Adobe Premiere Pro Basic to Intermediate Editing 2022

1. Intro: In order to promote your business, your products, or even your service, you need to make videos about them. As video is only one tool you need. Talking about videos or video editing. We cannot neglect that Premier Pro is one of the best editing apps for the whole world. And every videographer, cinematographer, or even a video editor must have used this app before and knows that this one is super incredible in editing high-value videos. Hi, This is Ahmed, a dentist, a teacher, and a video editor. In this basic class about Premier Pro, we will discuss everything from scratch up to intermediate video editing. We really get to know how to deal with the latest interface of premier 2022. How to use the tools in the timeline panel, transitions, and manipulate text with blur motion and lower slots and titles, videos, and of course, how to deal with templates. Next, we will learn to add supplemental content that we call Bureau, which really changes the game in making your video more valuable and more pro. Also, we will speak a little bit about basic color correction and color grading and take video quality from this to this. Finally, we will add an end the screen to our YouTube videos. I know how to export videos from Premiere and Media Encoder. Most of the players use in this class will be there. So section, don't forget to download them and start your trials. I hope. Help you off, is the basic editing skills to make good videos, to make them get 1's. See you in the class. 2. Interface: Alright, so this is the first time we open Premier Pro, the latest version, 2022. And as you can see, this is gonna be the interface that we're going to deal with. And in order to make it shorter and very basic, or just started with the basics. So we need to open a new project, clicking on your project. And it's going to ask to give it a name and to select the location of this project. So just for now, we're just giving it a name of version one. Okay? Then we move to the project location and choose location. In that case, I'm just going to pick a t inside of one. Of course you've got the footage in the resource section, you can download them. Okay? So now here we picked the location of it. And it is only in the latest version of 2022. It gives you some clips and samples of media you can use. Regarding the seconds, like as you can see here, two seconds, two seconds, 15 seconds. This is a time-lapse of history. I think this is something where this mountain is very famous. And of course it has the Adobe logo on it. Dolby shutter cut or Adobe Stock logo. We're going to use it. I think you need to have a subscription and it anyway. So we just pick the name of the project and the location. And in order to import things, It's better to create the project first. Let's hit Create to the right bottom corner here. When we click on create the project, you can see these different panels in front of you. If this is the first time for you to deal with this version or this is the first time for you to deal with Premier Pro is genuinely, you would feel a bit confused what is going on. So let's make it clear. So each one of these, this is a panel, and that's the one. That's a one, and that's another. Of course, on the side here you can find all these banners closed. Why I'm doing this? Because on top of here you can find file, edit, club and so on. From the option of windows, you can see the optional workspace. And I'm selecting all panels for you as a beginner, it's better to select the option of editing. It's giving you the best version of editing. And of course you'd go for Effect Controls. And you bring that one to this. So what is going on? It's making nonsense. It's messy. So go back to Windows and you go for reset to saved layout. And it's giving you the best version of v and the best layout that you can have of editing. Alright, so whatever happened, let me just make it clear. We just put this here and we put it that one here. We just mix things up and everything is like went horrible. Like you to know which panel using right now and you have no idea how to get this back? Yes, probably, you know the answer. Now, you go to the Windows option, all the workspace. Make sure you are selecting the editing one. And you go to reset to saved layout. Then. And then we bring this to decide here. Okay, Let's come to our footage. If you downloaded the footage, you can see that we can import media. To start. Please can see as it says here, you can double-click on this and then you can click any of your median. So in order to have the location that you already know where it is Exactly. So you go to your folder and go to the, this panel and select Control C, and then go into your Premiere Pro section. Then here again, Control V. Press enter. Directly, go to the exact location you want to save or to import some of your files. So let's put some of the footage, talking to the camera footage. Let's open this footage and open imported that. It says here in this panel, which is Timeline panel, says no sequence. What the heck is a sequence? Let me make it clear. It says drop media here to create a sequence. So we hold and drag. But before we hold and drag, Let's, let's do, let's undo this one. Control Z. Control Z. Again. As you can see here, we're hovering over the footage over DVD. And it gives us the preview of this video, what is happening in the background and the foreground and so on. Which is, I'm just hovering, I'm not pressing anything, I'm just hovering over it. And then it gives you the preview of this video. What is it? What is the content of it? So let's drag it and put it end the timeline. The timeline is the place that you caught an O and doing all of your editing skills according to this timeline. But going back to this panel, the project panel, you have two videos right up there. One says it is a video used one time and once as a sequence. So which one are we dealing with? Okay, So this is the original one that you did list. It's not going to change. What? This one is going to change. So if we, for example, at the text here, let's say text. This text. Let's make it the whole sequence. Okay? Let's make it bigger. Okay, So in this text you can see, if we hover over this one, no text. Why? Because this is the original one. As we agreed. No change is going to happen to this one. It's gonna be the same. But this one which is the sequence, all of your editing would be added to this sequence. But hey, it's given the same name. That's why we're going to change the name instead of desk. Maybe we can just say like this is our first trial sequence. Just to make it shorter for yourself. Okay? So this has given it musically. And if you want to make a new sequence to have the second trial and the set for trial. You can click, right-click on this video and go for new sequence from clip. It gives a new sequence and you can change it and name it the second second trial sequence. That's it. So you go for the first trial, second trial. First one has a video, first one has a text, and second one has nothing on it. So this now is for important. The footage from your computer to the Premier Pro reported panel. And in the next few lessons we can talk more about the editing skills and how to deal with the sequence and the footage and the overlap, and so on. 3. Timeline Tools ( Selection Tool, Razor Tool & Type Tool ): Alright, so we're back now with the tools that we're going to use regarding this panel, which is the sequence panel. Previously, we talked about how to have two different sequences from this same video, like this one that we used it. When we said we're open, we're going to hover over it. You can just drag this tool, okay, this play head, okay, and drag through the sequence of the main video. But we created a sequence and we call the sequence, and the other one is another C. First, the first one we call the first trial sequence, and the second one we call it second trial sequence. And we differentiate it between both with a text that is over here. Alright, so what if I want this text only show in the minute or in the third seconds of this video. So I'm going to press play 1 second, 2 seconds now. Let's say we're going to use death one. Okay? So in order to play, in order to control with this panel, which is the sequence panel, we can actually zoom in and zoom out regarding the plus and minus and your keyboard. So when we click Plus, not this one. Okay, go for it. The plus end top of your keyboard, which is the one equals to the equality, which is the one that it's close to the numbers. Okay? So minus when we zoom out, plus when we zoom in. Okay, so this is how his own death. And we better use the rubber band down here, which is to zoom out. Zoom in, which is, which is the thing that I really liked. And then because you can drag this one to the rest of your timeline and move it back. So let's say just we're actually here. We're in. And I want to go back to the beginning of the sequence. So when instead of just pressing minus, minus, minus, I can't see the beginning. I better do this very short and go to the beginning. And I drag the indicator, this one, this is what the, what we call this timeline indicator. Drag it to the beginning. I press play. And what waterway? Distraught got this button. It is the spacebar. So when we click on the spacebar, it plays like it stops. That's two shortcuts now. The rubber band, okay. Instead of using f, you don't want to use it. If somebody called a weird, you can use the plus and minus on your keyboard. Regarding your left side, of course, are better use it. So I'm going to zoom in. And the second one is to use your spacebar to play the video, to play this sequence, to play this timeline, and stop it as well. Okay. So this is the amount or these are the duration of the sequence. It says the play head position yet. Okay? So we can drag it from here to go back to the 0. Also, we can drag it from year to take it to the two seconds and how to go from frame to another. You can use your arrows from the left side, you can go back. The right side, we can go forward to the next frame. So this is a frame, this is another, another, another, another and so on. So I want to stop, particularly on two seconds, just two seconds, not one more frame. So I'm stopping the end and I won't have a cut of this text. So one of the tools that we have here, we have the razor tool. We can press it and we can come. And as you can see, we can zoom in a little bit. It gives you a slight highlight of this. So you can click on it and zoom out again. Go back to the selection tool, select the spot, press Delete. Done. So when we start a video, we press the space bar. B is only at two seconds. So we can just adjust it here like we can make it to the middle, can bring it down and see if it's in the middle exactly. We can actually learn all of these techniques later in the next few lessons, the work. So here, this is how it would be as I want to add a little bit of animation to it. We just come press the plus button. We come to the beginning of it, would press the right-click, apply default transition. Let's see what is going to happen. Going back to zoom out. It appears like it fades in. You know what I mean? So it's like there was nothing, then it fades and the image. Okay. This is how we use the razor tool. With the selection tool. The selection tool is very crucial because we're going to use it oldest time. That's why it doesn't make any sense to go back to it all the time and not forgetting about it. Okay? So if I'm actually using the lesson reason, the razor tool, I want to go back, please, in the selection tool, the shortcut of this is to press V on your keyboard. Press V is just your selection tool is selected. So if I'm using the pen tool for now, I'm doing this and that. So regarding the mosque and think like if I'm doing the nasty thing, okay, that's the one that I need to show an inverted. So I'm just showing this part. Okay? So that's it. So I'm just creeping things up like a mess of things. I want to go back, refresh control Z, Z, Z and Nova. Nova. Keep going until we get all this back. Okay, so I want to go to the selection tool, and instead of just going here with the mouse and select it, just press V. That's all. Okay. So using the shaft key in your keyboard allows you to come to the sharpest. A is in your timeline. So here as you can see, now I'm not pressing on my shaft keyboard. Okay, I'm not pressing on it, but when I click on it, it gives me the beginning or the end of this transition and the beginning of this text, the beginning of the video. And of course, if there is some cuts, like for example, let's do a cut here and another, and another. Go back to the selection tool. Look, if I'm, if I'm not using the Shift key, it moves forward and backward back-and-forth. And that's it. If I'm using it comes as a station and it gives you like, this is a station, would you like to stop here? That's another that's another. You can see the little arrow on it. Okay. So let's controls, ETC, will go back. In case I want to add a like in case I want to use the shortcut of this razor tool instead of just doing the razor tool and do this got like to come closer, like to zoom in. Then finding this spot and then do this and then they not know, I don't wanna do this. I would just go to go back. I just want to have a shortcut of this. So we just press Control K. Boone done. You just actually cut your video. Why? Because I was aiming the video. Look at this. You can just actually enable this by doing this. And you can now cut both at the same time in case I wanted to drag this, make it closer to decide. This is how we can make it closer to start from B7 second, and instead of starting from the second one, start from the second number seven. So that it is, of course, the end as well. We can drag it and bring it back just like this one. Okay? And of course the video as well, we can drag it to the spot, but actually I want it to be longer because we can use this later. How to use the rubber band, the shortcut of the rubber band is using all clicking the Alt button and then use your roller in your mouth. The