260 from this value to move upward the other texts. But for now, let's move to the first frame here. Create a keyframe with this original position. Then let's say move forward some frames and change the value to be 800. And if we now play this, you'll see that of course we have created the first animation, which seems to be a little slow. Also, I want to increase my quality here and make it a little faster just like this. Okay, so we have started to add an animation, but the movement is looking quite boring because of course, it's played in a linear way here. So what we wanna do now is change the way this keyframe here is created. So therefore, we will right-click this keyframe and choose temporal interpolation and switch this one to n. Now, this will definitely add a little more dynamic to the way this animation is created. Let's check it out. And you'll see that this will no longer move linearly, but really sort of ease in by moving downward. Now we can further adjust this movement by opening up this option here. So there we already see how this animation will play. And e.g. we can take this point here, move it further to the left side to adjust the animation just the way we want our path to work. So let's play that 11 more time. And I think this is already looking very nice. So therefore, we leave it with the offset effect, just like this. And now we want to add the next effect, which will be to sort of create a reverb or an echo. And echo is already the term that has been used as a name for this effect. So therefore, I'll just type echo and it has been placed inside the time effects. And we'll choose that one and place it as well onto this third trick. Now, what you'll notice is that this echo effect will create one or more copies of the running text along with the movement. And now we want to open up the options here inside that effect and do some more adjustments. Now, first of all, what I'd like to do is generally switch the way this texture is created before then making changes. This echo effect. So I want to select my running layer and then open up the text options here. Of course I could again do so by opening up the graphics tab as well. But in this case, I just want to switch the appearance from Phil to stroke. Then for the line size, Let's maybe bring it up to three. Well, let's also check out too. But I think three here is a nice value that we'd like to choose. Now let's get back to the echo effect. And you can already see that here a copy of the running text along with the movement has been added. Now what we want to do, first of all, it's increased the number of echoes here to, let's say six. Then what I'd also like to do is add some decay here, meaning that we want to lower the opacity for the echoes created. So thereby lower this number to, let's say 0.7. And this should really do the job for us. And we have this nice little echo effect while our opacity is lowered. And also what I'd like to adjust is the echo time you're in seconds. In this case, let's switch it up to 0.05, so one 20th of a second. And now let's play this animation we've just created. I think this is really looking very nice. So before we are going to just copy this effect or these two effects to the first layer here, we want to add one more effect. And that is an effect that I really like to use in a lot of different projects. And you'll find this effect in the distort options. And it's called turbulent displays. So we want to use that effect. Also place it onto our texts. And you'll start to notice that I'd say it's sort of looks at liquefied here. So let's bring up the Effect Options here. And generally we could decide for a different displacement method. In this case, it will be turbulent. But we might also e.g. twist or maybe only choose to vertically displaced. But I think the turbulent is already the right choice, choice in this case. Also, if we increase the amount, then it will get more and more disturbed. Which will, by the way, also make a dramatically harder for Premier Pro to render this also right now, or you cannot read the text anymore. So therefore, that was definitely too much, but I'd say 50 or even 70 might be a nice ending value here. Now, if we move it back to the start of this movement, then you'll see that with this turbulent displace effect, of course, the third texts here will no longer be right behind our first text. So what we'd like to do is add an animation for the amount. So we create our first keyframe here. Choose the amount to be zero to really fit the text again behind the main text in the middle. Then move forward, let's say. To just about the very end here. So we want to increase the amount for the whole time. So we want to move to this moment here and increase the amount to 70. So this is the effect that we've so far created with all the different effects added to our third text here. Let's now just go ahead, delete the first one here and create another copy of texts number three here by using the Alt button, move upward again to our V5 video track. And basically all we need to do now for this text element is just change the offset value here. So let's open up the offset effect and choose this moment here where we have decided to add 260. So now what we wanna do is delete that moment here and bring down the value two, in this case 280. Then again, we want to switch the keyframe in terms of the temporal interpolation to be ECM. And also let's maybe modify the path here just a little bit. Right now it should definitely be symmetrically moving to the top as well as the bottom. Now here you can see the effect in place. And I think it's looking really, really nice. So we're starting to move down and up with this echo effect and also starting to liquefy the running text here by using the turbulent displays. Now, one more thing when mentioning the turbulent displace effect. That's really one of my favorite effects. So maybe we can also go ahead and add that effect to e.g. our overlay layer here, which I also feel it's looking a little too symmetric here. So let's go ahead, take that effect and place it onto the overlay element. And you can already notice that this will also add even more dynamic to our YouTube intro. So of course, feel free to play around with this effect or with the overlay layer in general. But for now, let's move back to our text