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.