mouth start using, use the roller in it. So to bring it back. This is to zoom out, bring it in, to zoom in. Okay, you're going to use this a lot most of the time. Just believe me, how to go from the beginning to the end of the sequence. You can scroll back. You go to the end. You can scroll forward. You can go to beginning. Okay? So let's try this again. Let's Control Z again, again. And so here we just wrote everything to the original one. We use when we're actually still in the first try and sequence. The second one has no text as you remember. So the first trial sequence, it says that we can use eraser tool using our shortcut, which is Control K. But hey, what happened? I'm just actually now selecting the text. That's why it's only cutting the text. And instead of the whole sequence to, in case I want to get both, we can highlight both by like Dragon. I let them both and then drove me oh, sorry, Control K. And it has gotten both in case I don't highlight anything. Both as well. But remember if I'm going to add another layer. Okay, So in case I didn't tell you how to add another layer. In case I wanted to add another layer, we can actually press Alt and come to highlight the layer that I want to duplicate. Press Alt, drag, click and drag. That's it. So the tax is dragged, is duplicated now. So we have two decks now on top of each other. But I actually want to cut all of these layers and just one sequence in just one step. So I'm going to click the shortcut to do the shortcut, which is Control key. What happened to only cutted the two layers, which is our video and our main text. Why will happen to that? To the layer that we just duplicated? It wasn't enabled. Okay, so you need to target this one by enabling this. Alright. So let me just go back control Z. Okay, I'm enabling it now. It's all lighted and blue. And now we can highlight both of them, control K, That's it, the cut Control Z going back, we can highlight any of them, control K. Okay? So we can go back again. I want to only cut something, but I want the video not to be touch it anymore. I want the video to stay still. Like I want no changes happen to this video. So in that case, you can just click this toggled track lock. You can lock your video. Now we can not selected. If you do Control K doesn't work on it. But if you work on the, on the other layers without highlighting any of them. As we said, if we're not highlighted any ovum, it's going to cut all the layers. But let's have a look on what, what's happening here. Says Control K. It's causing only the two layers on top of the video layer at this case. So we control Z. In case we want to go back, we just unlock the layer and go into lock it again if we want to do some adjustment to it. Okay? In that case, we just do unlock it. And as we agreed, we click Control K, It's cuts, overlays. Control Z, undo, old the sequence, all the things that we've done. So now we've got this one. I'm going to delete it. You can just select it and press Delete on your keyboard. Okay? Going back to the beginning of it using the Shift key. Alright? And this is how it works. But here's the thing. Sometimes people are just actually not actually able to drag the voice of something. Why? Because when David writing voice, it's like only the video appears and nothing appears was up the video with the video. And this is because this icon is not the track of the, of the Odeo, Odeo one. It's not selected, it's not enabled, so we have to enable it. And if the video has a voice, everybody has an audio will be exported as well to the timeline. This is how it goes. Okay, So here we're talking about the Selection tool. The shortcut of it was the V, the V key in your keyboard. And we talked about the razor tool. Okay? And of course we're not going anywhere before we just mentioned the type tool, which is the text tool you can write. I lose here. Then we go back to the selection tool. We select it, we bring it to the middle. Okay? We save margins, we enabled it. Okay. There we go. We can actually have this one down. And also we can delete this for now. And that's it. They go Oh, we can drag it a little bit down. Okay. Using the facts effect control panels to play, it fades in. Okay. So that was at for the selection tool, razor tool, and the type tool for this lesson. See you in the next one. 4. Text Manipulation: Alright, there we go. So in this lesson we're actually going to learn how to deal with the text on the timeline, how to position it, how to pose it in the right one, how to scale and rotate this text according to our preferences. And also regarding the opacity and the speed and so on. Okay, so let's say we're actually going to delete this one. Delete this layer will go into using the shortcuts Alt antigen that the rubber and your mouse. So here we're going to start from the beginning. We're pressing the space bar. It's 1 second. Now let's go back a few frames. It's 1 second. Okay, I won't have a text over here. We use this one okay. To type text. And we press anywhere on this monitor, anywhere, just anyone. And we can do like I was here again. We'll go back to the selection tool because, oh, okay, So here's the thing. You cannot do the shortcut of the selection tool, because if you press V right now, while he actually is tell typing, Premier is not actually differentiating between this is the shortcut or not, because now we're using the type tool, which is if you press V, it's going to give you more of these. Let me show you that to you if we bring that one. So we've got a lot of key visa. So let me just Control V back. Let me have it again. I was here and I want to have the selection tool. We just go back to selected manually without the shortcut. Then we select the text. So I'm going back now highlighting the text. I'm selecting it from here. And we're not going to the left side driver. We can use it from the left side to scale and to position up and down, up and down, and right and left and so on. Brother. I'm actually going to use the right panels here, the essential graphics panel. Okay? So as you can see, we've got many things like Ben to reframe and so on. It's going to be this one and that one. Okay? Instead of doing this, we're actually going to manipulate the align under Transform tools and we're going to use them. So in case I want it to the center line, center vertically, okay? Which is called back again. Here is aligned to the center vertically. And I want it to align central, aligned to the center horizontally as well. Okay? Now it's vertically and mostly horizontally. So as you can see, something is weird here, which is the anchor point. The anchor point is why you just moving everything from its position according to it. So you can just come to this and make it to the middle of your text. Go back to the selection tool. Yet in this layer, we select the layer again. The title. Just do this. And this again. To the right, the left. And that's it. Let's redo this one again. Let's have a text. Let's just say, Yeah, go into the selection tool. I want it to be bigger than this without using the left panel. Regarding the effect controls panel, we're going to use this central control thing. We're having this one, which is this kale thing. I'm scaling it to 300. Okay, let's type three. Alright. I'm putting it to the center and to the middle as well. Okay. Vertically and horizontally from both sides. So I want it to be to the bottom layer here. Align bottom. Okay. This is for subtitles. For sure. And yes, we can go back. We manipulate the appearance of it, the opacity. We can make it like 10%, 50, 1%, 100%. And of course we can rotate it. It's rotating from the side, not rotating from the middle. Why? Because if the anchor point, I'm just bringing this back. So just bring this back. Okay, It's 0 actually. So we go to the Effect Controls panel. We can use it. And having the rotation, it's rotating as well from the same point. Why? Okay, Let's reset to the parameter and we locate the anchor point to the middle of it. And if we're going to use the rotation now, it's rotating from the metal. That's it. Then you can just reset the parameter again, back again, back again to that. Okay? So there you go. We have this enabled. You can enable it. This enabled and enable it again. It's not here anymore. It's back down, wrote it up a little bit. Okay, so what happens to the color, what happens to the background, this tile default and so on. This is all in the Essential Graphics panel. We can go down as tiles, forget about it. It can use the text that you like. I really liked this folder. It's called the knee wave one. It's really sketchy alike it. So we can actually use how to denote, align your text according to the left of the center, to the right and so on. Preferring to have it to the left because Brighton English, and you can do this regarding the space between the letters. So you can drag this to send 0 again as it was. And you can manipulate if it was, if you want it to be bolt more bold than is Italian. I prefer it to be just normal. Okay. And you can change the color from the appearance here, which is the fill. You can press on it, click on it, left-click on it. And you can use the color that you want. We can, we kind of like this one, most preferred one. We can have a stroke to it. Okay. The stroke could be this one. I'm now on and so on. Like this. You have a minor stroke now. It's eight, it's better. We can also have a background if you're using a subtitle to it. And the opacity could be something like that. And that could be all of the parameters you can play with. And also the, the edges of this background thing. You can manipulate it by your own hand as well. Okay? So as you can see, we can just bring this down to scale and then bringing it here. Okay? And yes, Okay, good about scaling from that one. We can scale it from here as well. Because we don't want any messages to happen for you as beginners. Forget about the one that we just happened to us. So we can scale from me, as was just said, we don't use the essential graphics panel. Okay, I want it to be, to decide. I wanted, actually, I want to have a background of a lag one. Okay. So here I want to come to the beginning of it. I'm shifting, Oh, I'm pressing the shutter button. Lesson. Okay. So I'm having the beginning, I'm just zooming in the beginning of it. You select them, right-click, apply default transition. It's going to fade. And as you can see why that are managed token, it's going to fade it as it's a smooth transition happens to us. Later, we can manipulate the transition itself. The default one was to space, making it smaller, like this one. The base so fast as there is no fading them. Like we can make it bigger. Okay. So like appears so slowly bit by bit. Well, I do not prefer this one. So yes, this is gonna be totally for this lesson. How to manipulate the text, how to add text, how to change the color of the stroke. Manipulate the background of how to have a more corner radius instead of having harsh corners and so on. We can also use the shadow one. Having a shadow, one case you're actually using a stroke is not a good one to use the shadow on the stroke and at the same time, so it's better to use one of them individually. That was it for this text tools that we used. And let's see you in the next lesson. 5. Class Project: Alright, with the class projects section, we have this club in the previous one. And we said we added two clubs. We have the speed ramping to it. And now I want you to add text to each one of them. And the text I want it to be appear after moving to the next one. This is a place and I won't have a definition displays. So of course, this the decks would be a PM. I would add the text here. I would say mountain Haines. I would select this text. Okay, Go to, go to what? Go to the Effects Controls. Think effects. Graphics. Essential thing. Where is it essential graphics, you can add it here. And you can edit. This was an earlier, we can just make it to the left and we can select it. I want it to be a little bit bigger. So I want it to be like 200, intuitively in the middle, vertically and horizontally as well. And I want the felt to be maybe okay, I wanted to fell to stay white because the stroke is they're not grounded would be in black. And the background would be very obvious. Alright? And the radius of that would be outweigh? Yes, I think that would be in order for the text. We choose the knee wave thing. Okay. There you go. That appears when it's yeah. So moving, speeding men, mountains. Next clip. I want to add your text here. I would say we can add a new text or we can duplicate this one by pressing Alt and dragging it to the next one and having it to the rest of the class. And this one, we could change it by double-clicking on it. And let's call it Green Mountain. And we center it horizontally and vertically. Here. Yeah, Green Mountain. And also we can add to it. You can see more cinematic. Also this one. Here is your class project. This one is just paid RAM. And then slow down and go back to this speed ramping again. Then the appearance of the text speed ramp, extra peers. And that was it for this clip. And this is for your class project. I hope you can do the best with it. And if you have any inquiries, any questions about it, just dropped me down in the discussion below. See you in the next lesson. 