element. As I'd like to add one more little thing here in the initial phase of the movement. At the very beginning, I also, I would like to have my main texts here without the fill, but only be shown in stroke. And this can be easily achieved by just lowering the opacity of the element here in the middle. Because if I just switch off this video layer, then you'll notice that of course, the first as well as the third element are already in place just behind that text. So what we wanna do is select the element in the middle, open up the opacity, and lower that number to zero. Then let's say move forward five frames and bring it back to 100. So let's now play the whole effect one more time. And I really think together with the opacity here coming up, There's really creates a great text effect. So what we wanna do now, of course, is move that one over to our second sequence. So therefore, we need some more video tracks here. So we want to right-click and choose Add Tracks. And in this case to video tracks are enough so we want to choose, Okay, and here we have our sixth, as well as the V7 video track. So we want to select our running elements and place them directly above the second sequence. Now to be able to play this for you, I again want to switch my end outpoint, and now let's see what we have created. So I really think this adds up to the sport, a YouTube channel that we are just about to create. And now all that we need to do to finish this sequence is to just grab this running sequence here. Those three elements, create a copy by choosing the Add button, move it over to the right side and change this text to let say fitness or whatever you like to place there. And also you already know that you can create your own preset, like e.g. we want to select this element moving upward and we want to choose the turbulent displays, echo and offset effect. Right-click and save those effects as a preset. Maybe choose moving upward as your name. Then select this one here moving downward. And also create a preset for that, or just copy the movement upward and only change your offset value. And that way you are very easily able to also add that effect to future projects. So basically, that's it for this sequence. Now I will continue and change it here to fitness and motivation and add some v logs at the beginning, then render that file and we'll have a look at our final YouTube channel intro. We have introduced some new effects to create this text elements here also, we have dealt with overlays. We have seen how to use nests, and therefore, now we can finish this section and I'll see you again in the next video. 42. EXTRA: The Master Tab and Master Effects: Just another extra video that I think fits quite well at this moment in time as we have just recently created our very own YouTube channel intro. And let's now imagine that we are working on our first full YouTube video. And the main content in this case, as an example, should be me standing here in the living room, which is just this main dot mp4 file. But still the file is cut and used again several times inside the whole sequence, meaning that e.g. here, we want to add the channel intro that we just created. Then here later on, we will add some more numbers here at the very end. Maybe we will also add this little datasheet here. Now it's still off course. It's possible that we might want to do some color corrections for this main video. So what we could do, of course, is open up the effects or the color tab here. Let's just now quickly open up effects and choose color correction here and bring up the Lumetri color effect and that effect to the first reference of the main video. And then just to make it very clear, let's quickly add, maybe and dramatically increase the temperature year so that we can really see a change inside this effect. And now of course, we'd like to apply this setting here to all the different references from our main video than what we would need to do was to copy this Lumetri color effect. Move forward to this moment where of course currently there is no effect. Select the main video, paste that effect, and do so for all the different references here. Now another way, of course would be to take all the files apart from our main video, move them up here, create an adjustment layer on the V2 video track and also apply the color effect to that layer. But I want to show you another method which I think is more convenient in this case, that is by using the so-called master chip. So before doing so, I want to undo the last steps to again delete the Lumetri color effect here at any moment. And now what we wanna do is select any of those main references here, like e.g. the first one. And we want to open not the tap, a YouTube video man here, but the master Main tab. And if we now add the Lumetri effect inside that Master tab, and again, do our basic corrections like e.g. increasing the temperature to 150. Then indirectly notice that this will be applied to any moment where we will choose to include this main video. And of course, this main video only meaning that the effect won't be applied to any other video file included in our sequence. You can also already notice that if you have edit and effects to the Master tab, then what will be added is this little red line here below the Effects tab showing you that you are currently working with a master effect. So that's just a quick addition that I wanted to give you one more method on how you can very easily do your adjustments for the whole video file instead of copy pasting a single effect to different references of a clip. 43. Thank you: That's it. You've made it through, right to the end of this Adobe Premiere Pro course. Now, thank you one more time for your participation. I really hope you did like this course and could take away a lot of interesting aspects for your daily work with this great program. Now, if you did like this course, then feel free to share and recommend it to your friends and family. It has added up to several hours of video content about, to be honest, it has been several weeks for me of planning, constructing, and filming this course. So good review and recommendation would be highly appreciated. Thank you for that. Now, all the best to you personally and especially a lot of fun and success working with Premier Pro. See you next time. Bye-bye.