6. Transitions& Speed Ramping: Alright, here we are. So in this lesson, we're actually going through the transitions of each video. As the last one, we knew how to add text to our layers and add different layers, enter the same sequence. And of course, the one previous we had to go through like having two sequences. The one that has no text and the one that has the text over it. Actually today we are going through having a transitions. Like for example, this one. If we're actually looking at, if we're looking to have a, when he stops here, this man who was token and then he stopped. Yet, we won't have a code. We press Control K. We had the gut and then he started to talk just right here. What I've just said. Okay. So previously I gave you the shortcut of playing, stopping plane and stop it. It was the Space bar on your keyboard. So you go back pressing the shift key, having the indicator, your timeline indicator, and then you press Space and then you keep just saw him here speaking footage. This video has no Odeo. Was it for the next ones that we're going to use. The must have a voice. They must have 80 to track. And that's why it's gonna be easier on this one. We do a Katia and we come to this one, we want it to be deleted. So we just select it, press Delete on your keyboard, and they go, you go back and then you drag this video to the previous one. So if I choose the arrows and the keyboard, and I go right, left, right, left. As you can see, he stopped and he spoke again. This is typically the thing that you see in TikTok and Instagram. Also an YouTube shorts of course, because you want to make it the best, shorten, the better. Because you want to make it very fast and has no no spaces in-between. So no spaces. He stopped here. And then he's he spoke again. Okay. Stop spoke. And so let's see the next Mark. He stops. E cell speaks and you stop just right here. Sticking his breath. Go back again. Yeah. Stopped. Make a cut. Then just started to speak here. Maybe. So know yet. So we just go back control Z. As I'm speaking a little bit. I'm moving a little bit fast because all of these are just practicing for you now. So now we're going back with the arrows. I'm using the arrows. We can use the indicator with the mouse. We can indicate low best. But it's better to use the arrows on your keyboard because you're moving frame by frame bot using the mouse indicator. It's like moving many frames at one time, so it's not indicated, it's not actually different. It's not defined whether you've taken frames or not. Okay, so here we have in this block, we press Delete, and then we drag this to the other one. Okay, so one more tip. We would press Control Z. If we dragged it from here to go back again, actually, we wrote down, okay. What brought back the part that we just deleted. So I'm not encouraging anyone to drag from the start. When you see this red icon, when you see this red sign, it means that you're going to drag it to to, to get back the part that you just deleted the previous clip. So when you click here space, you can see stopped spoke again. Here again, here, again, again and again and again. Okay. So one more thing. If this clip is far away from that, and as you can see when I'm dragging this, you can see a black line. When you're trying to connect two clips together. This only enabled and only activated when you have this snap in timeline enabled. So if I press this, i've, I disabled this one and I'm trying to drag this to this one. You can't see the black arrow. You can't see the black line. If you do this. If it's, it's like you are clubbing inside the next clip, inside the previous clip. So I don't know where exactly to what this club. So I had to zoom in and then bring this one here. And I'm still unable to know if this is right or wrong. That's why it's very important to enable this one. The shortcut of it, it's like to press the Esc key in your keyboard. As you can see, disabled enabled or disabled enabled. Because sometimes when you work on the shortcuts, you press K unexpectedly like you don't know what's happening and you're trying to drag this line, trying to drag the clip. And unfortunately it seems like, it seems like it doesn't merge with the previous one. So what is it going on? Check your timeline. Snap n, and it will work again. So after we club in these ones together, okay. We can just now at physicians do it. Okay. So we have to let me make it clear first, transitions what it's added for, it's added to translate or to have a transition between two clips like there is a footage. And I want to move to the next one in a different ONE sat and way. Okay, so first of all, we're going to use the effects on the Premier Pro. First of all, I want to make sure that I'm working on the workspaces. As we just said in the beginning road, working on editing. Okay, I said that we are choosing the editing software. And I said we're going to use it yet. If you're going to use this one, okay, If he has it at this one, the ashtray, you don't need it. So I'm going to close this panel. The markers as well. You don't need it. So this is what happens sometimes. So you double-click on it again, because if that happens with you as well, you just double-click on it again. So I'm going to close that one again. The info, we don't need it as well for now. The libraries as well. So we only need the effects on the project section. Defects. Good about this for now, okay. So effects, as you can see, you have the presets, the Lumetri Presets, ODU, ODU transitions and video effects and transitions. You can go for the video transitions, okay? And you can choose between all of these transitions. Dissolve one, the immersive video one, and the other ones. Okay? Most people use the Zoom one across to let, let's just do our timeline. We have a balanced I just said the arrows, you can use the arrows to move one frame backward, another, 345 frames backward. So what's in case I want to move like five frames at once was one-click. You press shaft, and then you move to the right. You move five frames now. So you press Shift, you move to the left. These are the five frames moving to the left. Another five frames, another, and so on. Instead of just moving one frame by one frame. So you move in five frames, wireframes, Wi-Fi frame, and so on. Okay, So in case I want to zoom in as well, and the transition is going to be in the middle between those two. Of course, you've got two options to add your transition. The easiest one is to drag the transition. I'm just plotted in-between. Okay. Let me zoom out. As you can see, it's zooming in and out to the next voltage, to the next clip. In, out. But it's a little bit slower. So we can select it and make it faster than this, the duration and instead of being 1 second long time, it can be like 20, something like this. And it needs to be a little bit more faster than this. So we can make it like tan, pink, which is the fastest one. Then we come in. Like you do it again. So we can drag this as well. Forget about this. We can bring another wonderful Zoom and we can add it. Go to it selected. Cheers D duration. They get tan Vega. So when you go for it, this one again, this happens. Okay? This is a basic condition called the cross zoom transition. Okay? So what happens if we choose the white transition? This is very popular as well. Let's choose the blend via the plant wiping. It's like blending both. So it's like taking back salts, blending both ones. And this is typically very, very unique and very famous was the transitions of landscapes and mountains and so on. If we bring this one to ten, for example, this is what happens. You feel like something was here. Aluminum frame by frame. Can see this one here. You can see it's like this. This is a frame from the previous one, and this is the next one. This is a frame from the previous one. So it's like moving frames. Let's tell there's a frame here. One still and still done the end of it. Because here there was a frame stop. Here. This is the end of the transition. So no pixels from the previous Club, which is this one. Okay, let me just call it a Okay, you can right-click on it. Let's rename it and call it a clamp. This one we're going to call it B. And of course, this one we're going to call it. Those are gonna be capital a and b and c. So let's give them names. So the previous one here, Let's see how many frames is taken from the club. A 1234565 clips. If we're making an app. But if you're looking at 20, would take I think more than this. So it's like present shaft moving to the left 12 it's taken ten frames from clump, 810 frames from beam. That's okay. That's all for this transaction. So yes, let me just go back. Control Z. Sorry. Let's rename that one again. Be cleft. And there's ones to call it. Alright, so taking this blending mode over, let's go to the one that I really like. These old. Okay, So cross dissolve is the famous one, as you can see, it's highlighted. So you can drag this added here. And you feel like no change is happening. It is like dissolving the two claps club a and it was glut day and making it just one-click. Look. That was like very smooth transition happening to two clubs. Okay, let's use one of them that to white. Let's see how it goes. This is like when we talk in the cinematic way, it's like a camera taken off and so on. We can take this off and we also can use the non-adaptive dissolve. It's really bad. So that goes, was did dancing and Wednesday instrumental things. It can happen and take place in a quiet good way. So we can use this slide as well. Blend sliding and push and so on. So this is like another transition, slides, things that could be used with the presentations and so on, your slides. So it's better with the slides and then you can bring another one center. It's really different. Okay. Please. So that there was a lag in the previous one. And that is because we're having a preview of this sequence in full definition. So we can change the resolution, select the playback resolution into half, and it's gonna be smoother. Okay? This might happen with you as well, especially if your computer is not able to handle this. Of course, these transitions are a little bit heavy computers, so it's better to have the resolution, the preview resolution and a halfway. This is another transition you can use as well. Okay? And we can make it faster. You land. And of course later we can add a sound effect to this. And it's like, You know what I mean now? Great. So this is for transitions. And now let's close the transitions panel and we have a new one. The one that we're going to do is like having the transitions of the dissolve and so on. Okay, so now we're going to import around three clubs and we're going to call it the transition plan position. Okay? We go inside and we can double-click on it. We cancel, or we can go directly to our folder. And these are the collapse. You can find it, of course, in the project section, go ahead and download them if you're not, if you did any yet. So and then you select all of them, drag, go into the Premier Pro and then drag them here into your Ben folder. We can make a new sequence of this one, okay? Or we can add it to the same sequence we have right now. So I prefer to add it to this sequence instead of having a new one. Okay, there we go. This is our clip and this is 123. So what we do in this one image just start from here. Okay? I want to start from this part. You have two options. Now, I'm gonna give you a new shortcut. Instead of just doing like Control key and the latest pop, you can actually do this. Do like you can go back again, okay? You can drag the beginning of the clip to the point that you wanted to have a cut on. There you go. The same result, or you can just go back. And without doing anything, just press Q What the heck is going on? Okay, let me make it clear. Control Z to go back again. I want to start from just right here. Okay? So if I want to, okay, we have this indicator. This is our indicator, right? So the timeline indicator says, you can delete, you can delete everything. The remaining of the video to the right or to the left. You've got two options. Pressing W is going to take the whole thing to the right. Going back. Pressing Q is going to take the whole thing to the left. So your indicator is your indicator. It takes everything to the right or to the left. So I'm going to take this from here because the beds are just moved from this point, so I'm going to press Q. So it took every thing remaining to the left side. So this is the beginning of our club here. So we press Space moves and we can just move this a little bit. I would like to have a cut here. And I'm going to clarify why later. And then when it comes here, I won't have another Here's the thing. There's something called the speed ramping. Okay. I would like to have like go back to the speed and duration and I would like to make this 300. Okay. And it is shorted now. So what is it? It's like doing this and then we club or drag this one back. So this is what we've got now. It is like speeding this one. Then going back to this, you got what I mean. Okay. And also you can control Z control Z, control Z. That one. Also you can have in this one. Yeah. Okay. We can have like this sorry. You can have from often the beds flight. We can have it from here until we reach the surface. We go back to normal space. After, just immediately after leaving his base. We're just trying to have it in a partial speedy way. Okay. So we have two clips now needed to be speeded. This part is going to be normal speed. This one. We want to make it like speed and one. So it's 300. And this one is going to be still normal. This one is like to be speedy 1300. I'm going to select this one to put it back, select all of them to go to the previous clip. And here what we can and slow motion as well. And then you move faster a little bit. It is likely now ramping. Speed, ramping. Okay. So it's like speed this part up here is what I mean. This is what we call the speed ramping. Okay. So in case I want to add the other Glenn, I can drag it here as well. Okay. And let's see which way exactly we want to start with. Okay? I would like to make this one a little bit faster than this. Then stay still, slow. And then I want to end it here. So I would, I would press W to take the rest of the right side. Then we're changing the speed to 300. Then we add in these students, okay, so slow, fast. Then we add this load to it. Right? A little bit faster than that. So you might be like 450. And I would like to add a transition between these two clips. Because all of this, just one click. You can see all of this is about the mountains clip, but this one is the green mountains clap. I want to add a transition between this one and this one. We can go to Effects panel. We can use v. Yes, you're right. The cross dissolve really like it. Especially F. F we have a repeated frames. I want to add a transition between those two. This clap, Okay, in this club and this one. So this clip and this one needs to have a transition between. And if we tried to flip any of these, you can just add the cross dissolve. But it says insufficient media. This tradition will contain repeated frames. Okay, let's see how it goes. Like this is the one you got what it means. So it is like deleting the part of having the speed ramp and then moving again. So we take this one off and they go. So in that case what we did, we go to the project section. Here is the thing, new item. This one is very common in Premier Pro. We can use a Adjustment Layer. We can have it here and we can add it. You top of delays. We can have it like as we said, it's better to have five frames after. We drag adjustment layer and five frames before. So we can add the transition layer and go into the effects, cross dissolve. You go what he says, this is the result. It's like transiting. Okay. But you can have this as well. From this side. You've got the transition now. Instead of having it, okay. Instead of having like a sharp cut from this one to that one, which is quite good because of the speed ramming. You can have it. If we enable this one. You can have it like this one or inches, another one, like this light one. You've got it right? Okay. And this lighter, we can make it much faster than this. We can bring that one to this mining in no time. But we prefer bet. Now it's sliding his resume. And you can add that slower than this. Alright, so we'll just make it one more frame. Frame. So it takes the next layer. There's a result. You can drag this and so on. Okay? So in case I want to make it this way because of the speed ramping, I want you now to add a text which is the next one. And it would be your class project section. 7. Templates& Lower Thirds: Alright, so we're back again to another lesson about Premier Pro, the latest version of Premier Pro 2022. This one is recorded today. We're talking about this templates. You can see on this right panel in the central graphics panel. As you can see this video desk club that we used in the previous ones, it is a little bit different from the one because I added a color balance to it. If I toggle this effect off, this is the origin one. This is the original one that we saw before. This is what I did. And actually we're going to talk about this effect or this theme that is very popular nowadays. Every people that anyone is using, and it's very famous. That's why we're talking about this in a little bit later lessons. But today we're actually going to talk about templates and how to add lower thirds and actually add in templates and moving on templates. First of all, you can just click this on. You have the essential graphics panel. If it's not available, if it's not on, we go to the Windows panel and we look for Essential Graphics, and it is off. It is unstable. That's why. So what happened if I close this panel, click on see it. So I go to the Windows and then adding these central graphics. It's back. So we drag this to make it a bit bigger. And just dragging this as well. And we put some space to Old Town line and that's it. Typically I'm not working with this sequences and this size. But today I'm just showing you what the templates look like and how to, you know, to play with. Anyway, let's start by importing the stem blades to Premier Pro because Premier Pro doesn't come with these templates. These templates either can be both through Envato Elements, motion Array, other platforms like I don't know, maybe Adobe ten blades, that some templates regarding Adobe, I think so. But I prefer to buy by some of my motion graphics and designs and templates from motion array or Envato elements because I'm really comfortable where they're at. I just search for it and I found it immediately. Anyway. So what if there is a template that I want to add to my timeline? And I want to add it first to Premiere Pro. You can come to the Essential Graphics panel and then you can go down. And this icon says install motion graphics template. You can click on it. And it takes you to the folder. Just actually preparing the folder, just right here. Okay. And as I told you, you come to the site of it. You come to its Application, Control C, Control C, that location. You go back to Premier Pro. You go to the search bar, Control V. Press Enter. There you go. You find your templates that you downloaded, the brush call-outs templates and the brush lower thirds and the brush titles that we're talking about lower thirds. So let's just put any one of them. Typically you cannot. If we press Control a or it can not take all of them. You just can only take one of them dressed or select any one of them that you like and then click Open. It's going to be added. But because I added it already before, that's why it's red here. So if I press O, now let's go back to the lower thirds. And so you can see that it's number 11, Okay? Lower Third 11. And we imported the number Fed will lower third 11. Okay, so what if I want to add all of these templates? Just buy 1-click. I would simply, instead of just going to install motion graphics, I would simply go to the edit to these three dots. First we go to the Essential Graphics panel. Then we press manage additional folders. As you can see here, I'm adding all my templates in the form of folders. And instead of adding them one by one, because it takes a lot of time, much time to waste. So instead of doing this, you know, selecting the folder and pressing Add. Go to do it. For example, this one. I just select that one and then select the folder. It's added that so because I added him earlier, I'm not going to happen. But you would find all of them here listed in your timeline. And then you can come here to the local. And then instead of doing this, you press the local one and you choose the one that you named already regarding titles. And then you go back to disable this and you see the titles, the templates, or to download it. But today we're talking about the brush lower thirds. So, um. Taking this off, okay, So what we do is this. We just drag the template to our timeline like this. And it's taken time to download, but that one was quite fast. And then we press the space bar and our keyboard, which is the shortcut. Pressing the Play button. It's played. Let me do that again. That was at how to manipulate with Alan. We can manipulate regarding the graphics parameters. We can regard them doing this and bringing it to decide. Okay, let me just disable this one. Bringing it to the slide here. Okay, That's the lowest said. Then replay it again. But instead of doing this, I'm just control Z, control Z, and that's it. That's it. We can control it from here. The Edit of the template itself. You select the template, you go to the edit, it takes you to the edit bodyweight, line one, line two because this is one is line one. And this one is line to line one says, there's something called a lower third. And instead of doing this, we're going to call him Adam Patti, which is fatiguing. But I would prefer to type all of them in capital. Or maybe we can just do the capitalisation right here. That's much better. Then it's giving you the option of their properties, which is to choose the text properties regarding the text added to your Premiere Pro. And this is gonna be splitted one from this lesson. How to note the ad, dextran, how to manipulate the text and so on. And from here you can just go down to the next and control back to go, Control Z to go back to the original one. Then you can lower it. It's up to you right away. But I do not prefer to do it unless it's a little bit bigger than the frame. The frame that is surrounding it. Then the tracking a mountain instead of planes, this one, you can just play with the line itself, the line position. Josie, go back. The y access controls, you go back. And the lice can itself, we can bring it down. Bring it up. You can see it's not freezing, It's not pixelated. But if we make it here pixelate in a left-handed, That's why I said we're not doing any any modification, any adjustments regarding the graphic parameters. And instead we're actually editing the template itself. So here we can manipulate it and we can manipulate the brush is K, you can manipulate it. And also you can manipulate the text file if you wanted to felt, if you want it filled and so on. Then you can bring the text to the middle. Okay. This is number one. The next line one. Right? Well, I'd prefer it to bring it back because it's really common with the second one. Line to we can go to it. Text fell. Oh, maybe. I don't know. I don't know. Maybe we can just make like Made Easy. We can talk like Made Easy. Okay? So I prefer to type this one as Premier Pro editing. Okay? So in that case we need to lower down the scale of the text. Whereas it lying position lines kale, Okay, The next, a little bit lower. Alright? And needs go. The text itself needs to go up. The y axis. Here is, this is Premium Pro thing. Then we'll go down to the next one. And instead of making it unfilled, it's failed now Made Easy and snip, it needs to be a little bit smaller. And we can change the color to make it yellow. We can also change the brush color. I can make it black as well. Right? Then we can adjust the brush scale. The y-axis here is OK. So that was it for the first line and the second line. We can just be manipulate the text, the line, the whole thing. Now if I want to manipulate the whole template like the first line and the second line, both of them. It can just easily manipulate them from here. Then we can scale this down to maybe 60. Okay? Then we wrap. Okay, So after we positioned the template to the lower third side, people might want to bring it to the lower right side and the bends, but we prefer to have it to the left side if he's speaking in English, it's much better. So let's see how it looks like. Okay, this is how it looks like. Then you can drag it from the end to make it much slower. Okay, well, here's the thing. Goes away. Boom out any, now without having any science before it. And he just goes out of a sudden. Okay, so what to do with this? You can typically do this at a temple default transition. It fades out, okay? Which is not the thing that I prefer personally. However, I want to do this. This is a advantage track a little bit, but I'm giving you because I want everything to be attached and completed. So I duplicate this one. How I did this? Control Z and go back, you select the layer that you want to duplicate. Press Alt on your keyboard, drag it, take it away, then go back to make it. So what happens? It's re-install him again. Okay, So what is, what is the point? The point is to take this back, okay? And to reverse it, this Beethoven limb show you how this goes into the speed. And it's this tell the same 100 per cent, reverse the speed. Press Okay. And as you can see this little marks as the end of this layer is decide. At the beginning of this slide is decided. So no, no, no. I want you to play it from the beginning. So here is the client was up to clap was archives template. Templates comes in and it's about to go out. That's it. So it went out the way that it wins in. Okay. So it went n like it's a brush and it went out like brushing out as well. The same. Okay. Let me make it more clear with a cleft, with a voice. Of course, we can just do this to decide, okay, then we drag this as well to make to have enough space for our clip that we wagon on. Okay, So this is how it looks like. And now we want to clap with a voice. In that case, I'm going to import another one, birth control. Okay? That would be existed, of course, in your project section. And we want to add a video from Alex, I think so his name is Alex on YouTube. I just downloaded one because it didn't add any to his video. The first time I saw it didn't add any any templates, any lower thirds. So that's why I wanted to have it. Okay, so we're taking it out to the version one, taken out x. Okay? Then I'm going back to the original size. Of course you can manipulate these, the icon view, all the list view, if you know the names of them and you don't know and you don't want to see the view of it. You go with the less. But if you are like me, dislikes to see the view and scroll to hover over the video and you scroll over the, the clip, the footage that you imported. It's better to have them in the icon view. Okay, so let's grab this or maybe let's have a new sequence. You sequence from this clip. And as you go into lesson is going to say, is going to introduce himself, What's up, guys? It's almost like snowmen here. And in this video you're gonna be learning how to speak and express yourself on camera. So how to speak on camera, this is the topic of his video. Before just go in the disclaimer. You can just take all of these off. And we can work on this short clip. And instead of working on the whole, okay, so I can add a view to it. Instead of starting with this, we can just have this, the beginning or the start of the video and apply the default transition to it. And instead of being that long, Reagan, lower the duration. And it opens. It says cinematic, cinematic opening like that. Alright, so in case his name is Thomas Alex Norman. We're going to add this template to identify his identity first. Okay? So we can make this a little bit bigger if you want to. You can see him clearly. Go to the Essential Graphics and have it go to the Windows, search for it, and he will let go for brands. Then you can choose multiple of these ones. But I prefer to go with this one because it's very unique and very simple. Just given the name and given something about his. Okay. It says, okay, we click on it, go for line one. We say his name is Tony, Alex, and we capitalize most of them. Also. We can go to the line two. We can say he is talking about how old. Guess how to talk on camera. We also it is okay. We can just regarding this, we can do like the text itself scale, we can lower it down. Comforter token camera. Just affect the brush. And also we can change the brush color, make it black, and the fill color. We're going for yellow. So this is how it looked like. But we sell have one move today. We are going for me this time. Bring it. Why don't we, there's something called a safe margin. Also. What guides? You can drag this from this little icon here. It says Watson editor. You can click on it. We search for the safe margins and also you can drag it because I have it, it's already here. And he says, Show Guides. Also going to need this one which is this show rulers. The rule is the one that he can bring. Let me show you how you bring the lines from the horizontal line, the vertical line, run lines from the center line. And you can see exactly where you don't have your lowest. So if I'm going to do this like free. Okay. This is the center. This is lowest section. This is the center. 1234 sections. I'm going habits to the lower third one. Okay. Yeah, it just right here. Okay. So I'm disabling this having this lower third or the safe margin thing. And then I'm taking this to maybe FT, bringing it to this layer. Also down here. It's way better than one. Okay, guys, thanks Alex Norman here. And in this video you're gonna be learning how to speak and express yourself on camera. So that was at Thomas norman not adding denomination because it's a little bit long. And how to talk on camera this height, all of its video on how it's open camera and so on. So you can add this like this. And also you can do the same trick. We can do this. We can take this Alt drag and bring it here and go to speed. And also you can lower. Okay, you can drag the end. It's not allowed. So you can just do this. Simply bought this over this one. Okay. So comes in, let me show you what's up guys telling us, Alex, no one here. And in this video you're gonna be learning how to speak and express yourself on camera. And say, I was doing the clip that we work in pool. And also there are lots of ways you can add these low fat. Some people like to add it to the right side. She didn't like to add it to the middle. And it's quite popular like this one. You can add it like line two. You get the whole thing. Line to where he's lying to position. You can drag it to the middle. Okay. And people loved to put it to the middle. Just like this. Okay. Go back. It looks like this. So what happens right now? Because we need to be made this one? What's up, guys? It's almost Alex, no one here. And in this video you're gonna be learning how to speak and express yourself on camera. It is much better with the lower third. And that is how to add Lewis adds to your timeline how to manipulate the lowest cost that tons of, like maybe the brush colab. You can actually work on it as well. You can have a call-out. This something goes out from this person, from this point. And it is giving you this person is something his identity and it is identifying the the thing that the line comes out from. That's why they call it, call out and so on. This is how we deal with the templates regarding Adobe Premier Pro, the latest version of 2022. Next lesson is going to be mostly about coloring and so on. Let's keep moving. 8. B-Roll Editing: Alright, so there we go. We continue this class. The Premier Pro 2022 and the lat, and the latest one that we did, the transitions and the lower thirds. And it was about Thomas Alex Norman here. It was talking about how to talk on camera because you need this code in the near future. That's why I wanted to add such a clip to our class. Of course, basically, today is all about adding a biro. What is the B-roll and what is the role? The role is the clip, the actual clip, the actions that is taking place in your timeline and your fronted clip as this one like Alex, no one here. And in this video, this is in a role. Thomas is talking to the camera and you can see Thomas. Nothing else to say Thomas. And you're not seeing what Thomas is talking about. He was saying that he would actually talk about how to talk on camera, but that doesn't happen. That doesn't happen on this short clip. I'll get. But let me show you an example of a B-roll. Because the B-roll is the complete opposite of an Arab Bureau, is defined as the supplemental footage N2 or added into the main footage, which is the main clip. So maybe I'm talking right now about something and then they show you something else. Okay? So let me give you an example. After though, unless you would actually get everything about how your day is, go and add that moment and would recognize that you need to stop chatting at midnight and he needs to sleep a little bit earlier than you would know exactly how many hours you need on daily basis to finish your daily tasks. Alright, so this clip that you saw right now, it is one of the clauses that it is coming soon, of course. But as you can see, is saying that he was talking about how to manage your time and stopped wasting your time. And on the meantime, it shows the preview of someone hanging up the phone and scroll it on social media or something. And then the transition of stop came on to the footage, into the footage and took place. So that was quite good as a bureau and let us know how to do this on our Premier Pro. So first of all, we need to before clubbing or before important the club that we need. I would like just to make it easier for me, just to say like to organize these clips and these folders on the main panel because this has come in later how to organize your folders and Premier Pro and zone. But let me just do it for now quickly. So this is like how so-called camera. So it's like was talking about the transition. No, it was talking about the lower fence or templates templates lesson. It taken everything like this is the lower third that we used, okay? Taking it here as well on how to do it. One camera at the sequence, and it's clean. Now, let's import the clip that we needed. I think it's opened here somewhere. It is here on the folder. You can find it. Okay. I'm going to show you how to do this. This is the B-roll that we have in this is the a row of some of that person. Okay, Let's drag all of them to our Premiere Pro. Let's give him a new pen and call it the wrong lesson. Okay? Yes. Let's I'm just selecting all of them by some control. Click Select, select, select, and drag them all enter the B-roll lesson. But here's the thing. We can have a B-roll here, okay, I'm going to have a new sequence was this one. Okay? This is the one that I'm showing again, okay. Just in case you're wondering, after doing this, you would actually get everything about how your day is go. And at that moment, he would recognize that you need to stop chatting at midnight and he needs to sleep a little bit earlier, you would know exactly how many hours you need on daily basis to finish your daily tasks. Okay. Let me just mute this one because it's dropped in my voice. Here. As you can see, he was token and then another another thing came in. And it's related to what he's saying. That's why we said it's a supplemental. It is adding more information to do the thing that you're talking about here. So going back at gladly, I'm using my arrows in the keyboard by the way, forward and backward, forward and backward and so on. So forward, the footage came in. And then we added a templates to it. So it's becoming more engagement and so on. Okay? Okay, So how to do it is let me just make it clear. So this is the clap was out. I'm just dragging the clip was out. Okay. Sorry, let me just unmute desk. After doing this, you would actually get everything about how your day is. Go and add that moment. He would recognize that you need to stop chatting at midnight and he needs to sleep a little bit earlier, you would know exactly how many hours you need on daily basis to finish your daily tasks. Okay, So that was the result, the template without the B-roll. And now it's more clear to you that we need to do this together. Here's the one. Here's the one is the phone scrolling on the social media or something? I'm hovering over it to show you that it has nothing over it. So we can open it on the previous section. Over here. We can actually add all of it. Okay, We have two ways right now. Let me show you how to add a bureau into your a roll footage. So we have the footage here. After doing this, you would actually get everything about how your day is. Go cannot have that moment. I would like to add the B-roll. Just write here. The easiest way to have a B-Roll into your role is to drag it the club itself, into the timeline over your a roll. And of course, if you complain in from not able to do this, and maybe some times it's like it drag it and then you put it over your a roll, your terminate in it. It's okay. But actually it's not having a good transition over it. Let me show you how in this one. And instead of just doing this, we can actually close. Look, this track, the main track of our role. We're talking a role and biro ran out. Okay. So we're adding this over it just in case you're trying to add it over the a role. It's not taken place, it's just coming on top of it. Okay. I want to make it shorter, so I drag from the end. Okay. So now we have more space. Would recognize that you need to stop chatting at midnight and you need to sleep a little bit earlier, you would know exactly how many hours you need it. Another way of shortening this class is to have a cut. Then delete the remaining part of the Oakland. Okay. So let me mute this one again and go back and listen to it again. After doing this, you would actually get everything about how your day is go. And at that moment, it would recognize that you need to stop chatting at midnight and he needs to sleep a little bit earlier, you would know exactly how many hours you need on daily basis to finish your daily tasks. So that was how to add a transition, how to add, sorry, how to edit template to what text and so on. We can do this later, but let me give you the second one how to import your B-roll into your a roll. So let me just take this off. Okay. That's, that's why I had it on the previous section. Of course, we can just unlock this track. So here we can do the effects and control feet. We can close this panel as well. And if you would like to open it again, we can double-click, double-click on it. And now we can import either the voice or the OD of this club if there was a clip declared on it. But this globe hat doesn't have any audio. So we can drag only the whole clip, or we can actually use the IN and OUT keys on our keyboard. So I would like to start from in Ambros and I on the keyboard playing it. Actually, I don't want it to start from here. I want it to start just from here. From the point he is about to scroll. So this is the end and I want it to be, That's it. The Spacebar again. And then now if I'm going to drag it, I'm only dragon. Okay, I'm only dragging this section. Alright. So I'm dragging it. Okay. But I had no idea where to put it. So before dragon, I would just play the video, the club that a role that I have. After doing this, you would actually get everything about how your day is go. And at that moment he wouldn't. I would like to add the B-roll just right here. So in order to have a mock, it can market as well using the I, which is the input indicator. Okay? And leave, it just looks just like this. And then go back to that previous section. Drag the clip at an ear. Because we're adding, we're enabling the snapping and timeline, which is after pressing S. Because if you're not okay, let me drag it. It doesn't snap, doesn't come to it. So in order to do this, we're actually snapping it. Dragging the, sorry, what was that are Snipping. Then we drag in the beautiful. This is how it looks like. Recognize that you need to stop chatting at midnight and he needs to sleep a little bit earlier, you would know exactly how many hours you need on daily basis to finish your daily tasks. I would like to make it shorter here. Exactly how you would know exactly how many hours you need on daily basis to finish your daily tasks. That was it. Okay. If I want to get rid of this analysis, highlighting the indicator that I regard to the input and output we can have in your indicator here. Forget about it for now, just for now because we were using this in the exporting settings and so on. And of course we can use it as we did just run out. Okay, So I would like to add the the transition or the template that says stop on it. So I will preview or browse some of the templates that we already have here. I think it's that one, its template lower third, 17. See how it looks like. Okay, It's quiet loading. Okay. So I want to make it shorter. We can drag the end of it. Okay. It needs to be tweaked a little bit. So brush pack, I would say it's an instead of this, we're diving. Stop. Okay? And we would make it old capitalist. And I would leave it the same thing, solid. The architects properties. And I need to to bring it to the middle. We go for effects controls and we can make it a little bit shorter and drag it to them middle. We can use the safe margins. Okay? This is the safe margin of the center. This is the safe margin of the center of the middle. Okay. So you haven't this year. So I can put my text next o vertically aligned with this section. So I'm looking forward to texts possession. It's the X line. There it is. Okay. But I think the template itself needs to be a little bit lined. Think it's much better now, if we take off the Safe Margins. As you can see, it's coming in. But as you can see that the template one to n just after, I had no idea what is going on to stop. So I just need to delay this little bit. So what I did, I did a mistake right now. I made a mistake, a huge mistake, which is I dragged the beginning of the clip, the beginning of the assembly, which is actually the transition, which is actually the animation, the keyframes takes place. So as you can see here, it's moving. It's taking place, the brush and the paint things and so on. So in order to do this, I could do like, Yeah, then drag the whole template to the indicator, the timeline indicator, and then drag the end part of it. So sounds like this. After doing this, you would actually get everything about how your day is go. At that moment, it would recognize that you need to stop chatting at midnight and image displayed earlier, you would know exactly how many hours you need on daily basis, definition of daily tasks. After doing this, you would actually, that was a, that was for adding B-roll to it. And of course you can do this same methodology to any B-roll that you want to add to your footage, whether it's gonna be like a drone footage. So you want to add a drone footage to the landscapes or whatever to your footage regarding having a YouTube video or whatever. So you add it the same way. You have two ways to add it. Either just drag the main clip TO after locking your track, your arrow drag, or you don't have to attract to look at as well. You can just drag it over it. But in case to make sure that you're dragging it on over it in. And instead of just replacing that, you lock your A-roll track. And also you can use the preview thing. And if you want a certain clip from this, because this is quite easy for you to do this using the I and O indicators in your keyboard. So this is at 40 roles. I hope you can do something about it in the project section. Let's keep moving. 9. Keyframing & Annimation: Alright, previously we had this template animation on the previous lesson. And that was quite easy to pop the template on the tone line and that's it. But today, and instead of just using the template, it's gonna be totally different. We're going to learn the keyframes. And instead of just button down at a template and just get rid of any skills and being like a copper-based passage. Alright, let's get started. So basically that was the clip that we did. The template with. Images. Remind you, was it again? What's up, guys telling us? Alex Norman here. And in this video you're gonna be learning how to speak and express yourself. And as you can see, the, let me just mute this for you to be able to hear me. As you can see the template when n, like it fades in. Okay, Let me just move frame by frame. Then the lower third, the other lower third went in as well. Okay, So in order to do this, let me just make a copy of this clip again. Okay? And I did using, let me just go back. I just pressed Alt and then drag the first leg. Then we're having a copy of that loop in our timeline. Okay. I would like, let me just make it clear. I would like to add the animation to a text I'm adding to this clip. So instead of just saying I'm lagging on a template, I just mentioned the one, the lesson that we talked about the text and so on, about the brightness, about the opacity and so on, and how to position your text. And bought today, we're talking about keyframing. Keyframing is all about this panel. It's about the motion graphics panel where you're going to use the toggle animation is scale toggle animation as well. But instead, we're just going back. Here we go. Let's go back and go for text. And the shortcut for this would be to press T in your keyboard and press anywhere in your image. And let's type. His name was Thomas. Alex. Alex, and we go to the Essential Graphics. And as you remember, we center this text horizontally and then we'll center it vertically. So if we, if we enable the safe margins, you can see it's totally in the middle of the club. It's not taking any position of the fundamental. Alright. Now, I would like to add a background to this text before animating it to sound Otis seem a bit more better. Okay, So we'll go for the essential graphics, this central graphics panel, and we need to go down, to scroll down and go full background, enable it. Okay, then we're choosing the color. I would like to choose black for it. Or maybe we'll go back to this. I would like to go for white and the text would be in black. Okay. I would go for I'm going to select the text first. I would go for a white background. This text itself would be the fell would be in black. And the background should be like, you know, covering the text and goes beyond the borders of this text. While you maybe like 26 inches or maybe something like that. Then the curve, it could be like COVID from the corners. And also the opacity should be like 100%. It's much better now, let me just turn this off. And this is Thomas, Alex. Both cos d. Let me just make it clear. Okay. The font changes the game from upside down, so that's why we go. We're going to use the same fold we used on our template, which is done with Alex, which is the hock phoned. And then we're going for solid. It's solid but we're making it o bolt and all caps, okay, gold and gaps. Maybe Italian would be a little bit dramatic, but I'm not like an unlikely to be italic in that case. So we're sticking with being just fixed that side. Alright, so in order to have this text, we had it on the Hock text property. Now we're moving to make it down a little bit down. I want it to be a little bit bigger. So I'm going for scope and making it 120 and then bringing it down. And actually I need to maybe to reposition it again, exact same tunnel. Okay. Then I'm bringing it down like just as one. And as you can see, it's yeah, maybe we can make it 100 again. Seems a bit thicker than the other one. So take things again, go into the middle. Okay. And I'm adding a, another one. So I'm adding this on top of it. To duplicate it, have a copy or Alt, drag it. That's it. Bringing it down. Scale it down. Maybe like 70. Okay. Ad. Alright. Then bringing it down just, just below it. Alright. For this one, I'm going for black background. And this is the upper one. Let me just name it. This is the lower one. For the other one, we're done with it. Well, for the lower one, we need to work. Yes. Hello would be still in black or the background would be go with like maybe yellow goes to l over two. Like forget about what I choose. The one that you like the most. Okay. 14. Okay. To color. The text itself would be in blue. And the background will be n. Let me copy this one. Paste it here. And the background would be n black. That's it. Okay. So that wouldn't be the text. It should be like how to talk on camera. So let's say we would like to have this lower third and very smaller size than the upper FET. Okay? And of course we believe to be an Center, I will write it goes just blow it. So the signs was like maybe I'm maybe 6065 putting into the set to the center. Little bit, maybe something like that. It's outlooks. Of course the template would be much better and much easier for you. But in case you cannot afford such templates to buy from Envato Elements, motion array or whatever. So you just go with your skills and learn more skills. Other than thinking about like, I should have this template to be good, to be perfect and so on. So let's keep going. Let's do our best. Okay, let's be more creative, ladies and gentlemen. Okay, So let's work with the animation of the first row or the third, the upper one, it is the toll miss Alex, think. Okay, First of all, let me just make it clear regarding the Toggle animation, so on. There's toggle animation enables you to animate or manipulate how the text or how the layer that you icon is going to appear on the timeline. Okay? So in order to make sure that this position is the right position that you want your text to be in. So I would like to make it from the outside to the inside. Okay. So I would like to have like maybe a few frames to the front, like I would leave makes sense. I would like 1234567, okay? And I would add a keyframe here. Let me just minimize this. So 1234567, okay, The first one I wanted to first keyframe protects to be outside the frame. And then it goes and you can see it was outside. Went and let me play this one. See how it works. We're going about this one for now. Let me just turn this off because it didn't go anywhere. It just doesn't have B in the timeline here. Okay. Comes in. But in a very robotic way, like it moves like. So robotic news frame by frame. As you can see, the code doesn't move smoothly or something like that as you can see in the template. But here, here's the thing. So to work with this animation, we would like to bring it, bring this one to life. And then this as an ease out going forward, the keyframe that comes into, make it n go for temporal interpolation and go for a reason. Okay? As you can see, it's much better now. Let me just make that clear. So those like you said on it is much better than having just a robotic way. Okay. There's another one like okay, let me just make it this like it's good now. Okay. Maybe the lower one. Let me just enable it. I want to start not from the outside the frame. I wanted to stop just from here. I would like it to be like just from here. I would add a keyframe, go five frames, mode, two frames. I would add another keyframe. So I would go back to the first keyframe. I would just go to this side. I want it to start from here, but I want it to be 100% away from the screen, away from the timeline. So I would dress the Toggle animation regarding the opacity. I will do the same for the next frame as well. Okay? I would go back for this and would make the plastic 0 per cent so it doesn't exist. But what happens when we move on? As you can see, I'm moving frame on frame. It comes in, it appears slowly and still. It's a little bit robotic. So we're adding the reason for the opacity as well. Ease out what a feat for the first keyframe and the same for the position as well. Ease out and ease in. Let's see how it looks like. I see it one more time. So it appears from here as it was hiding. Okay, masking. These leaves are actually like a professional skills regarding the masculine and so on. But when instead of using the muscular, which is a bit advanced for you now, because this actually class is all about the basics. So we're just actually using the opacity and the Toggle animation skills can instead of going forward to Moscow. Okay. So here's the thing. Like it went in, out of nowhere. It appears we can do the same with the upper. Said. It's up to you, it's up to your creativity. This is how it looks. But what if I would like to add a bluer that has motion? This actually happens with aftereffect. Regarding adobe, of course, here recently in the latest version of maybe 202021, I think they added the transformation effect regarding the text and regarding the layers that you can manipulate. Stone from. The upper one, I would like to add go for. In that case, I would go for effects. So we're looking forward to transformation. Let's just go forward, transform, transform. And we'll go for this to drag the effect and add it to the text, the upper one. Okay? And as you can see, it adds the transformation above the motion itself. So what is the thing that I would like to add regarding the transformation? Think Mr. saying that moves n without any bluer regarding the mission. Okay. It's just y equals alphabet. There's no blurry thing. However, I would like to add a blurry thing regarding this sum add in a keyframe here. Position, keyframing. Judge, right here. So if I take those off to be the same, same keyframing is not the same position. Okay? So this diversity of keyframe, we would like to bring it to the twenties when it comes in. Okay. So we're adding this isn't, and the outcome is the same. What is the ninja track that we'll do in this one? It is to go forward to the shop tool angle, the shutter angle. We can manipulate this, maybe to 7073, something like that. As you can see, scales n nodes, n Thompson is totally wrong business. Maybe because of the anchor. Things are just see now. It is because of the ANCA. Okay, So forget about it. Okay. We can manipulate this from the, from the beginning as well. Okay. So tan induced off belatedness. Doesn't want to go away. Okay, something is completely wrong with this one. So let me just fix this one and then come back. Okay, so that's thought out in the transform effect to the upper layer. Then we do the keyframe going seven keyframes. One too, because I'm pressing shift and move to the right side. That would give you like five frames. And then adding the keyframe, the other keyframe, I'm going to bring it to the output layer. Okay? The full doing anything we're rocking with shutter angle or making it like needing 70. Okay. And as you can see, the blower is just right here. This blurriness you can add. It will increase in this. Okay. I regularly go with 150 and it's just something like that. Who is the ease in and ease out? Ease in. It's completely different, changes the game. Let me just make it clear. So you saw that one. It's like racing and then Okay, We can do the same as the lower third. Or instead I would like you to add this as a class project. Go for it with the class project. So this is gonna be the class project for you. Adding the lower, making the lowest set as the upper one. Okay? So the upper one has the animation, bluer animation thing. I would like you to add it to the lower one. Of course some of you will do the same length. And instead of just doing this, we can just go for they're not. Then go forward to EPA. I'm copying that the effect itself by pressing Control C and go for the other one, and then Control V comes in. Instead of doing anything. This is the thing that I wanted to offer before you go and do such a thing, because it does have some pressing Control Z. Okay? So it's out of the way. It doesn't exist anymore. So this is for you as a class project. Let's listen how it looks like. We're distinguishing. What's up guys telling us, Alex, no one here. In this video, you're gonna be learning how to speak and express yourself on camera. It is quite complex. The last part here that went away, just one frame like that was a good, Okay, you can manipulate this forgotten your class project. Let's get moving using the keyframing thing. And of course, we're working West, like manipulating more keyframes. And also, which is very important to add sound effects to this keyframe thing. And it makes it more cinematic and makes them come to life as well. Seeing the next lesson. 10. End Screen & Effects: Hello and welcome back to another lesson of this class. Basically this is Adobe Premier Pro 2020 to the latest version of Premiere Pro and 2022. And this is the lesson of having an empty screen TO youtube videos or maybe to your Instagram videos, GO anywhere videos, you can add an empty screen. And what does it, what does that look like? It looks like this. Alright guys, keep filming. Enjoy this challenge and goodbye. Alright, there we go. So this is how we made this end screen footage in our Premier Pro. Let me show you how we did that. Basically the vending thing here, you can just manipulate this and have a naval off the back and boom, nothing spending. Everything is like good. I just muted to collapse in order to lessen to me and be able to hear me quite good. Thomas. First of all, I would like to mention that we got this music from Adobe stock, from Adobe music itself, Essential Sound. And then we browsed for ending and then we have at the end of a song or not, maybe this is just music. So we brought this down and we just ****** or lowered the volume to minus five dB, which is good. Later we can talk about how to manipulate the background music and so on. Okay, So for this end, as Creon, why would you need it? Basically, you would need it to. I'm making progress to your next videos or maybe the previous ones. Sorry, the previous videos or maybe the next ones. Because as you can see, I'm just giving you a hint about it, which is adding the same footage of the same video. But in your case, you would add another video or a previous video that, that is coming next or up next. Or maybe you can watch, instead of just having this up next to you can change it. To seguing. Also watch, or maybe you can also find out these. Or maybe you can, we can just type anything. It's back to your personality. Like you can type anything, like to shout, shout out for these do videos. Or maybe you can add more than two videos in your end screen, of course. But this is one of the good ones. Okay, So how we made this end screen, Let's do it together from scratch. First of all, let's have a the outro of our video. Make a sequence from it. Says we have a new sequence. Okay, let's forget about new sequence. We can just drag this here and we can take this as a copy, right? Alright, so from here, this is the altro of Thomas Alex. That's it. How to add the indiscreet. First of all, you can do the end the screen manually. Like you can make your unscreened from scratchy, add a background paper you're doing the frames and so on, and you add your logo and so on. But as you can see, there are actually more than one thing. Like this background is like more cinematic and more emotional task, much motion than any other background you might add. That's why you can actually go for the easiest part, which is to use a template. This template is actually sponsored. No, there's no sponsor here. This is actually from Adobe itself. We can go for Essential Graphics, go for brows, go for Adobe. So it was actually be like my templates, but you would go for Adobe stock, then you would actually look for, and this is how we get this 1. First of all, you can find this premium of a no match in search results. But we will go for free on select the premium. And as you can see, it's only a few here. And you can't find your end screen templates. So you type and press Enter, then you can see more than one thing, more than the screen. Over here. I actually like this one. Seems really good. It shows you, when you hover over, it shows you how you can change the colors. As you want. You can change the color and the theme itself, the gradient to the one that she like. Of course, once I liked this one, I would actually go for download. Okay. Okay. Then I'm going to drag it to our timeline already here. But in order to make it like closing the outro, I need to drag it. Few frames before the entrepreneur. I would like to make sure that no black. So that means 123455 frames needs to be added to the video. Okay? So I'm moving by frameshift, left arrow, and I'm bringing this back. So no black thing from the image background. This is how it looks like. So this is the template. It goes like desk. It's adding a space for you to add your your VDS. You're up next videos and add your logo use and of course your image, your profile image. And this is how we're going to do this. Let's do it. So basically, forget about manipulating this and let's bring the two videos. First of all, I would like to say that I brought the image here. Let me show you this image here, brought it from the video itself. I went back to the beginning of Vienna. I found this one quite good. I went for having a photo from this one. I one for this option Export Frame, which where you can download or you can get from the bottom editor and go for the camera icon, drag it, would find it here. Go for it. Okay. Then he can press on it. It says the format is PNG. This is the best. Forget about the JPEG or the GEF, okay, if you will. Of course, go for it. I'm looking for PNG, I'm browsing. I'm adding it to the footage. This is the folder. It's that look for it. They just write here. These are both eyes elected to explore. And that's how I got it. Then I added it to the frame. Okay. I went back and added it to the frame as a footage. This is how we added it. Right. Let me add it again. Okay. Let me drag it. I dragged it is the same. But I'm going to delete that one. I don't need it. After this. I added it to the timeline. But this is how it looks. It doesn't look like a circle, as in this one. It looks like a circle. How did it is? This is quite easy with Premier Pro. This is why we call me is the best. Okay, you go four seconds, you go, sorry, you go for effects and type Circle sacral. Drag this effect to your image. Okay? I'm going to drag this to make it longer. And we go for this image effects. Alright, you can find the Sacco over here. We can go first for the blending mode and making it denial alpha. As you can see, something of this photo is obvious. Now. I'm making beggar radius. Okay? We can show that it's still cycle because if we go beyond this and then we can scale it down anymore. So control Z, control Z. And I'm making sure that this is a circle. And of course you can go up and down. It's up to you from here, from the machine itself. Okay. And regarding the circle itself, you can go for this center to the left side and center our friend Thomas, Alex. Okay. And then we can scale this down to maybe 30. Let's see if it fits that one. Let me just zoom in. I think it needs to be a bit bigger. So maybe 32. Okay, that's perfect now. Okay? And, um, then adding the default transition to it, which is the fade and making it faster than this. So unlike maybe all 15, This is how it looks. This is the logo. Then we can manipulate the the template itself by going to the essential graphics but unselect. And of course the template first, then texts controls. The title, says logo. We can say this is Alex. And scale it down, maybe 250. And then we'll change the color JSB, next phone to talk and make it bold. Then we'd go down. For the subtitle thing. We can write down something like meant to be used. This is the slang that I do like it amongst. And we can bring this down to scale this down to sound like we'll just seem like slang. Then we can position it just below. So Miss Alex thing. Okay, then go in for the right text, which is the Up next. I think we can take this down. Okay, So up next maybe we can change it. Nice. And we can change the font itself. Make it bold, right? And we're going to change the color as well. I would like to make it orange. Orange. Okay. This is how it looks like the ending coming in. Okay. It's taken time. So this is because we needed to to like to render this selection first to run smoothly in our timeline. In order to do this, you can go for selecting your template, okay? What makes sure that you're not going to do any manipulations, any adjustments to it. And then after select the night you go for sequence, render selection and wait for it until it is rendered. Alright, so after it's rendered, let's see how it looks like. Harp sounds like how it seems like unmuting those two tracks. Let's see how it looks like by pressing the spacebar on your keyboard, which is the blade back button. Alright guys, keep filming. Enjoy this challenge and goodbye. Radius movie. Grade. And the local component in a circle. Fantastic. Okay, It's messing few tricks and tweaks. Let's do this. Let's mute this fast. As you can see here. For the template itself, it says that this is looks like slowly in the circle. It's loading. And then something should appear here after the cycle is loaded. Okay, I think we can drag this somewhere. Here. Maybe, look, it's making something out of it. So circle loaded. And the image, the logo comes in. That's it, great. So we can write it this till the end. We can also do the same with the other. Watch these videos we can add here. Basically you can add any of your previous videos or maybe thumbnails, maybe links to your videos. It's up on YouTube. You can do all of these. You're just doing this and screen for manipulating and adjusting it on YouTube. It's not able to, just, if you want to adjust the ear, it's okay, but it's not gonna be clickable. And in order to be clickable, you would add those two and the Add screen that on YouTube when you publish your video. Basically, I'm just showing you something. Maybe we can drag these two videos. This one is like, okay, this is the image. So I'm taking those two. I want to take a copy, now, a coffee. So we're selecting both Alt then bracket. So we added them. The last sequence. We can make it shorter. Let's do it. Okay, it's back now. So as you can see, it appears. But after loading this axial loading, this rectangular, rectangular is loading. And the other one's supposed to be here as well. Maybe something like yeah. He has as well. At same time bringing this to the end of the end of the club as well. Let's see how it looks like. Both some nails loaded as well. Like this background is moving and giving us an animation would be great with a background music, of course, as we showed in the first place that we discussed. So in that case, I would add the background music to the end of just right here. So now we go to central sound, browse in time, something like n. Then we can take at the end of it, bound to be just right ear. The sound comes in from the second template is closing, and it gives us a pretty good one. See how does that work? Let's see how it sounds like and it seems like, alright guys, keep filming. Enjoy this challenge. And goodbye. Course, you should be better if we made it half resolution. And goodbye. That's all really good. Some people tend to eat it for maybe ten to 15 seconds to carry on with the background music until a certain point after. It comes like here. So here's a cut. They can make it just like this. And adding default transition to it goes down like this. You go what I mean right now is it for today? That was it for the entire screen thing regarding YouTube and other platforms and social media. You can do this by your own self. Adding a default and screen on YouTube. You can add your own template of n screen. You can manipulate this template. As you remember, we said you can go for edits and edits and manipulate the background controls. It's tiled text. Even a global controls of the global size and position. It depends on your desire. It goes back to your personality and goes back to your fingers are too like the most. Go for it, keep moving. Don't forget to practice these and act as this is like a class project for yourself. And practice brings perfect. See you in the next one. 11. Color Correction & Grading: Alright, so there we go. We're talking colors in this lesson of this premium class, or maybe we call it the basic laws of Adobe Premiere Pro 2022 version. Today we're talking colors and we're talking about color correction. And to be specific, next move in, we're talking about color grading, which is completely different from correction and gradient. Both of us knows that, but let's be more practical and go to the buy board here. Alright, so we have this voltage here. This is the intro of our class, the latest class that we uploaded on Skillshare. So as you can see here, we're actually going to manipulate the color correction and then we're moving to Color Grading. First of all, let me just close all the tabs here. As you can see, I'm going to select the clip that I want to correct its colors. And then instead of doing this, going for Effect Controls where actually heading into the Lumetri Scopes. And after that we go to the panel, to the right side, the effects panel, and choose the Lumetri Color. And basically would find it this way. You would choose the basic Correction and forget about the creative curves and so on, because this is a little bit advanced. So let's start with the basic correction. As you can see from this coped, It's a little bit complicated, but let me just play this one more time for you to see how it, how it seems like when you play the video and these colors starts to go up, up and down and so on. Right, in your other quad and know which letters have been used to form this word. So why are you waiting for? It's here in the car. So the one that the soldiers, right yet, this is actually the flames. These flames on the footage is actually referring just right here. And this is typically the face. Just make it clear. Let me just mute this for now. Okay. Where's the face? This is the phase. But it's a little bit complicated for Adobe to identify the exact phase or the exact, because the lighting here is a little bit harsh for it. That's why we're starting with the basic correction, which is to be more simple. Our 0 line here and 100 line here must be touched, not exceeded, not going beyond these lines. So 100% represents the watts and 0 represents the blacks. We go here to the Basic Correction panel. We can see the blacks. And we can actually see that blacks were actually beyond the limit. So we're bringing it back until it touches the 0 button. Let's do a little bit. Maybe just right here. Okay? Yes, this is the difference. This is before. This is after. As you can see, the shadows of the artificial plants behind it is quite obvious now. Look shadows quite obvious now and it's more, it's more cinematic. And instead of being more flat, let me just go for the whites. Whites is actually quite high, so we're lowering down, down, down, as you can see, it's still exceeding the line of 100, so we're lowering it down again and again. You made me just write here. Okay. Alright, that's good now and that's good for me. They seemed a difference. This is the icon that shows you before. After, before, after. As you can see, the light was quite harsh on the subject. So that's why we changed it into this. So it's quite, it's quite smooth enough. Let's see, not together. Let me just make a close-up. Fft. I'm trying to click before and after y plane the footage. Now you can see the difference. This is waste moves yet. There's one because this is really harsh. And you can see it on the glasses as well. You know what I mean now? Okay, that's really good. Is just the basic one for whites and blacks. Also, you can switch between the temperature, attend and saturation. Okay? So if you feel like your your your footage is quite bluish, you can bring it to be quiet. Orange. Ok. This is not the case for us. I think we can double-click this. It goes back to the original one. I think we can go for a little bit, orange. Okay. So before this is after the tenant, I think it could be good if we go just a little bit for this because for the mid tones, of course, you now closely, this is for quite harsh, no color correction at all. This is after. It's a bet, is to go down just a bit. Maybe canvas is quite perfect. Okay, let's play after. Great. Actifed. Okay, So this is the basic one. We can just go for. Saturation. You can do brand this to saturate it. If it's not saturated. I think it's quite good for us. It doesn't need any situation may be like goes back to 100, maybe a 110, Maybe. It's quite good now. Exam. Loves me. Yeah, it's quite good now let's iteration 110. It's quite perfect. Okay. And for the rest of this, it's all about lighting and so on. But I think I managed to diffused lighting quite good. So it was quite good. And of course, you can see the triangle just right here on his face because of the lighting from the back. This one, it actually giving them the triangle that all of this photographer is talking about. And it's quite unique. Achieve this kinda, kinda correction. And your lighting. This is, this is it for the color correction. You can just manipulate the blacks and whites. Remember, 0 goes for blacks and 100 goes for whites. And then you can manipulate the white bands. Of course, Bach, I'm not, I'm not recommending to do this automatically. Do it manually by doing the blacks and whites. And also you can manipulate the temperature descend and the saturation as well. This is for the basic, Let's go for the gradient. For gradient, It's basically about, given a stylistic style to your footage, like you want them to be more grainy or more team, rainy, night, grainy, whatever. This is very common nowadays. Also there is a trendy theme that, that is cold. Maybe orange teal, maybe all teal, orange wherever. You can do this by going for the Creative tab. Some people say that you can go for a shadow tint and the highlight and then you can drag them to the orange 11 to the opposite one. And that's it. Let's see, before, after, before, after. It's quite okay. Go back. Now, this is it. Alright. Now as you can see, some people will say, This is really good for them as a color gradient because it's color gradient the whole clip, not a set and not a certain correction for it, its gradient, the whole thing. Alright. Okay. But for grading, as we just bring this back to 0, as we say, gradient is all about having any complete color grading to the whole video. So I'm not actually working on a clip. I'm just going for having a just meant layer going forward, the top here, adjustment layer. It's gonna give you the same settings of your sequence. So you just click, okay. Then you drag this to your timeline, drag it till the end, and drag it to the beginning of your click. Okay, great. So we can manipulate the color grading. Now. I'm just making again, we can manipulate this. Okay. Great. It doesn't like, okay. So for the adjustment layer, we can go for lots, lots that has been prepared for you. They can choose among these ones. It depends on what camera you're using, on your shooting and what microphone and so on. So it depends on your profile picture that you add to your camera settings. It depends on many, many, many things. That's why we're talking roughly here. We're talking basic, can choose among these lots, among these presets that you can use here. Maybe we can go for the gold, orange. As L goes orange. Some people say that this is quite good. The intensity needs to be like lower, maybe like 30%. Things. Some people like this. Maybe some people go for codec, maybe Balin. The codec seek Clean Kodak, see. Okay, some people say it's quite good as well. And this is how it looks like. Before. This is after. I can see an icon tell about before is quite better than the off to one. Because too often one is like, you know, is attached to certain settings and satin manipulations and so on. So instead of just roughly choosing anything, this is gonna be more advanced it for you. So just be waiting for an advantage on all. Maybe have a certain course. Oh, maybe go for a specific course about color gradient. It would be more beneficial for you. So for now, we're working on the Adjustment Layer. So anytime we wanted, cancel this, we can just do this. The icon, toggle the track output icon until glad, this is, this is it. This is without way. Let me just enable it. And also we can just press creative down on and so on. So what happens to the color correction thing? The color correction thing is like when you do something to a club, okay, So for example, we did the color correction to this club. We go back control. You can see the Lumetri color effect is just right here. If we turn this off, it goes back to your original one. This is on, this is off. This is on this. Okay. So we can have this as a copy. We can press Control key on our keyboard or command C on Mac, control C. Then we can highlight the rest of the clips that we want to give this same lumetri color, the same kind of correction to. And you can see here, this is a clip, this is another, it can just come to a certain club and press Control V. This is the mark that you get once you apply a dozen. Okay? This is the one that you get. Once you apply a certain setting to the Lumetri color, then the color correction to it, if we go back, goes away. But if we bring it back, It's comes in. Okay. So if I want to add this to the rest of the gloves, I can highlight all of them just like this. Press control V or and can select the mammal. Like pressing Shift, select one. And then pressing Control me, go back. We can see all of them from the end. And also you can choose the best one that says ripple, edit one. Or maybe the the track forward, track select forward tool. You can just select here. Double-click again. Okay, so let me just make this clear. So you can choose it, okay, the tracks. And from here, it's selecting everything from this clef for one. Well, if we press Shift, Click, it is actually selecting only the lines, lines in this sequence, this sequence, and so on. As you can see now, look that old, but we need only this collapse. And I wanted to add this to all of them. But for sure, because it's added here already, it's quite different. Okay, that was it. That was at 40 color correction. And this is also for the color gradient, is quite simple. This is how to gloss. It's not about more professional and current gradient or color correction. It is how to start with color correction and color grading. And this is it for it. The next one we're talking about ODU and how to export your videos. Let's get moving. 12. Exporting: All right, friends here we've come to the end of this series of this basic theories regarding Adobe Premiere Pro 2020 to the latest version of it. And I am pleased to show you that we're exporting all of our sequences today that we've made. We've made first trial sequence, how to talk on camera, B-roll sequence. All of these sequences needs to be exported. Yes. Um, to get the outcome of it. At the end. Basically, it's incredibly easy to export videos, sequences, and timeline in Premier Pro, especially the, the latest version, because as you can see in the top left corner here you can see import and export. It's quite easy. You don't need any shortcuts for it. It is quite simple for now. But the traditional way to export videos is to go and press Control or Command M, Mac. And it takes you to the export panel. So basically, as you can see, lots of things to discuss regarding the the options and the availability while before this leaving the timeline, just like this, it is going to export everything in the timeline. It's time from the beginning, from 0.2. The latest point here, which is one minute, 55 seconds, it 58 seconds. So in this case, if I would like to export only this screen, what would be the case? The case in this thing would be just to go the beginning of this clip that I want to export and pet I for the n indicator. As you remember, we've done this in the ad in a B-roll and so on. When we added the second one here, this one maybe like when we did that one, we said i o and I want to drag this one and I dragged it bigger. What I mean now, right? Okay, so let's go back here. So in this case, I'm adding an indicator, indicator, indicator to the end. So when I go to the export panel, I choose the range, the entire source. Now I'm choosing the source in and out. So it's going to export this sequence only the amount that the sequence and the timeline between the in and the out indicator. Alright, that was it for highlighting that the clip that you want to export, going back to the settings are best. It says the file name, just give it a name. I'll talk on camera. But location, you just go forward the location and then you go for the preset. There are lots of presets are out there. You can just add more presets. It's completely back to you, and it depends on what actually, what type of video you're shooting on, what type of video you're exporting. But my case, I would go for 1080, okay, this is high-quality. This, and any screen needs only to be 1080, doesn't need to be for k at all. And the format should be the H dot 64. Okay? This is the traditional one for videos because it's enhanced and it's very authentic regarding the blue ray and so on. Okay, move into the video settings. I recommend to not do anything to the full-frame thing. Both sides, it just go for it. And you can go for more. And render at maximum depth and also use maximum render quality. So it gives you the best quality you can get out of this exporting settings. And then you can go to the target, going down to the bit rate, where you can find the target bit rate in megabytes. It says the target data rate allowed by the end the code and coder. This case, if you find the estimated file size is a little big for you. Sometimes it goes up to five gigabyte, gigabyte for longer videos. So you don't need that big much. We can lower that down to make it like maybe ten can write them. And it's giving you like 34 megabyte instead of 67. So it's giving you the half of decides. It's completely incredible. Use this technique. Okay, so after this, It's all good. Video. The Export. Now, moving to the OD, it makes sure that this is a stereo channel. This is the AAC audio format and so on. Then the caption, if you haven't captions, this is gonna be in the next class, of course, regarding the intermediate settings of Adobe Premiere Pro, because this is already for the basics. And this is a b, how to glass, as we said, we're not discussing captions here or subtitles, effects as well. You don't need anything from it. And metadata, nothing general. You can import into project section. Project section that you selected from the first place. And use previews and use proxies as well. Forget about him. Okay, for now. You have two options. Either to export directly and goes just like this. Okay? It says unlicensed stock audio for the music, the background music that we used, just explode for now. It's exporting just made to time remaining. Like these five seconds. This is the first option you have for export in your clubs for exporting your sequence, your timeline. And there's another one to export your sequences. In case you have things to export and you want to, you know, continue adding in your Adobe Premier Pro panel. You can go for Control M, and you're going to use the highly efficient Media Encoder. It says send to Media Encoder to go into Open Media Encoder. Its opening here. It's taking its time. Once it's opened, is going to transform all of the data from Premier Pro into Adobe encoder, Media Encoder. So it's now going to show us the settings, the outcome of the video that we have on this panel. We get about these panels. There's one, there's one. Let's talk about this. It is says the format of this video is gonna be an H dot 264. This is for the video if you want it and free and before wherever the custom things. This is the format, the quality in the choose anything from YouTube, 10802164, K to K, whatever can choose, whatever you like. It depends. It depends on what type of video you're actually exported. This is very useful, actually the Media Encoder and transporting more than one clip. Let me show you in case I would like to export this one. And I would like to balance both individually. Okay. Alright, so we have another one dinner. And he says the range, the sauce in and out. I sent to Media Encoder. We don't do media encoder. And I can see now this is ready to be exported. This is ready for export as well. So you can now press Start q. And it is exporting the first one. When it's done, when it's finished is the best one. It is moving to the next one and so right. Okay, so as you can seen how the media encoder, while we can still edit on Premiere Pro, work on them. Okay, and we can still lack in year one and so on. So that was, that was for it. That was it for this basic glass. This is really basic. Hope you enjoyed it. I hope you can see more. You get more skills from this basic lossless how to glass and wait for the next one. Yeah, that was it. That was how to export your videos from Adobe Premier Pro 2020 to the latest version.